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主辦單位：澳門大學藝術博物館 Organizer: University of Macau Museum of Art 策展單位：澳門大學人文學院藝術與設計系｜澳門大學圖書館 Curatorial Units: Department of Arts and Design, Faculty of Arts and Humanities, University of Macau｜University of Macau Library 展覽日期：2025.05.23 - 2025.08.31 Date: 2025.05.23 - 2025.08.31 展覽地點：澳門大學伍宜孫圖書館E2-1/F藝術博物館 Venue: Museum of Art (1/F Exhibition Hall), University of Macau Wu Yee Sun Library (E2) North Wing 主編: 徐鴻, 李軍 Editor-in-Chief: Xu Hong, Li Jun

1. 收錄範圍：本圖錄收輯澳門大學藝術博物館「看‧書」特展共六十七件展品以及八條相關視頻。 2. 展品來源：展品除特別註明外皆源自澳門大學圖書館，包括手稿、刻本、石印本、印刷本與地圖等類型，有中、英、葡、法等多種語言，時間涵蓋自1491年至20世紀末。 3. 內容揭示和編排順序：本圖錄按展品內容分為六章，每章依主題歸類，每件展品按出版年代由早到近為序，展品的揭示以中文在先、英文在後，編排次序為： 1) 標題 (TITLE) ：含中文、英文及原語種形式，部份佚名地圖文獻採用學者出版專著或論文的常用名稱。 2) 年代 (YEAR) ：一般文獻採用印製出版年份，而手稿則使用文獻中提及的年份，存疑年份則結合問號「?」標示。 3) 館藏號 (CALL NUMBER) : 澳門大學圖書館對館藏文獻作上架排列所採用的編號。 4) 描述 (DESCRIPTION) ：基於展覽目的，簡要描述展品在書籍史、印刷史方面的特徵。 5) 圖像 (IMAGE) ：輔助揭示展品外觀，包括掃描電子檔與展覽現場拍攝照片。 4. 翻譯原則： 1) 參照澳門中譯名慣例，所涉中文譯名以澳門基金會出版物譯名形式為標準；若無統一形式或查無此慣例，則依照新華通訊社譯名室編、商務印書館最新出版的姓名譯名手冊為準。 2) 若原藏品非英文，皆以中文為基礎翻譯成英文。 5. 多媒體與多感官展示順序：依導覽路徑編排。 6. 展區平面圖：為還原實體展覽期間各展品和視頻在展區的平面分佈，每章名稱賦予不同色彩，展品或視頻與所屬章節色彩相對應。凡例 4

1. Scope of Inclusion: This catalogue compiles a total of 67 exhibits, accompanied by 8 related videos, from the University of Macau Museum of Art’s special exhibition, “Regarding Books”. 2. Source of Exhibits: Unless otherwise specified, all items originate from the University of Macau Library. The collection includes manuscripts, woodblock prints, lithographs, printed books, and maps in various languages such as Chinese, English, Portuguese, and French, spanning from the year 1491 to the late 20th century. 3. Content Disclosure and Arrangement Order: The catalogue is divided into six chapters based on exhibit content. Each chapter is thematically categorized, and the exhibits are arranged chronologically by publication year, from earliest to latest. Exhibit information is presented in Chinese first, followed by English. The arrangement includes: 1) Title: Presented in Chinese, English, and the original language. For anonymous map documents, commonly used titles in scholarly publications or academic papers are adopted. 2) Year: For printed materials, the publication year is used; for manuscripts, the year mentioned within the document is adopted. Uncertain dates are marked with a question mark “?”. 3) Call Number: The classification number used by the University of Macau Library for shelving and cataloging. 4) Description: A brief description highlighting the exhibit’s significance in the history of books and printing, tailored to the exhibition’s purpose. 5) Image: Assist in revealing the appearance of exhibits, including scanned images and on-site photos. 4. Translation Principles: 1) Chinese translations follow the naming conventions commonly used in Macau, referencing standards from publications by the Macao Foundation. If no standard exists, the latest name translation manual compiled by Xinhua News Agency and published by the Commercial Press is used. 2) For items not originally in English, translations are based on the Chinese version. 5. Multimedia and Multi-sensory Presentation Sequence: Arranged according to the guided tour route. 6. Exhibition Floor Plan: The layout reflects the actual placement of exhibits and related videos in the physical exhibition. Each chapter title is assigned a different color, and the exhibits or videos correspond to the colors of their respective chapters. L E G E N D 5

展覽獻辭 Exhibition Dedication 校長獻詞宋永華 Rector’s Message Yonghua Song 關於《看‧書》藝術展覽徐鴻 About “Regarding Books” Exhibition Xu Hong 書作為藝術——寫在《看‧書》展前面李軍 Book as Art—Preface to the “Regarding Books” Exhibition Li Jun 《看‧書》序幕 "Regarding Books" Prologue 01 小拉魯斯詞典 (1908) Petit Larousse Illustrated: New Encyclopedic Dictionary (Petit Larousse Illustré : Noveau Dictionnaire Encyclopédique) [French] 東西交匯 Intersection of East and West 地圖與航海 Maps and Navigation 02 加泰羅尼亞地圖集：北非和亞洲地圖 (1989 複製, 原1375) The Catalan Atlas: Maps of North Africa and Asia 6 P19 P21 P25 P31 P38 目錄 Table of Contents

03 迭戈‧奧門地中海圖 (1989 複製, 原1570) Portolan Chart of the Mediterranean by Diogo Homem (Portolano do Mediterráneo de Diogo Homem) [Portuguese] 04 環球地圖集：東亞圖 (1989 複製, 原1570) Atlas Universal: East Asia Map 05 塞巴斯蒂昂海圖 (1989 複製, 原十六世紀) Anonymous Chart of Sebastião Lopes 06 坎蒂諾平面球形圖 (1989 複製, 原十六世紀) Cantino Planisphere (Planisfério de Cantino) [Portuguese] 07 阿爾伯納茲亞洲海圖 (1989 複製, 原1640) João Teixeira Albernaz Asia Charts 08 霍曼的最新亞洲地圖 (1744) Map of Asia by Homann (Carte de l’Asie par Homann) [French] 09 澳門城區圖 (1746) A View of the Town and Castle of Macao 10 中華帝國圖 (1748) The Empire of China (L’Empire de la Chine) [French] 11 澳門港口和城市平面圖 (1748) Macao City and Port Map (Plan de la Ville et du Port de Macao) [French] 7 P41 P44 P47 P50 P53 P56 P59 P62 P65 目錄 Table of Contents

