CHORD PAINTING

和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage CHORD PAINTING 和弦绘画 (English Chinese Bilingual Version） （中、英双语版） Li Xiaohong;李晓虹 Email:[email protected] DOI: 10.13140/RG.2.2.14021.17127/1 ASIN: B07L7Y87F1 ISBN: 9780463058800 《和弦语言》，《和弦空间与绘画》书中的图、文由李晓虹创作，拥有全部著作权。 The pictures and texts in "Chord Language" and "Chord Painting" were created by Li Xiaohong and owns all copyrights. 作品注册、登记信息，版权保留 《量子人看宇宙》NAME OF AUTHOR：XIAOHONG LI；For a Literary Work UNITED STATES COPYRIGHT OFFICE TXu 635-761； 《十二平均色律——量子人看宇宙》NAME OF AUTHOR：XIAOHONG LI；For a Literary Work UNITED STATES COPYRIGHT OFFICE TXu 777-504； 《十二平均色律——量子人看宇宙》作者或著作权人：李晓虹登记号：21-1996-A-(0183)-0146 中国.四川省版权局。 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Overview Of Chord Language；和弦语言综述 25 届世界哲学大会论文 ； Papers of the XXV World Congress of Philosophy 和弦语言以量子化频谱为编码结构，涵盖和弦几何（开、闭、膜弦）与和弦数学（代数结构、 群作用）。每 个和弦都有唯一的特征频谱，映射至特定的和弦语义集合，生成纯时间（音乐），纯空间（绘 画），生命（经 络），分布为和弦场（量子场），共现宇宙结构。 Chord language uses a quantized spectrum as its encoding structure, encompassing chord geometry (open, closed, and membrane strings) and chord mathematics (algebraic structure and group action). Each chord has a unique characteristic spectrum, mapped to a specific set of chord semantics, generating pure time (music), pure space (painting), and life (meridians), distributed as chord fields (quantum fields), co-occurring in the structure of the universe. 在这些研究中，我们首次在人体与绘画中定量观测到与音乐同构的和弦结构及运行法则，由此共现和弦时 空——量子化的时空结构。 In these studies, we have for the first time quantitatively observed chord structures and operating rules that are isomorphic to music in the human body and painting, thereby co-occurring chord spacetime—a quantized spacetime structure. 基本和弦表：1-1、大三和弦（闭弦），1-2、小三和弦（开弦）,2、减七和弦（膜弦），3、全音阶和弦（膜 弦），4、增三和弦（膜弦），5、半音阶和弦（膜弦） 和弦频谱公式：N*F，H^N*F ,（H=1.059463，N∈Z 符号：◆=+音符，●=-音符，音符色=色荷 频谱坐标：MOD12 群 BASIC CHORD TABLE: 1-1, MAJOR TRIAD (CLOSED STRING), 1-2, MINOR TRIAD (OPEN STRING), 2, DIMINISHED 7TH (MEMBRANE STRING), 3, DIATONIC CHORD (MEMBRANE STRING), 4, AUGMENTED TRIADS (MEMBRANE STRINGS)，5. CHROMATIC 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage CHORDS (MEMBRANE STRINGS) Chord spectrum formula: n*f, H^n*f, (H=1.059463, n∈Z) Symbols: ◆=+ note, ●=- note, note color = color charge Spectral coordinates: MOD12 group 关键词 ； Keywords： 时空，音乐，绘画，生命，经络，量子化，弦 Space-time, music, painting, life, meridians, quantization, strings Chord Spacetime；和弦时空 人类有两类时空观察者：和弦（调性）观察者与非和弦（无调性）观察者，分别观察到两种时空： Spacetime is the "structure" or "framework" of the universe and the foundation of all physical processes. Humans have two types of spacetime observers: harmonic (tonal) observers and non-harmonic (atonal) observers, who observe two types of spacetime: 和弦（调性）时空：以量子化频谱为编码结构，映射到时空语义集合，生成和弦时空场（量子时空场），音 乐（时间域）、绘画（空间域）是其常见形式。 Chord (tonal) spacetime: using quantized spectra as the encoding structure, mapped to a spatiotemporal semantic set, generating a chord spacetime field (quantum spacetime field). Music (time domain) and painting (space domain) are its common forms. 非和弦（无调性）时空：屏蔽了时空的和弦结构，只保留几何（图-底）与运动的纯粹关系性描述，从外部 参考系统（如时钟、尺子、参照物）获得定量，常用于经典物理学框架中，也是日常的时空经验。 