The complex of subterranean passages was filled with untold treasures. Ten thousand workmen employed in its construction were entombed with him.
Genesis in Chinese Pictographs
Building on this immense mausoleum began when the king ascended the throne at the age of 13 and continued for 36 years, utilizing the services of some , slave artisans. It is because his reign was pivotal not only for the establishment of the Chinese empire but also from the standpoint of the reli- gious course of the empire. He was noted for many accomplishments, among them the completion of the Great Wall, which extends like an endless, undulating serpent for 1, miles. He built roads, a vast canal system, standardized the style of writing the Chinese characters, as well as weights and measurements.
Thus a polytheistic service supplanted the original worship of the one God, ShangTi. Because of this meddling with the ancient rites, the.
The Discovery Of Genesis : How The Truths Of Genesis Were Found Hidden In The Chinese Language
It is indeed certain, that from the most ancient times, all who have been wise, and deemed masters of the nation, on account of their reputation for distinguished wisdom, have known but one ShangTi, eminent over all, on whom all things depend, from whom is to be sought whatever is for the advantage of the empire, and to whom it is the duty and custom of the emperors to sacrifice. Two committees of historians were appointed about A.
By so doing, they dis- covered the Taoist-inspired error and deviation from the original ritual of the first three dynasties of Hsia, Shang, and Chou B. They abolished these practices and returned once again to the ritual of Chou, by which the emperor worshiped a solitary heavenly ruler, ShangTi.
However, with the introduction of Taoist and Buddhist concepts, all original meaning of their rituals was lost and religious appellations were falsely applied to expanding mystical ideas of spirit deities. Many ancient records had been burned, and religious worship was altered, revised, and blurred with the passage of time. Declared one distinguished translator of the Chinese classics: Do the Chinese know the true God? The evidence supplied by Chinese literature and his- tory appears to me so strong, that I find it dif- ficult to conceive how anyone, who has stud- ied it, can come to the opposite conclusion.
ShangTi is self-existent. He existed before the heaven and the earth and sun. He created them. He rules over them. His years have no end.
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This ancient pictographic and ideographic language has survived unscathed, and we believe bears a witness to the original beliefs of the Chinese, handed down by oral tradition. The record contained by many specific characters carries such a close similarity to the Imperial Intrigue in the Chinese Dark Ages Hebrew Genesis that it would seem only logical to be- lieve that both civilizations must have access to the same common historical knowledge.
Acquaintance with the true early religious background of the Chinese therefore makes Genesis correlation more credible and understandable. Whereas the Western alphabet has a mere 26 letters from which to make thousands of I combinations forming words, long and short, ordinary or exotic, colloquial or erudite, the Chinese language has a far more complex and intriguing system. Be assured that the ordinary careful reader will 1 not find this baffling or too difficult to comprehend.
All ancient script began with simple line drawings of familiar objects. Word picture systems were developed by many civilizations including the early Sumerian peo- ple in the Mesopotamian Valley, the Egyptians, and.
Since the pictographs and ideographs had correspond- ing sounds of the spoken language, they were also phonetic. The more cumbersome drawings of most early languages were abbreviated into shortened forms for the sake of rapid writing until letters evolved and phonetic alphabets were born.
This latter simplified writing, how- ever, never developed in the Chinese language. Only in the past few decades have actual changes been fostered in Chinese writing in an attempt to simplify the characters and make reading and writing easier. These modifications completely destroy the pictographic aspects of the language. Therefore in the near future the classical Chinese characters may be as dead as ancient Latin or Greek. Instead of being the written language of the greatest number of people on the face of the earth today this venerable writing may fall into disuse and be known and studied only by scholars.
Whereas most written languages construct words from the letters of an alphabet, the Chinese written lan- guage uses radicals , also called keys, roots or primitives, as the basic units and building blocks for the word characters. Each character contains one or more root symbols.
The radicals, of which there are , are in turn organized according to the number of strokes required in writing them, anywhere from one to Numbered in definite order 1 , from the simplest to the most complex, these keys must be memorized in proper sequence by the scholar so that they may' be recited easily. As this book is read, one will become fascinated at the ingenuity demonstrated in the language. Because the objects represented are so graphic, many of the radi- cals are easy to remember. Field, landed property, garden W looks, like a well-marked-out and irrigated plot of land.