12 澳門城景觀圖 (1796) Veduta of the City of Macao (Veduta della Città di Macao) [Italian] 13 澳門海界及其鄰近海關稅站圖 (1875複製, 原1874) Chart of Macao, with the Customs Stations in its Vicinity 遊記 Travelogue 14 中華大帝國史 (1585) History of the Great Chinese Empire (Historia de las cosas mas notables, ritos y costumbres, del gran Reyno dela China, sabidas assi por los libros delos mesmos Chinas, como por relacion de Religiosos y otras personas que an estado en el dicho Reyno) [Spanish] 15 利瑪竇中國札記 (1615) On the Christian Mission among the Chinese by the Society of Jesus (De Christiana expeditione apud Sinas suscepta ab Societate Jesu) [Latin] 16 荷使初訪中國記 (1668) Dutch Embassy to the Modern Emperor of China (Legatio batavica ad magnum Tartariæ chamum Sungteium, modernum Sinæ imperatorem) [Latin] 17 葡萄牙國王若望五世特使麥德樂朝覲雍正皇帝紀行手稿 (1725-1728) A Rare Portuguese Manuscript of the Official Report of the Embassy of King John V of Portugal to Emperor Yongzheng in 1725-1728 18 喬治‧安森環球航行記 (1764) A Voyage Round the World, in the Years 1740, 41, 42, 43, 44 (Voyage au tour du monde, fait dans les années 1740, 41, 42, 43 & 44) [French] 8 P68 P71 P75 P80 P86 P92 P97 目錄 Table of Contents

19 乾隆英使覲見記 (1798) Earl Macartney’s Embassy to China (Des Grafen Macartney Gesandschaftsreise nach China) [German] 20 朝鮮琉球航海記 (1818) Account of a Voyage of Discovery to the West Coast of Corea, and the Great Loo-Choo Island 21 中華帝國：古老的風景、建築與習俗 (1843) China: In a Series of Views, Displaying the Scenery, Architecture, and Social Habits, of That Ancient Empire 22 旅行航空的故事 (1929) The Story of Travel Air : "The Standard of Aircraft Comparison" 西學東漸 Spread of Western Learning to the East 幾何學 Geometry 23 幾何原本 (1491) Elements of Geometry (Preclarissimus liber elementorum Euclidis perspicacissimi: in artem geometrie incipit quam foelicissime) [Latin] 24 幾何原本 (1865) Elements of Geometry 25 則古昔齋算學 (1867) Mathematics from the Zeguxi Studio 9 P101 P106 P110 P115 P120 P126 P133 目錄 Table of Contents

26 代數術 (1873) The Art of Algebra 27 數學奧林匹克——高中數學競賽教程 (1994) International Mathematical Olympiad —— High School Mathematics Competition Tutorial 醫學 Medicine 28 醫學錄要 (1890s-1900s) Essentials of Traditional Chinese Medicine 29 中法醫學校外科學講義 (1917) Handbook of the Franco-Chinese Medical College (Leçons de pathologie externe — École de médecine franco-chinoise) [Titled in French] 語言互通 Exchange of Languages 字典 Dictionary 30 華英字典 (1815-1823) A Dictionary of the Chinese Language 翻譯 Translation 31 葡國魂詩集本事 (1937) Summary of the Lusiads (Sumário dos Luzíadas) [Portuguese] 10 P140 P145 P151 P156 P162 P168 目錄 Table of Contents

32 路易斯‧德‧卡莫斯的《盧西亞德》 (2004 翻印) The Lusiads by Luís de Camões (Os Lusíadas de Luís de Camões) [Portuguese] 33 盧濟塔尼亞人之歌張維民中譯 (2019) The Lusiads translated into Chinese by Zhang Weimin 文脈傳承 Transmission of Cultural Heritage 藏珍：國家古籍珍貴名錄 Treasures: National Catalogue of Precious Ancient Books 34 新編纂註資治通鑑外紀增義 (1488-1521) Comprehensive Mirror to Aid in Government with Detailed Annotation 35 重校正唐文粹 (1524) Recalibrated Edition of Tang Wencui 36 宗忠簡公文集 (1605) Collected Works of Zong Zhongjian 史記 History Recording 37 三水縣志 (1819) Gazetteer of Sanshui County 38 五省官書局合刻本二十四史 (1869-1878) Twenty-four Histories Published by Five Provincial Publishing Houses 11 P173 P178 P186 P190 P194 P199 P202 目錄 Table of Contents

科舉 Imperial Examination 39 手抄朱子文章集 (1875-1900s) Hand-copied Collection of Zhu Xi’s Essays 40 清代手抄卷 (1890s-1900s) Handwritten Copy of Qing Dynasty Examination Paper 41 清代科舉試卷錄 (1890s-1900s) Collection of Qing Dynasty Imperial Examination Papers 童蒙 Children Education 42 繪圖弟子規 (1920s-1930s) Illustrated Di Zi Gui 專著 Monographs 43 建築學史 (1921) A History of Architecture on the Comparative Method for Students, Craftsmen, and Amateurs 44 性心理學研究 (1936) Studies in the Psychology of Sex 45 納粹德國政府介紹 (1938) The Government of Greater Germany 12 P209 P213 P217 P222 P227 P231 P235 目錄 Table of Contents

風俗流傳 Dissemination of Customs and Traditions 宗教 Religion 46 貝努瓦聖經 (1566) Benoît Bible (Benoît Bible: La saincte Bible: contenant le Vieil et le Nouveau Testament, ou, la Vieille et Nouvelle Alliance) [French] 47 特倫托會議上最虔誠基督教國王的指示和信函 (1654) Instructions and Letters from the Most Christian Kings and Their Embassies, and Other Acts Concerning the Council of Trent Taken from the Original (Instructions et lettres des rois tres-chrestiens, et de leurs ambassadeurs, et autres actes concernant le Concile de Trente pris sur les originaux) [French] 民間習俗 Folk Customs 48 自天申之 (1883) Book of Fortune Telling for a Lingnan Family 49 道教靈符 (十九世紀) Daoist Fulu 小說 Novel 50 增像全圖封神演義 (1916) The Investiture of the Gods with Added Images and Complete Illustrations 13 P240 P247 P252 P256 P262 目錄 Table of Contents