Non-chordal (atonal) spacetime : It blocks the chordal structure of spacetime, retains only the purely relational description of geometry (figure-ground) and motion, obtains quantification from external reference systems (such as clocks, rulers, reference objects), is often used in the framework of classical physics, and is also the daily experience of spacetime. 和弦频谱：和弦频谱与能量量子本质相通，均以一个基准频率 f 为单位，在整数 n 的调控下生成一组离散的 频率/能量结构。 Chord spectrum: The chord spectrum is essentially the same as the quantum of energy. Both are based on a reference frequency f and generate a set of discrete frequency/energy structures under the control of an integer n. 泛音频谱公式：n*f ，N∈Z，f=频率 量子化假设：n*f*h（h=6.626×10^−34）N∈Z 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 两个公式结构一致，当：n=1-6=大三和弦，n=1-7=大7和弦，n=1-9=大9和弦，n=1-11=大十一和弦— —量子化基于和弦结构。 泛音是一维震荡模式，大于一维的震荡模式涉及到平均律：(1.059463)^n · f₀，两种模式可以切换。 将 n 切换为 (1.059463)^n，引入指数型量子化能级：Eₙ=h·1.059463^{n}·f₀，通过模 12 群 ℤ₁₂ 的结构，实 现和弦的系统生成。 Overtone spectrum formula: n*f, N∈Z, f=frequency Quantization assumption: n*f*h (h=6.626×10^−34), N∈Z The two formulas have the same structure when: n=1-6=major triad, n=1-7=major 7th chord, n=1-9=major 9th chord, n=1-11=major 11th chord - quantization is based on chord structure. Overtones are one-dimensional oscillation patterns. Oscillation patterns larger than one dimension involve equal temperament: (1.059463)^n·f₀. these two modes can be switched. Switching n to (1.059463)^n introduces exponential quantized energy levels: Eₙ=h·1.059463^{n}·f₀. Through the structure of the module 12 group ℤ₁₂, systematic generation of chords is achieved. 时空二相性：和弦时间与和弦空间镜像对称：{-7,-4,0} ↔ {0,4,7} mod 12（互为反和弦，反调），可数学转 换；空间具有定域性，时间具有非定域性，共同表现为时空二相性；波粒二象性只能在和弦（调性）时空中成 立。 Space-time duality : Chord time and chord space are mirror-symmetric: {-7,-4,0} ↔ {0,4,7} mod 12 (they are anti-chords and anti-tones), which can be mathematically converted; Space is local and time is non-local, which together manifest as the space-time duality. The wave-particle duality can only hold true in chord (tonal) space-time. 和弦几何：和弦编码（量子化频谱）包含几何语义：开弦，闭弦，膜弦，可生成所有空间状态，也是绘画 空间的生成基础。 Chord geometry: Chord encoding (quantized spectrum) contains geometric semantics: open strings, closed strings, membrane strings, which can generate all spatial states and are also the basis for the generation of painting space. ±音符：音符具有±属性，这是频率的物理属性，应涉及所有波动、频率，也可以解释物理学中普遍存在 的±属性。 ±Notes: notes have ± properties, which are physical properties of frequency and should involve all waves and frequencies. They can also explain the ubiquitous ± properties in physics. 整体性：和弦系统具有整体性，其中的所有元素（音符，和弦，和弦包）在全局系统的控制下保持相互关 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 联状态，与空间距离、尺度无关。 Holism: The chord system has wholeness, where all elements (notes, chords, chord bundles) remain interrelated under the control of the global system, regardless of spatial distance or scale. 和弦涵盖量子化与弦空间，其生成域为：纯时间（音乐）与纯空间（绘画），共现时空的物理结构。 Chords encompass quantization and string space, and their generation domains are: pure time (music) and pure space (painting), co-occurring the physical structure of spacetime. Chord space-Reface to Chord Painting；和弦空间-《和弦绘画》序言 《和弦绘画》是和弦语言体系的视觉分支与实验基础。它揭示出一个事实：绘画中的离散色彩分布，本质 上是一种和弦几何结构。 