Li Jiugong (?-1681), a scholar in the late Ming Dynasty, was named Qixu, and his brother Li Jiubiao (date of birth and death unknown, named Qixiang) was from Futang, Fuqing area, Fujian. In 1628, he met Giulio Aleni, “Confucius from the West” in Fuzhou and actively preached after converting to Catholicism. “Lixiu Yijian” is a testimony and achievement of Li Jiugong’s preaching. Li Jiugong “selected the simple and interesting stories from the eighteen kinds of Tianxue books and wrote them down”, and compiled them into “Lixiu Yijian” (1639-1645, two volumes) , “to help encouraging scholars to self-cultivation”.

Belgian sinologist Erik Zürcher paid attention to Li Jiugong’s “Lixiu Yijian” at an earlier year and called it “Strange Stories from a Late Ming Christian Manuscript” (1985); in recent years, several English papers have been published, such as Valentina Lin Yang Yang’s master’s thesis in Traditional East Asian Studies at Oxford University: “The religious world in late Ming China as seen through the 勵修一鑬 Lixiu yijian” (2018), and her latest paper “Building Communities through Rituals: Glimpses into the Life of Chinese Christian Communities in the 17th Century” (2024) , and Xu Yunjing “Late-Ming Book Culture and the Fujian Christian Community: A Late-Ming Book Culture and the Fujian Christian Community: A Case Study of Lixiu yijian 勵修一鑑 (A Mirror to Encourage Self cultivation) ” (2024). This study explores “Lixiu Yijian” from the perspective of literary genre, and believes that the nearly two hundred short classical Chinese sermon stories compiled in the book are very similar to the traditional Chinese Biji novels(笔记小说). Thus the stories collected by Li Jiugong in 勵修一鑬 Lixiu yijian form a prominent Catholic Biji novel in late Ming China.

In 1922, the French newspaper La Politique de Pékin（《北京政闻报》）published Les chevaliers chinois, roman de mœurs et d'aventures, which is currently widely recognized by academic circles as the earliest French single-volume translation of "Water Margin"（《水浒传》）. The translator, Panking, was described as a "French scholar," but there are varying opinions on which chapters of "Water Margin" he translated. This French single-volume edition bears the Chinese title "武松说荟," and it selectively translates the portions featuring Wu Song from chapters 22 to 32 of "Water Margin." In reality, Panking was Pan Jing, a native of Nanhai, Guangdong Province. Pan Jing was not only a student at the Imperial University of Peking, one of the last batch of jinshi (highest degree in traditional Chinese imperial examinations) in the late Qing Dynasty, but also one of the early officially-sent students to study in France. After returning from France, Pan Jing primarily served in the political sphere and later engaged in education and cultural and historical work. In the history of Sino-French literary exchanges, Pan Jing actively participated in the external communication and translation of Chinese culture. His writings possess both distinct era characteristics and a strong personal style and unique ideological perspectives. During a time of social unrest and intense ideological and cultural change, while Pan Jing was not a pivotal figure capable of turning the tide, his ideological concepts and cultural horizons were nurtured in this era of transition between old and new. His writings document the culture and thought of modern China and European society, reflecting the cultural identity, value orientations, and spiritual demeanor of a generation of Chinese scholars. His rich and forward-thinking Sino-French cultural exchanges and literary practices directly participated in the construction of the world identity of Chinese literature and culture. From the list of students at the Imperial University of Peking, government gazette appointments, and notes and articles by figures such as Qian Zhongshu, among other documents, we can roughly outline Pan Jing's life trajectory of academic pursuit and political career. However, it is through his poetry, prose, and translations, to which he devoted great effort, that we gain a deeper understanding of Pan Jing's cultural horizons and ideological concepts. Although his thoughts and voice lie deep within history and memory, they still shine brightly.

Thomas Aquinas is an important theologist and philosopher in the Middle Ages in Europe. His theory of love is rich in content and has important research value. Aquinas’ classification and meaning of love constitute his view of love, and his view of love has a perfect form of love. Aquinas divides love into affection, friendship and charity. Behind it is the emotional care of the holy love, which is the true feeling of Aquinas knowing love and belongs to companion’s love in psychology of love. As a devout Christian religious believer, Aquinas’ love is deeply influenced by Christian doctrine, which reflects that religion has a certain relationship with love. Religious ideas can affect love and love can also affect religious concepts, both of which have certain social and cultural attributes.

The term Ekphrasis implies “literary representation of visual art”. Traditionally, research on ekphrasis has been concentrated within classical studies and modern literary theory, but it is believed that the study of ekphrasis needs to return to the oral poetics, and re-understand the essence in the oral tradition represented by Mongolian epics .Unlike literal text, performers must evoke mental images instantly, transforming listeners into spectators. This participatory dimension enhances the linear auditory experience, constructing a multidimensional spatial perception. Yet, the relationship between language and imagery is intricate, with layers of evocation and contradiction. Gaps may exist between the performer's linguistic imagery and the listener's mental images, leading to incongruities between individual mental images and actual images. Moreover, language imagery can magnify the absence of actual world, and the poetic tension of epics resides within this dialectical interplay of language and imagery.