畫報 Pictorial 51 點石齋畫報 (1983重印, 原1884-1898) Dianshizhai Pictorial 縮印西東 Condensed Essence of East and West 精裝收藏—西方小書 Hardcover Collection--Western Little Books 52 讓沃特的十一音節格律詩 (1538) Jean Visagier of Reims, Hendecasyllable... (Io. Vulteii Rhemensis hendecasyllaborum...) [Latin] 53 「信仰之盾」對話兩卷：摘自「聖經」...... (1561) The Shield of Faith, in the Form of a Dialogue, Containing Two Volumes, Extracted from the Holy Scriptures... (Le Bouclier de la foy, en forme de dialogue, contenant deux tomes, extraict de la Saincte Ecripture, & des Sainctz Peres & plus anciens docteurs de l’Eglise, dedié au Roy Thres-chrestien Henry, deuxiesme de ce nom : Sainct Paul aux Ephesiens, sixiesme chapitre : breueu & augmenté par Autheur oultre les precedentes impressions.) [French] 54 教義問答簡釋：指導兒童學習基督教的處方...... (1564) Paraphrase or Brief Explanation of the Catechism, Which is the Formulary for Instructing Children in the Christian Religion... (Paraphrase ou Briefve Explication sur le Catechisme, qui est le formulaire d’instruire les enfans en la religion Chrestienne...) [French] 14 P268 P277 P280 P281 目錄 Table of Contents

55 神聖、莊嚴、普世的特倫托常務會議......：在教宗保祿三世、尤利烏斯三世和庇護四世的領導下召開...... (1578) The Holy, Sacred, Universal and General Council of Trent...: Assembled under... Popes Paul III, Julius III and Pius IV... (Le sainct, sacré , universel et gé né ral Concile de Trente...: assemblé sous... les papes Paul III, Jules III et Pius IV...) [French] 56 1598年5月15日於蒙彼利埃舉行之宗教改革普世會議法令 (1600) The Acts of the Universal Synod of the Holy Reformation, Held at Montpellier on the fifteenth of May, 1598... (Les actes du synode universel de la saincte réformation, tenu à Mompelier le quinziesme de May, 1598...) [French] 57 基督教的講道與冥想 (1610) Christian Discourses and Meditations (Discours et méditations chrestiennes) [French] 58 日本王國與暹羅王國記 (1649) A Treatise on the Religion of the Japanese: On the Introduction of the Christian Religion into That Place: On its Eradication: To Which is Added a Brief Account of the Diverse Religions of the Various Nations of the Whole World (Tractatus de Iaponiorum religione : de Chritianae religionis introductione in ea loca : de ejusdem exstirpatione : adjuncta est de diversa diversarum gentium totius telluris Religione brevis informatio) [Latin] 59 約翰尼斯‧德克爾...... 論佚名著作、偽經和假說：附補遺 (1686) Johannes de Decker... On Anonymous Writings, Pseudepigrapha, and Spurious Conjectures: With Various Additions (Johannis Deckherri... De scriptis adespotis, pseudepigraphis, et supposititiis conjecturæ : cum additionibus variorum.) [Latin] 60 致阿提卡的哲學信 (1815) Philosophical Letters to Attico (Cartas filosó ficas a Attico) [Portuguese] 15 P282 P283 P284 P285 P288 P289 目錄 Table of Contents

61 亨利亞德：詩歌 (1819) The Henriade: Poem (La Henriade : Poë me) [French] 62 托倫蒂諾詩集 (1828) Poetic Works of Nicolau Tolentino de Almeida (Obras poéticas de Nicolao Tolentino de Almeida) [Portuguese] 63 古代及現代葡萄牙作家精選詩集 (1826-1834) Parnaso Lusitano or Selected Poems by Ancient and Modern Portuguese Authors (Parnaso Lusitano ou Poesias Selectas dos Auctores Portuguezes Antigos e Modernos) [Portuguese] 64 印度早期傳教史：附卡恩《傑出傳教士的生活》中賈德森夫人回憶錄 (1837) A History of Early Missions to India : To Which is Added a Memoir of Mrs. Judson from Carne’s Lives of Eminent Missionaries 65 死者的城堡或強盜的女兒：十六世紀匈牙利編年史 (1844) The Castle of the Dead or the Robber’s Daughter: Hungarian Chronicle of the 16th Century O castelo dos mortos ou a filha do salteador : crónica húngara do século XVI [Portuguese Translation, Original in French] 平裝廣傳—東方小書 Paperback Collection--Eastern Little Books 66 萬有文庫 (1929-1937) Wanyou Wenku 67 叢書集成初編 (1935-1937) Initial Compilation of the Collection Series 16 P290 P291 P294 P298 P299 P302 P306 目錄 Table of Contents

多媒體與多感官展示 Multimedia and Multisensory Presentations V1 展覽介紹徐鴻 Exhibition Introduction Xu Hong V2 策展理念李軍 Curatorial Concept Li Jun V3 展覽感想王玉冬 Exhibition Impression Wang Yudong V4 古代印刷史介紹林玉鳳 Introduction to the History of Ancient Printing Lam Iok Fong V5a 仿古籍裝幀製作羅少群 Imitation of Rare Book Binding Law Sio Kuan V5b 展覽古籍分享陳智榮 Stories Sharing of the Rare Books in the Exhibition Chan Chi Weng V6 手稿製作 Getty Museum Making Manuscripts Getty Museum V7 印刷的私有生活 Cambridge University Library Private Lives of Print Cambridge University Library V8 展場香薰 Aromatherapy at the Exhibition 17 P310 P311 P312 P313 P314 P315 P316 P317 P318 目錄 Table of Contents