在此结构中，和弦编码（量子化频谱）分别生成音乐的时间域与绘画的空间域，两者呈现镜像对称关系：- 7,-4,0 ↔0,4,7 (mod 12) *Chord Painting* is the visual branch and experimental foundation of the chord language system. It reveals that the discrete color distribution in painting is essentially a chordal geometric structure. In this structure, chord encoding (quantized spectrum) generates the temporal domain of music and the spatial domain of painting, respectively, exhibiting a mirror-symmetric relationship: -7, -4, 0 ↔ 0, 4, 7 (mod 12). 这种对称性使得音乐与绘画成为同一和弦系统的两种展开方式。 和弦编码不仅描述频率比例，也携带几何语义： 开弦（Open String）：对应小三和弦 (−7,−3,0) mod 12，为分面线结构； 闭弦（Closed String）：对应大三和弦 (−7,−4,0) mod 12，为轮廓线结构； 膜弦（Membrane String）：对应等比和弦，如减七 (0,3,6,9)、全音阶 (0,2,4,6,8,10)、增三 (0,4,8) mod 12， 代表非线性空间的连续面。 This symmetry makes music and painting two ways of unfolding the same chord system. Chord encoding not only describes frequency ratios but also carries geometric semantics: Open String: Corresponds to a minor triad (−7,−3,0) mod 12, with a faceted structure; Closed String: Corresponds to a major triad (−7,−4,0) mod 12, with a contour structure; Membrane String: Corresponds to proportional chords, such as diminished seventh (0,3,6,9), whole tone (0,2,4,6,8,10), augmented triad (0,4,8) mod 12, representing a continuous surface in nonlinear space. 三和弦（开弦与闭弦）定义了等比和弦（膜弦）的边界——即空间的生成线。由此，和弦几何框架得以确 立： 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 和弦的几何语义（弦）决定空间结构，而和弦的频谱语义（和弦）定义其调性关系。 两者共同构成和弦空间（Chord Space）——一个连接音乐与绘画的统一结构场。 这些结果并非理论假设，而源自于绘画中的独立观察与实验。在色彩的离散分布、形态的空间排列中，可 以反复验证上述和弦几何特征。 Triads (open and closed chords) define the boundaries of equal-ratio chords (membrane strings)—that is, the generating lines of space. Thus, the geometric framework of chords is established: The geometric semantics of a chord (the string) determines the spatial structure, while the spectral semantics of a chord (the chord itself) defines its tonal relationships. Both together constitute the Chord Space—a unified structural field connecting music and painting. These results are not theoretical assumptions, but rather stem from independent observations and experiments in painting. The aforementioned chord geometric characteristics can be repeatedly verified through the discrete distribution of colors and the spatial arrangement of forms. 因此，《和弦绘画》不仅是一部艺术专著，更是一份关于和弦空间的实验报告： 它展示了如何从视觉中测得音乐的几何结构，如何以绘画为观测仪器，揭示生命与宇宙的调性秩序。绘画 在此被重新定义： 它不再是主观表现，而是和弦的可见生成。 每一幅作品，都是一次频谱的空间展开； 每一条线、每一个色面，都是和弦在时空中的几何显现。 《和弦绘画》由此成为和弦语言体系的支柱之一——它提供了观测、验证与应用的可视基础， 让和弦从音乐的时间流中，转化为绘画的空间形。 Therefore, *Chord Painting* is not only an art monograph but also an experimental report on chordal space: It demonstrates how to measure the geometric structure of music visually, and how to use painting as an observational instrument to reveal the tonal order of life and the universe. Painting is redefined here: It is no longer a subjective expression but the visible generation of chords. Each work is a spatial unfolding of the spectrum; Every line, every color plane, is a geometric manifestation of a chord in space and time. *Chord Painting* thus becomes one of the pillars of the chordal language system—it provides a visual foundation for observation, verification, and application, transforming chords from the temporal flow of music into the spatial form of painting. Li, X. H. (2020). Chord Painting. ResearchGate. 