A tree, wood or wooden shows not only the tree the vertical line above the horizontal line of the ground , but also branching roots.
Mouth, speech, talk x3 is in fact a gaping orifice and can represent not only the oral cavity but also the activities of the mouth such as eating, speaking, or breathing. A net, IS or no , is surely a trap through which a fish could never pass. One need hardly be told that or. There are a number of radicals used to represent a man. A simple horizontal stroke — can mean heaven, or earth or one, depending upon its relative position.
The numeral one is written in the middle of a character or radical; earth at the base; and heaven at the top. Ten is -j-. This brief introduction serves to illustrate the truly pictorial aspect of the language as depicted by the preceding primitive radicals. The formation of more complex radicals or char- acters by combining radicals is next demonstrated in a simple way.
By using the basic symbol A, for man, many new words were developed. When a man grows old, he uses a cane, as if three-legged. The character then is written and carries the superlative meaning of very, much, too, or excessive. When a man is grown and married, he is pictured as having a second person with him. Therefore the constituent radicals may be stretched out or squeezed together in order to conform to a given space in the total figure. Two or more simple pictographs joined together express an entirely new idea, giving birth to an ideo- graph. To illustrate, here are some samples: -g , tongue, is a protrusion from the mouth 0 and is composed of thousand fip and mouth 0.
Most of the characters selected for this book are exact and clever in their structure. They reveal the phi- losophy and wit of the inventors of the language and are worthy of our careful scrutiny. Time is needed to study, appreciate, and learn the Chinese characters so beauti- fully preserved from antiquity. They provide enough material to preach a hundred sermons to all people still occupying the earth more than 4, years later. The characters with which we will be dealing in this book are very ancient, but through the past 2, years there has been scarcely any change in their con- stituent radicals, since the identical characters are also used in the other Oriental countries, such as Japan and Korea.
The earliest record of any Chris- tian mission to China is found inscribed on the Nesto- rian monument in Sianfu, erected in A. These Christians flourished under royal sponsorship until A. In other Christian documents were discovered in a rock cavern a thousand miles to the west of Sianfu in the desert.
Sir Aurel Stein, a British archaeologist, purchased these ancient manuscripts, one of which was dated A. It is thought that these docu- ments were written by the same Christian group as those in Sianfu. Thus it is not the Christian influence which brought a knowledge of the history of the Genesis account to China, but this information must have been known thousands of years earlier when the language was first invented.
An acquaintance with this classification is also necessary to understand the thesis and claims of this book. These are thought to be the most primitive symbols, of which there are about in num- ber. Examples are O the sun, later modified to g ; and a horse. The radicals are largely from this picto- graphic group. As has been stated previously, the radicals are the building blocks; for one or more are used to compose every more complex character in the language. Two or more simple characters are united to give a new idea.
Ideographs form a very important step in the development of the language. Phonetic characters. These are formed from radicals being brought together for their sound rather than meaning. There are about 20, of these, account- ing for the greatest number of written words. When the Chinese began to apply phonetic principles, the written language expanded rapidly. The former gives in a general way some- thing of the meaning of the character, while the latter suggests its pronunciation. Thus the new character means a mother, but not a horse woman.
In other words, the phonetic portion no longer has pictographic or ideographic meaning, and therefore one analyzing the character from its constituent parts would not understand it. The structure of many of these characters in use today is obscure since the phonet- ic aspect of Chinese has changed drastically during the intervening millennia. There is a point of controversy among linguists as to whether some characters are ideographic and wheth- er the constituent radicals were intended to be liter- ally translated or phonetic, with part of the components used only for sound and not for meaning.
Since with the passage of time the original sound of the phonetic has been lost through regional modifications in dialectic changes, large numbers of characters are left with neither ideographic nor phonetic meaning.
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Hence their compo- sition appears haphazard and devoid of practical sense today. Most of these characters are also fairly simple, which in itself suggests a primitive origin. If it is argued that these selected characters are mere phonetic combinations, it would seem that the possibility of chance formation of completely meaningful words from almost limitless happenstance phonetic possibilities is mathematically narrowed with each additional radical contained.