設計與推廣材料 Design and Promotion Materials 海報 Poster 展覽宣傳單張 Exhibition Brochure 請柬 Invitation Card 展簽 Exhibit Label 書簽 Bookmarks 展區展示 Exhibition Demonstration 展區佈景現場照片與影片 Exhibition Scenery Photos and Video 展區平面圖 Exhibition Floor Plan 展品索引 Exhibit Index 展品清單索引 Exhibit Index 18 P320 P321 P322 P323 P324 P326 P332 P334 目錄 Table of Contents

為響應5‧18澳門國際博物館日，由澳門大學人文學院藝術與設計系和圖書館共同策劃《看‧書》(Regarding Books) 特展。本次展覽精選圖書館珍藏的五十餘種中西古籍，這些古籍猶如一座跨越時空的橋樑，珍藏著前人智慧的結晶，讓人不禁沉醉於這場跨越數百年的精神對話，同時亦展現了精美裝幀、豐富文字、瑰麗插圖及深厚的歷史文化底蘊。我們希望通過展覽，引領大家細品書籍的多重魅力，感受其作為文化載體的無限可能。展覽收錄的珍貴古籍包括圖書和地圖，其中1491年歐幾里得《幾何原本》搖籃本是中國現存唯一的搖籃版《幾何原本》。公元1491年為中國明朝弘治年間，澳大圖書館亦同時收藏有明朝弘治年間刻本古籍《新編纂註資治通鑑外紀義》，這本古籍入選了第二批《國家珍貴古籍名錄》。我們誠邀各位漫步展廳，細賞古籍中的匠心工藝與視覺魅力，感受其承載的歷史文化印記。最後，澳門大學和澳門大學藝術博物館，願意以更多的文化產品，為博物館事業的未來略盡綿薄之力。讓我們一同感受書籍之美，探索文明之光！祝展覽圓滿成功！宋永華澳門大學校長校長獻詞展覽獻辭 19

In celebration of International Museum Day (May 18th), the Department of Arts and Design of the Faculty of Arts and Humanities at the University of Macau, in collaboration with the University Library, proudly presents the special exhibition “Regarding Books”. This exhibition features a curated selection of over fifty rare Chinese and Western books from the Library’s treasured collections. These ancient texts serve as a bridge across time, preserving the wisdom of generations past and inviting us into a captivating dialogue with minds from centuries ago. The exhibition also highlights the exquisite bindings, rich text, beautiful illustrations, and profound historical and cultural significance found within these volumes. Our hope is that through this exhibition, we can inspire you to appreciate the multifaceted charm of books and explore their limitless potential as carriers of culture. The exhibition features precious ancient books, including texts and maps. Among them is a 1491 incunabulum edition of Euclid’s Elements – the only surviving incunabulum edition of the Elements currently held in China. Incidentally, the UM Library also holds a woodblock print edition of Comprehensive Mirror to Aid in Government with Detailed Annotation, dating back to the Hongzhi period of the Ming Dynasty, which has been included in the second batch of the “National Catalogue of Precious Ancient Books.” We cordially invite you to stroll through the exhibition hall, appreciate the craftsmanship and visual appeal of these ancient books, and experience the historical and cultural legacy they convey. Finally, the University of Macau and the University of Macau Museum of Art are delighted to contribute more cultural products, in hopes of supporting the future of museum endeavors. Let us together appreciate the beauty of books and explore the light of civilization! Wishing the exhibition a resounding success! Yonghua Song Rector, University of Macau EXHIBITION DEDICATION Rector’s Message 20

歡迎您蒞臨《看‧書》(Regarding Books) 特展！與我們一同踏上這場探索書籍之美的文化之旅！本次展覽是澳門大學圖書館與藝術與設計系的一次深度合作。我們從圖書館珍貴的古籍館藏中，精選了中西古籍50 餘種，來打造一場以圖書和地圖為核心的藝術盛會。展覽主題《看‧書》，旨在引導大家細品書籍的多重魅力—— 從精美的裝幀設計，到豐富的文字呈現與插圖藝術，再到它們所承載的歷史與文化印記。這些古籍不僅是知識的寶庫，更是跨越時空的藝術珍品。在展覽中，您將欣賞到中西古籍的獨特風采：中國古籍的典雅韻味與西方古籍的華麗之美交相輝映，展現書籍作為藝術的無限可能。您將感受到裝幀工藝的匠心獨運、文字的深邃內涵，以及插圖的視覺魅力。我們希望通過這些展品，讓您重新發現紙本圖書的獨特價值，並從中領略文化傳承的深遠意義。展覽的亮點之一是一面由《萬有文庫》多卷本叢書構成的書牆。這套「口袋本」叢書曾以輕便的形式，將知識與文化傳播到千家萬戶，令人感佩它為文化普及做出的卓越貢獻。然而，這面書墻也引發我們對未來的思考：在數位時代，紙質圖書的角色是否正在改變？它們對我們還有什麼意義？我們期待這場展覽能激發您的共鳴與思考。《看‧書》不僅是一場展覽，更是一場與書籍的對話。作為圖書館館長，我誠摯邀請您漫步展廳，沉浸在書籍的藝術與文化氛圍中，尋找屬於您的啟發。感謝藝術與設計系師生的創意與付出，感謝圖書館團隊的努力，也感謝每一位前來支持的您，讓這場文化盛事得以實現！關於《看‧書》藝術展覽展覽獻辭 21