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage https://www.researchgate.net/publication/340492620_Chord_Painting Li, X. H. (2024). Chord Language. Zenodo. https://zenodo.org/records/11817631 Chord Biology；和弦生命 人类有两种生命观察者：和弦（调性）观察者与非和弦（无调性）观察者，分别观察两种生命形式：和弦 包（量子化频谱，场）与生物体（细胞，分子等），生命是两者的二层结构。 Humans have two types of life observers: chord (tonal) observers and non-chord (atonal) observers. They respectively observe two types of life forms: chord packages (quantized spectra, fields) and organisms (cells, molecules, etc.). Life is the two-layer structure of these two types. 在人体中，和弦（chord）表现为经络（或脉轮）系统。初步观察表明，十二经络系统展现受激频谱响应， 其频率分布可近似为几何级数： fn=H^n⋅f0，其中 H=2^(1/12)≈1.059463，n∈Z 该式通过对数变换可切换为泛音频线性谱 ( n f )，并与量子化假设 ( n f h )（能量离散结构）数学一致。 这暗示音乐（时间域）、绘画（空间域）、经络（生命域）及量子化假设共享统一的离散数学框架。 In the human body, chords manifest as a meridian (or chakra) system. Preliminary observations indicate that the twelve meridian systems exhibit an excited spectral response, the frequency distribution of which can be approximated as a geometric series: fn=H^n⋅f0, where H=2^(1/12)≈1.059463, n∈Z. This equation can be transformed into a linear overtone spectrum (nf) through logarithmic transformation, and is mathematically consistent with the quantization hypothesis (nfh) (discrete energy structure). This suggests that music (temporal domain), painting (spatial domain), meridians (life domain), and the quantization hypothesis share a unified discrete mathematical framework. Natural Spirit；自然精神 和弦语言是和弦结构（第三人称观察）与和弦语义（第一人称观察）的共现，是自然编码（量子化频谱） 语言，存在自身的生成方式。 Chord language is a co-occurrence of chord structure (third-person observation) and chord semantics (firstperson observation). It is a natural encoding (quantized spectrum) language with its own generation method. 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 人类存在两套语言系统：符号语言（后天语言）与和弦语言（先天语言）；前者是人工信息系统，基于语音 符号，如：自然语言；后者是自然信息系统，基于和弦（量子化频谱），如：音乐、绘画，经络等——精神是符 号与和弦二层存有。 Humans possess two language systems: symbolic language (acquired language) and chord language (innate language). The former is an artificial information system based on phonetic symbols, such as natural language; the latter is a natural information system based on 1 chords (quantized spectra), such as music, painting, meridians, etc. Spirit is a dual existence of symbols and chords 人的认识来源于两种观察者：和弦观察者与非和弦观察者。 Human cognition originates from two types of observers: chord observers and non-chord observers. 和弦观察者（Chord Observer） 依托于 和弦观察系统（Chord Observation System）。在此系统中，和弦表 现为物理、数学与自然语义的统一，精神与物理实在的统一。在和弦观察中，心与物、主与客的界限消解，第 一人称观察与第三人称观察紧密耦合。在此，精神是和弦的物理属性之一。 The Chord Observer is based on the Chord Observation System. In this system, chords are represented as a unity of physics, mathematics, and natural semantics, and a unity of spirit and physical reality. In chord observation, the boundaries between mind and matter, subject and object, dissolve, and first-person and thirdperson observations are tightly coupled. Here, spirit is one of the physical properties of chords. 非和弦观察者（Non-Chord Observer） 则屏蔽了和弦系统的共振结构。其观察以符号命名（主体）与经验 对象（客体）的分离为特征：主体反映客体，客体独立于主体。这类观察依赖外部工具与测量，以排除观察者 影响，实现可重复、可验证的客观性。 