附錄1: 劍橋本各章結構初列
附錄2: “羅馬本”瑪竇攸編耶穌基督聖福音〈節選）
附錄3: 白徐譯本、賀清泰本和思離本的部分譯名演變

《聖經》在中國的翻譯歷史悠久，與基督宗教在不同時期進入中國的步伐相伴隨。具體到天主教這一塊，各修會傳教士入華時間早、譯經的歷史久，譯著的爭議多，譯文的影響大。清代康熙年間天主教傳教士白日異和中國四川文人徐若翰合譯的《聖經》新約，是目前己知最早的《聖經》新約的中文譯本，在漢譯《聖經》史上佔據了承上啟下的獨特地位，但凡有關《聖經》中譯的學術研究都無法迴避這一點，但相關的研究專著卻並不多見，它通常只是作為後世《聖經》漢譯 研究的一段小前奏出現。這表明，“自徐譯本”在學界尚未得到應有的重視，需要後學者投注更多精力深入文本本身，發掘其自身的內在價值。

Local access dig.pdf. [Lopes-Chengshi moyan.pdf]

Abstract: The early seventeenth century is noted for the fruitful cultural, religious, and artistic exchange between Europe and the Chinese imperial court. The missionaries of the Society of Jesus (Societas Iesu) became a prominent bridge connecting the two distinct cultures, where the main differences were, at the same time, the reason for their mutual allure. At that time, Jesuit priests, such as Matteo Ricci (1552–1610), João da Rocha (1587–1639), and Giulio Aleni (1582–1649), contributed significantly not only to the dissemination of Christianity in Beijing, Nanjing, and other important cities beyond the Portuguese administration of Macau, but also to the transmission of Western knowledge and technology. Along with the flow of goods and rare commodities brought from Europe which overwhelmed the Chinese emperors of the late Ming and High Qing courts, Western art was introduced into China as a synthesis of visual science, artistic sophistication, and eloquence, explaining why it became so valuable, particularly during the time of the three Qing emperors, Kangxi (1654– 1722), Yongzheng (1678–1735), and Qianlong (1711–99). The modus operandi in the apostolic ministry of the Society of Jesus around the world is well known for the use of images as a visual explanation of Christian doctrine, particularly in China, India, and Japan. The Spiritual Exercises of Ignatius of Loyola (Exercitia Spiritualia), composed between 1522 and 1524, suggests that the images should be referred to as a reflection on the word, demonstrating the complementary function between text and images in the explanation of Christian teachings. This article discusses the agency of one of the earliest sets of European prints used in the context of the Jesuit mission in China as a visual explanation of biblical teachings. By means of iconographic examination and iconological approach, it examines how Christian prints included in the Chengshi moyuan 程氏墨苑 (The Ink Garden of Mr. Cheng) were used as a visual reasoning of the scriptures, demonstrating that the three biblical prints were linked to each other and purposely put together as a result of a doctrinal program.

Keywords: European prints in China, artistic exchange, Jesuits in China, Matteo Ricci, Chengshi moyuan, Ming dynasty, spiritual exercises

"……mss. discovered in 2006 by Jean-Baptiste Itçaïna MEP, thanks to the bibliography of Le San Diep, 'L'Evangélisation de la Chine par Jean Basset' (master's thesis, Université Paris X, 1997). It contains a full translation of the Four Gospels, in contradistinction to the well known manuscript of Basset's translation of the New Testament kept in the British Museum (see Willeke 1945* and Setzsche 1999*, pp. 28-30, 36-37), which manuscript only contains a Gospel Harmony (entitled: Si shi you pian Yesu Ji-li-si-du fu yin zhi hui bian 四史攸編耶穌基利斯督福音之會編)….”-- For detailed information see Ad Dudink & Nicolas Standaert, Chinese Christian Texts Database (CCT-Database).

Local access dig.pdf. [Basset-Bible N.T. Bib.Casanatense.pdf]