讓我們一起開啟這段關於「書」的藝術之旅！希望您在《看‧書》中收穫感動與啟迪。再次感謝您的到來，祝您觀展愉快！徐鴻澳門大學圖書館館長展覽獻辭 22

This exhibition is a special collaboration between the University of Macau Library and the Department of Arts and Design. We have carefully selected over 50 Chinese and Western rare books from the Library’s treasured rare book collections to create an artistic celebration of books. The theme, “Regarding Books,” encourages you to appreciate the multifaceted charm of these works—from their exquisite binding designs to the artistry of their texts and illustrations, as well as the historical and cultural legacies they embody. These rare books are not only vessels of knowledge but also artistic treasures that transcend time. At the exhibition, you will appreciate the unique charm of Chinese and Western ancient books: the elegant allure of Chinese classics and the ornate beauty of Western manuscripts intertwine, showcasing the boundless possibilities of books as art. You will discover the craftsmanship of bookbinding, the profound depth of written words, and the visual splendor of illustrations. Through these exhibits, we hope to inspire a renewed appreciation for the unique value of printed books and the enduring significance of cultural heritage. A highlight of the exhibition is a striking book wall constructed from the multi-volume Wanyou Wenku series. These compact “pocket editions” once brought knowledge and culture to countless households, a testament to their remarkable contribution to cultural and scientific dissemination. Yet, this book wall also prompts us to reflect: in the digital age, is the era of printed books drawing to a close? What role do they play in our lives today? We hope this display sparks your thoughts and conversations. “Regarding Books” is more than an exhibition—it is a dialogue with the world of books. As the University Librarian, I warmly invite you to stroll through the gallery, immerse yourself in the artistry and culture of books, and find inspiration that resonates with you. My heartfelt thanks go to the faculty and students of the Department of Arts and Design for their creativity, to the Library EXHIBITION DEDICATION About “Regarding Books” Exhibition 23

team for their dedication, and to each of you for joining us to make this cultural event possible. Let us begin this artistic journey into the world of books together! I hope “Regarding Books” leaves you inspired and moved. Thank you once again for being here, and I wish you a delightful visit! (Helen) Hong Xu University Librarian University of Macau Library EXHIBITION DEDICATION 24

中文一般用「讀書」來表達閱讀。這個「讀」字，正如漢字的結構法所表述，是一個附屬於「言」 (說話) 的行為；書是用來「讀」的，即用聲音唸出文字，常可見於孩童課堂中朗朗上口的「讀書」。這一點，倒是與世界各國的文字相通。英文中的「read」源自中古英語「reden」，意思之一是「utter aloud」 (大聲唸出)；法文的「lire」、義大利文的「leggere」以及德文的「lesen」，共同起源於拉丁文的「legere」，也是「讀出文字發音」的意思。這對於拼音文字來說是理所當然的：只要掌握基本的字母知識，即使不知道文字的意思，仍然能夠輕鬆地拼出文字的發音，讓閱讀進行下去。但是，中文中還有另一種方式來表達閱讀的行為——「看書」。書是用來「讀」的，為什麼也是用來「看」的？這就需要從漢字構成的本質出發。漢字區別於拼音文字最顯著的特徵，即在於它有大量的象形成份。一個漢字如「日」或「月」，首先呈現於人們眼前的是它所模仿的物像的形狀，任何人即便不懂中文也能了解其意思。換句話說，漢字的象形性決定了它是視覺優先性的文字。而「看」，作為一個本義指某人用手搭在眼睛上方眺望前方的文字，再次凸顯了漢字鮮明的視覺性。或許，漢字中的「書」更值得一提。許慎的《說文解字》稱「書，箸也。從聿，者聲」，本義為以手執筆，在竹帛上書寫；之後才轉換為形容這一書寫的成果——書本之「書」。儘管同作為「書」，但書寫之「書」優先於書本之「書」，使得我們所看之「書」，需要從名詞還原為動詞。正如姜白石形容前人書法那樣，善鑑者要通過靜態的文字看到書寫者生命的律動——「如見其揮運之時」。早期的書做為手稿和生命的痕跡，無論是寫在竹簡、縑帛還是紙張上，都是視覺型態的。印刷術發明之後的書，則有書作為藝術 ——寫在《看•書》展前面展覽獻辭 25

了字體、版式、插圖、裝幀，乃至看書人的塗鴉和批注，加上紙的香，墨的韻和時間駐留的芬芳，它們的美讓人如醉如癡，欲罷不能。今天，習慣於「讀書」的人們，會認為書只是知識的載體。人們似乎遺忘了，在過去，在真正的「書」的時代，書主要是用來「看」的：它在空間中呈現，在空間中駐留，在空間中永久。人們似乎完全忘記了，最美的「書」和最美的漢字，不是鐫刻在摩崖和石碑上，就是題寫在牆壁和屏風上。我們習慣於觀看繪畫，卻忘記了觀看書—— 殊不知最初的「書」和最好的「書」，本來都是繪畫。沈從文說，「我在讀一本小書同時又讀一本大書」。而《看‧書》展恢復了書作為視覺藝術的傳統。它讓書堂而皇之地登上了它本來應在的殿堂，讓書被人仰望；它讓書意席捲，如風如雨，如蒲公英飄拂，穿堂而過，融入原野。直到世界和人生有如一部經折裝的大書，在每一個看書人的眼前，緩緩展開。李軍澳門大學藝術與設計系主任講座教授展覽獻辭 26

In Chinese, the verb “read” is generally expressed as “讀書” (dú shū). The character “讀” (dú) itself, as revealed by the structure of Chinese characters, denotes an act secondary to “言” (yán – to speak); a book is meant to be “read,” that is, to have its characters pronounced aloud—a practice commonly seen in classrooms with children reciting texts. This aligns with the understanding of reading in many languages. The English word “read” derives from the Middle English “reden,” one of whose meanings is “utter aloud”; the French “lire,” Italian “leggere,” and German “lesen” all share a common origin in the Latin “legere,” also meaning “to pronounce the letters.” This is natural for phonetic scripts: with a basic grasp of the alphabet, one can sound out words even without understanding their meaning, allowing the act of reading to proceed. However, Chinese also has another way to express the act of reading— “看書” (kàn shū). If a book is meant to be “read,” why also “seen”? The answer lies in the very essence of Chinese characters. The most striking difference between Chinese characters and phonetic scripts is the significant presence of pictographic elements. A character like “日” (rì – sun) or “月” (yuè – moon) first presents to the eye the shape of the object it imitates, and anyone, even without knowing Chinese, can grasp its meaning. In other words, the pictographic nature of Chinese characters determines that it is a visually prioritized language. And “看” (kàn – to see), a character originally denoting the act of placing one’s hand above the eyes to gaze into the distance, further emphasizes the visual quality of Chinese characters. Perhaps the character “ 書” (shū – book) itself deserves to be mentioned. Xu Shen’s Sayings on Writing (Shuowen Jiezi) defines “書，箸也。從聿，者聲”(Its original meaning referred to the act of holding a brush and writing on bamboo or silk); Only later did it come to denote the result of that writing—the book itself. Despite both referring to “book,” the act of writing the book takes precedence over the book as an object. This means that the “book” EXHIBITION DEDICATION Book as Art —Preface to the “Regarding Books” Exhibition 27