Non-chord observers, on the other hand, shield the resonant structure of the chord system. Their observation is characterized by the separation of symbolic naming (subject) and experiential object (object): the subject reflects the object, and the object is independent of the subject. This type of observation relies on external tools and measurements to eliminate the influence of the observer and achieve repeatable and verifiable objectivity. 两种认识的形式，分别对应于：自然精神系统（Natural-Spiritual System） —— 主客合一的内在共振性认 知；人类工具系统（Human Instrumental System） —— 主客分离的外在表征性认知。 The two forms of cognition correspond to: The Natural-Spiritual System – an internally resonant cognition that unites subject and object; and the Human Instrumental System – an externally representational cognition that separates subject and object. 两种观察者的根本区别还在于其世界显现方式： 和弦（调性）观察者 所见之宇宙，是一个基于和弦框架而展开的整体性场域。在此框架中，时空、生命与 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 精神共享同一和弦结构与数学模型，万象共振、层层对应，构成连续而自洽的整体。 非和弦（无调性）观察者 所见则是割裂的宇宙。在缺乏和弦框架的情况下，现象呈现为随机、孤立的事 件，整体被分解为离散的经验碎片，缺乏内在的调性与共鸣。 The fundamental difference between the two types of observers lies in their mode of world perception: The chord (tonal) observer perceives the universe as a holistic field unfolding within a chordal framework. Within this framework, spacetime, life, and spirit share the same chordal structure and mathematical model, with all phenomena resonating and corresponding layer by layer, forming a continuous and self-consistent whole. The non-chord (atonal) observer, on the other hand, perceives a fragmented universe. Lacking a chordal framework, phenomena appear as random, isolated events; the whole is broken down into discrete fragments of experience, lacking inherent tonality and resonance. ◼ 和弦语言出版物有：《和弦语言》与《和弦绘画》，前者介绍和弦语言的语法、语义规则及数学模型， 侧重和弦空间语言。后者是和弦绘画（和弦空间）的视觉实验案例。 ◼ CHORD LANGUAGE PUBLICATIONS INCLUDE "CHORD LANGUAGE" AND "CHORD PAINTING." THE FORMER INTRODUCES THE GRAMMAR, SEMANTIC RULES, AND MATHEMATICAL MODELS OF CHORD LANGUAGE, FOCUSING ON THE LANGUAGE OF CHORD SPACE. THE LATTER PROVIDES VISUAL EXPERIMENTAL CASES OF CHORD PAINTING (CHORD SPACE). 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life, Heptachord A major, f sharp minor；静物、七声音阶，A大调、升 f小调 Still life, Heptachord C major, f sharp minor；静物、七声音阶，C大调、升 f小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life, heptachord, C major, F-sharp minor；静物、七声音阶，C大调、升 f小调 Still life, heptachord, C major, F-sharp minor；静物、七声音阶，C大调、升 f小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life, heptachord, C major, F-sharp minor；静物、七声音阶，C大调、升 f小调 Still life, Heptachord E major, b flat minor；静物、七声音阶，E大调、降 b小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life, Heptachord C major, f sharp minor；静物、七声音阶，C大调、升 f小调 Forbidden City,Heptachord A flat major, b minor；故宫，七声音阶，降 A大调、b小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Huashan, heptachord F major, d minor；华山，七声音阶 F大调、d小调 Huashan, heptachord F major, d minor；华山，七声音阶 F大调、d小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Heptachord F major, d minor；七声音阶 F大调、d小调 Mount Emei,Heptachord A flat major, d minor；峨眉山，七声音阶降 A大调、d小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Heptachord A flat major, d minor；七声音阶，降 A大调、d小调 