we see requires us to revert from a noun to a verb. As Jiang Baishi described the calligraphy of past masters, a discerning viewer must see the rhythm of the writer’s life through the static characters— “as if witnessing the moment of its creation.” Early books, as manuscripts and traces of life, whether written on bamboo slips, silk, or paper, were fundamentally visual forms. With the invention of printing, books gained typeface, layout, illustrations, binding— and even the doodles and annotations of readers—along with the fragrance of paper, the resonance of ink, and the lingering scent of time, all contributing to a beauty that is intoxicating and irresistible. Today, those accustomed to “reading” books often see them merely as vessels of knowledge. People seem to have forgotten that in the past, in the true age of the “book,” books were primarily meant to be “seen”: they were presented in space, lingered in space, and existed permanently in space. People seem to have completely forgotten that the most beautiful “books” and the most beautiful Chinese characters are either inscribed on cliffs and steles or written on walls and paravents. We are accustomed to viewing paintings, but we forget to view books—not realizing that the earliest “books” and the best “books” were originally paintings. Shen Congwen said, “I am reading a small book while simultaneously reading a large book.” And the “Regarding Books” exhibition restores the tradition of book as visual art. It allows the book to proudly ascend to the hall it rightfully belongs in, allowing the book to be revered. It allows the spirit of the book to sweep through, like the wind, like the rain, like dandelion seeds drifting, passing through the halls, and merging into the wilderness. Until the world and life are like a magnificently bound volume, slowly unfolding before the eyes of each viewer. Li Jun Director and Professor, Department of Arts and Design, University of Macau EXHIBITION DEDICATION 28

看 ‧ 書序幕 Regarding Books Prologue 29 《》

The exhibition opens with the dandelion as a metaphor for the spread of knowledge. The dandelion’s flower symbolizes “unstoppable love,” reflecting the fairness and selflessness of knowledge. Every aspect of the exhibition hall strives to capture this purity of knowledge transmission—transmitted across time and space, from one generation to the next, and across regions and borders. The exhibition explores the truth, goodness, and beauty behind the spread of knowledge through unique perspectives of “regarding”, “ ‧ ” and “book”. It also interweaves the stories of Macao, a small city, embedded within the museum’s collections. Through demonstrating the images, text, techniques, and art, the exhibition details the journey of knowledge transmission through: 展覽以蒲公英喻知識傳播開篇，蒲公英花語「無法停留的愛」，映照知識的公平、無私，展廳各處皆試圖呈現知識傳播的這份純粹——有跨越時空代代相傳的，也有跨越地域不分種族國界的。展覽既從不一樣的「看」、「點」、「書」視角一探知識傳播背後的真善美，又以館藏背後的澳門小城故事穿插其中，通過圖、文、技、藝等不同微觀視角細訴知識傳播歷經以下六大篇章的點點溫情：東西交匯西學東漸語言互通文脈傳承風俗流傳縮印西東 the intersection of East and West; the spread of Western learning to the East; the exchange of languages; the transmission of cultural heritage; the dissemination of customs and traditions; the heartwarming condensed essence of East and West. 30

01 小拉魯斯詞典年份：1908 館藏號：RBK1900-00494 《小拉魯斯詞典》是世界上最具影響力的著名詞典之一，也是繼承法國著名皮埃爾‧拉魯斯 (Pierre Athanase Larousse) 百科全書式事業精神的作品。此書由法國拉魯斯出版社出版，封面由藝術家歐仁‧格拉塞 (Eugène Grasset) 繪製，以灰粉色為基調，柔和而不失活力。畫面中心以極簡線條繪製仙女吹散蒲公英冠毛，蒲公英被單獨圍在圓圈中，象徵地球；飄散的絨絮隱喻知識種子的播撒。關於播種者的「我乘風播撒」(Je sème à tout vent) 形象成為法國的象徵之一。封面的文字設計採用不對稱網格排版，既容納密集資訊，又以雲彩圖案增添設計韻律，化解了工具書慣常的沉重感。整體設計在秩序中藏匿靈動，既是知識的容器，亦成為一件可讀的藝術品。 31

01 Petit Larousse Illustrated: New Encyclopedic Dictionary (Petit Larousse Illustré : Noveau Dictionnaire Encyclopédique) Year: 1908 Call Number: RBK1900-00494 This dictionary is one of the world’s most renowned and influential dictionaries, and is also a work that inherits the encyclopedic spirit of the famous Frenchman Pierre Athanase Larousse. This book was published by the French publishing house Éditions Larousse. The cover was drawn by artist Eugène Grasset. It uses gray and pink as its base colors, which are soft yet vibrant. In the center of the picture, a fairy is drawn with minimalist lines, blowing away the dandelion’s pappus. The dandelion is isolated in a circle to symbolize the earth, and the scattered fluff serves as a metaphor for the scattering of seeds of knowledge. The image of the sower “Je sème à tout vent” (I let the winds carry my seeds) has become one of the symbols of France. The text design on the cover adopts an asymmetrical grid layout, which not only accommodates dense information, but also creates a design rhythm with cloud patterns, dissolving the heaviness of the reference book. The overall design hides agility in order. It is not only a container of knowledge, but also a readable work of art. 32

33 01

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東西交匯 Intersection of East and West 地圖與航海 MAPS AND NAVIGATION 36

37 地圖 Maps

加泰羅尼亞地圖集：北非和亞洲地圖年份：1989複製 (原1375) 館藏號：MAP-1989-06 原圖為馬略卡地圖學派的代表人物亞伯拉罕‧克雷斯克斯 (Abraham Cresques) 在 1375 年出版的《加泰羅尼亞地圖集》 (The Catalan Atlas) 的北非和近東地圖，以精美色彩繪於六張拼接的羊皮紙上。複件是整張世界地圖的一半部份，當中描繪的內容結合當時最新的地理資訊、國家疆域和文化想像，以國王、商隊、船隻與神話生物作為裝飾元素呈現了現實與故事交織共存的獨特視角。受到《馬可‧波羅遊記》等遊記文學影響，其對北非和近東地區描繪非常有趣，地圖最右下方的島嶼是非洲東部示巴王國，坐在王椅上的女子形象是示巴女王 (Queen of Sheba) ，最右上方盤坐著的綠袍男子是金帳汗國的札尼別 (Jani Beg) ，而地圖最左上方則描繪了神話及宗教人物故事，如亞歷山大大帝建造城牆防御黑色翼狀生物撒旦、以及阻止歌革 (Gog) 和瑪各 (Magog) 的侵略，皆是當時中世紀流行的末日故事。地圖左上方的一支馬隊商旅是馬可‧波羅和他的叔叔到中國拜見忽必烈皇帝，駱駝馱著貨物，商人騎著馬，沿著絲綢之路前往中國。地圖左下方有藍、紅兩色標出CATAYO (契丹) ，旁邊身穿金袍的就是忽必烈，有拉丁文寫為：北方是契丹，有大汗及其都城汗八里 (北京) ；南方是蠻子省 (指原南宋地區) ，這裡有著名城市刺桐 (泉州) 和行在 (杭州) 。地圖下方有金色、紅色、綠色等如寶石裝飾的部份是南中國海，根據馬可‧波羅的記載，南海有 7,448 個島嶼，是香料的產地，擁有大量的黃金、寶石、藥草等珍寶。 38 02

The Catalan Atlas: Maps of North Africa and Asia Year: 1989 Reproduction (1375 Original) Call Number: MAP-1989-06 The original image is a map of North Africa and the Near East from the Catalan Atlas published in 1375 by Abraham Cresques, a representative of the Mallorca School of Cartography. It is half of the entire world map. The content depicted in it combines the latest geographical information, national territories and cultural imagination at the time. Kings, caravans, ships and mythical creatures are used as decorative elements to present a unique perspective in which reality and stories coexist. The map, composed of six pieces of parchment stitched together, is beautifully painted with vibrant colors. Influenced by travel literature such as The Travels of Marco Polo, the depiction of North Africa and the Near East is very interesting. The island at the far bottom right of the map is the Kingdom of Sheba in eastern Africa. The woman sitting on the royal chair is the Queen of Sheba, and the man in a green robe sitting cross-legged at the far top right is Jani Beg of the Golden Horde. The top left of the map depicts stories of mythological and religious figures. Alexander the Great built walls to defend against the black-winged creature, Satan, and to prevent the invasion of Gog and Magog. This was a doomsday story popular in the Middle Ages. The caravan of merchants on the upper left side of the map is led by Marco Polo and his uncle, who traveled to the Yuan Dynasty to pay a visit to Emperor Kublai Khan. Camels were carrying goods and merchants were riding horses, heading to China along the Silk Road. In the lower left side of the map, CATAYO (Khitan) was marked in blue and red. The man wearing a golden robe next to him was Kublai Khan. It was written in Latin: The north is the Khitan region, with the Great Khan and his capital, Khanbaliq (Beijing); the south is the Manzi Province (referring to the former Southern Song Dynasty area), with the famous cities of Çaiton (Quanzhou) and Quinsai (Hangzhou). The part at the bottom of the map decorated with gold, red, green and other gemstones is the South China Sea. According to Marco Polo’s records, there are 7,448 islands in the South China Sea. It is the origin of spices and has a large amount of gold, gemstones, herbs and other treasures. 39 02

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41 迭戈‧奧門地中海圖年份：1989複製 (原1570) 館藏號：MAP-1989-02 此地圖是十六世紀最重要製圖世家成員、葡萄牙製圖師迭戈‧奧門的典範傑作，出自1570 年於馬德里出版的《迭戈‧奧門地圖集》(Atlas of Diogo Homem)，該圖集最顯著特徵在於其藝術表現力。此圖詳細勾勒了地中海沿岸，包含不列顛群島的歐洲大西洋海岸及黑海地區輪廓。地圖邊緣部份有八個正在吹氣的小孩，實際上是古希臘的風神 (Aeolus)，代表著不同地區的風向與氣候。其延續了波特蘭海圖傳統，詳細勾勒了海岸線並為其標注密集的沿岸地名。文字標注皆垂直於海岸線延伸至內陸，沿岸地名及大部分陸地標籤採用哥德體書寫，重要名稱與方位詞則使用醒目的方形大寫字體，重要地名更以朱砂書寫呈現，島嶼則更多施以紅、藍或金色標記。地圖上所有羅盤玫瑰圖案均以金箔點綴，並以紅藍鳶尾花徽標指示正北方向。 03

Portolan Chart of the Mediterranean by Diogo Homem (Portolano do Mediterráneo de Diogo Homem) Year: 1989 Reproduction (1570 Original) Call Number: MAP-1989-02 The map is a masterpiece by Diego Homem, a Portuguese cartographer and a member of one of the most important cartographic families of the 16th century. It originates from the Atlas of Diogo Homem, published in Madrid in 1570. The most striking feature of the atlas is its artistic expression. This map details the Mediterranean coast, the Atlantic coast of Europe, including the British Isles, and the Black Sea region. There are eight children blowing air on the edge of the map. They are the ancient Greek god of wind (Aeolus), representing the wind direction and climate of different regions. Continuing the tradition of Portland nautical charts, it accurately outlines the coastline and marks dense coastal place names. The text labels all extend inland perpendicular to the coastline, and important place names are written in cinnabar. Coastal place names and most land labels are written in Gothic script, with important names and directions in bold, square capitals. Many of the islands are marked in red, blue, or gold; all compass roses are embellished with gold foil, and a red and blue fleur-de-lis logo indicates true north. 42 03

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44 環球地圖集：東亞圖年份：1989複製 (原1570) 館藏號：MAP-1989-03 原圖是手繪上色地圖，出自1570年葡萄牙製圖家多拉多(Fernão Vaz Dourado)《環球地圖集》(Atlas Universal) 的東亞圖，費爾南‧瓦斯‧多拉多是出生於印度果阿的葡萄牙人，並且長期在果阿一帶生活，非常熟悉亞洲。此圖是歐洲文藝復興時期製圖學中最華美的地圖之一，在羊皮紙上採用葡萄牙文藝復興時期細密畫工藝，色彩豐富，繪製精美。地圖拋棄了當時托勒密的亞洲地理觀，轉而融入葡萄牙人航海時獲得的地理新知識，所以圖中比較真實地描繪了東南亞及中國東南部的海岸線。在珠江口東岸，明確標注出了「Macao」，即澳門。這也是目前已知首張以「Macao」一詞標註澳門的地圖。 04

Atlas Universal: East Asia Map Year: 1989 Reproduction (1570 Original) Call Number: MAP-1989-03 The original image is a hand-colored map from the Atlas Universal by Portuguese cartographer Fernão Vaz Dourado in 1570. Fernão Vaz Dourado was a Portuguese explorer born in Goa, India, where he spent a considerable amount of time, making him very familiar with Asia. This map is one of the most magnificent maps in European Renaissance cartography. It was drawn on parchment using the Portuguese Renaissance miniature painting technique, with rich colors and beautiful painting. The map completely abandoned Ptolemy’s geographical view of Asia and made full use of the new geographical knowledge acquired by the Portuguese during their voyages, thereby depicting the coastline of Southeast Asia and southeastern China more realistically. On the east bank of the Pearl River Estuary, “Macao” is clearly marked. This is also the first known map that marks Macao with the word “Macao”. 45 04

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47 塞巴斯蒂昂海圖年份：1989 複製 (原十六世紀) 館藏號：MAP-1989-04 塞巴斯蒂昂‧洛佩斯 (Sebastião Lopes) 是16世紀的葡萄牙製圖師，他在大航海時代發揮了關鍵作用，為葡萄牙在航海探索領域的主導地位做出了貢獻。洛佩斯的製圖作品以對細節的關注而著稱，尤其是對海岸線、航線和主要航行點的描繪。此圖是典型的波特蘭風格海圖 (Portolan chart)，通常繪製在鞣製的羊皮紙上，專注描繪港口、島嶼、海灣、海岸線等航海資訊，色彩豐富的羅盤玫瑰 (compass roses) 不單是地圖精美的裝飾元素，更是基本方向和連接各個方向點，是幫助水手繪製航線的導航輔助工具。圖上精緻的帆船是大航海時期著名的遠洋帆船克拉克 (Carrack) ，龐大的體積、精巧的船體設計和先進的帆具足夠支持葡萄牙航海家實現繞過好望角、遠渡印度洋、經營果阿、澳門與長崎之間國際貿易的壯舉。 05

Anonymous Chart of Sebastião Lopes Year: 1989 Reproduction (16th Century Original) Call Number: MAP-1989-04 Sebastião Lopes was a 16th-century Portuguese cartographer who played a key role in the Age of Exploration, contributing to Portugal’s dominance in maritime exploration. Lopes’s cartographic work is notable for its meticulous attention to detail, particularly the depiction of coastlines, shipping routes, and major navigation points. This is a typical Portolan chart, usually drawn on tanned parchment, focusing on depicting nautical information such as ports, islands, bays, coastlines, etc. The colorful compass roses are not only exquisite decorative elements of the map, but also serve as basic directions and connect various direction points to help sailors draw navigation aids. The exquisite sailing ship in the picture is the Carrack, a famous ocean-going sailing ship in the Age of Exploration. Its huge size, sophisticated hull design and advanced sails were enough to support Portuguese navigators in their feat of sailing around the Cape of Good Hope, crossing the Indian Ocean and conducting international trade between Goa, Macao and Nagasaki. 48 05

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50 坎蒂諾平面球形圖年份：1989 複製 (原十六世紀) 館藏號：MAP-1989-05 坎蒂諾平面球形圖 (Cantino Planisphere) 是16 世紀初葡萄牙地理大發現時期最具代表性的世界地圖之一，也是現存最早明確標注「托德西利亞斯條約」 (Tordesilhas) 分界線的地圖，該條約是西班牙和葡萄牙君主之間的一項協議，他們將世界劃分為兩個勢力範圍。這條想像中的分界線沿著大西洋的中心，把美洲劃給西班牙，把西非和好望角以外的地區劃給了葡萄牙。地圖同時具有戲劇性內容，作為摹繪葡萄牙政府的機密地圖，由於圖中文字「坎蒂諾呈交給費拉拉公爵埃爾科萊的」 (Presented by Cantino to Ercole, Duke of Ferrara) 而被命名。19 世紀後期，由意大利埃斯特圖書館的工作人員在一家肉鋪裏偶然發現這幅被用作屏簾的珍貴地圖。地圖繪製於三張羊皮紙上，色彩豐富，繪有動植物、羅經花、教皇子午線等。地圖錯誤地將東亞海岸線幾乎畫成直線。不過，東亞部分沒有像同時代的多數地圖那樣標有「秦尼」，「契丹」、「蠻子」之類的地名，反映了作者對東亞地理的謹慎態度。 06

Cantino Planisphere (Planisfério de Cantino) Year: 1989 Reproduction (16th Century Original) Call Number: MAP-1989-05 The Cantino Planisphere is one of the most iconic world maps of the Portuguese Age of Discovery in the early 16th century. It is also the earliest extant map to mark the demarcation line of the Treaty of Tordesillas, an agreement between the monarchs of Spain and Portugal that divided the world into two spheres of influence. This imaginary dividing line ran along the center of the Atlantic Ocean, assigning America to Spain and West Africa, and the area beyond the Cape of Good Hope to Portugal. The map also features dramatic content, as it was a copy of a confidential map of the Portuguese government and was named because of the words “Presented by Cantino to Ercole, Duke of Ferrara”. This valuable map, which was used as a screen, was discovered by chance in a butcher’s shop by staff at the Estense Library in Italy in the late 19th century. The map was drawn on three sheets of parchment and is rich in color, with images of animals, plants, compass flowers, the demarcation lines of Pope Alexander VI, etc. The map incorrectly depicts the coastline of East Asia as an almost straight line. However, unlike most contemporary maps, the East Asian section does not have place names such as “Qinni”, “Khitan”, and “Manzi”, reflecting the author’s cautious attitude towards East Asian geography. 51 06

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