Heptachord A flat major, d minor；七声音阶，降 A大调、d小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Heptachord A flat major, d minor；七声音阶，降 A大调、d小调 Heptachord A flat major, b minor；七声音阶，降 A大调、b小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Portrait,Heptachord A flat major, d minor；肖像，七声音阶，降 A大调、d小调 Portrait,heptachord A flat major, b minor；肖像，七声音阶，降 A大调、b小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Self-portrait. heptachord A flat major, d minor；自画像，七声音阶，降 A大调、d小调 Self-portrait. heptachord A flat major, d minor；自画像，七声音阶，降 A大调、d小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life,Jazz Scale, f# 9 Chord；静物、爵士音阶，f#9 和弦 Still life,Jazz Scale,C major,f# minor；静物、爵士音阶，C大调，f#小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life,Jazz Scale, f# 7Chord；静物、爵士音阶，f#11 和弦 Still life,Jazz Scale,C major,f# minor；静物、爵士音阶，C大调，f#小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 爵士 f# 9 和弦 Still life,Jazz Scale,C major,f# minor；静物、爵士音阶，C大调，f#小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 爵士 C11 和弦 Beijing hutong,Jazz Scale C major；北京胡同、爵士音阶 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Beijing hutong,Jazz Scale C# major；北京胡同、爵士音阶 C#大调 Beijing hutong,Jazz Scale A major；北京胡同、爵士音阶 A大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Cao Xueqin's Former Residence in Beijing, Jazz Scale A Major；北京曹雪芹故居，爵士音阶 A大调 Poplar forest, Jazz Scale A major；白杨林、爵士音阶，A大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Poplar forest, Jazz Scale A major；白杨林、爵士音阶，A大调 Jinsha River Valley, Jazz Scale in g minor；金沙江河谷，爵士音阶 g小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Fishing Boat, Jazz Scale in f# ninor；渔舟，爵士音阶，f#小调 Riverside,Jazz Scale A-flat major；江边、爵士音阶，降 A大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Xi 'an City Wall, Jazz Scale,C# major；西安城墙，爵士音阶，C#大调 Xi 'an City Wall, Jazz Scale,A major；西安城墙，爵士音阶，A大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Unnamed Lake,,Jazz Scale,C major,f# minor；未名湖、爵士音阶 C大调，f#小调 Lotus,Jazz Pentatonic Scale C major；荷，爵士音阶 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Huaihai Middle Road under the Sun, Jazz scale C# major；阳光下的淮海中路，爵士音阶 C#大调 Yueyang Road Chinese Academy of Sciences, Jazz scale C major；岳阳路中科院，爵士音阶 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Shanghai Huangpi Road, Jazz scale C major；上海黄陂路，爵士音阶 C大调 Suzhou River, jazz scale C major；苏州河，爵士音阶 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Morning in Xujiahui, jazz scale C major；徐家汇的早晨，爵士音阶 C大调 Xu Jiahui, Jazz scale C-sharp major；徐家汇，爵士音阶升 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Huangpu River, jazz scale C major；黄浦江，爵士音阶 C大调 West Bund Art District, Jazz Scale C Major；西岸艺术区，爵士音阶 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Lupe Bridge, jazz scale C major；卢浦大桥，爵士音阶 C大调 Xuhui Riverside, Jazz scale C major；徐汇滨江，爵士音阶 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Cherry Blossom Forest, Jazz in C Major；樱花林，爵士 C大调 Lujiazui, Jazz C major；陆家嘴，爵士 C大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Wusongkou, Jazz in C Major；吴淞口，爵士 C大调 Wusongkou Fort, Jazz in C# Major；吴淞口炮台湾，爵士 C#大调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Wu Songkou Sacrifice, Jazz in F# minor；吴淞口祭，爵士 F#小调 Dianshan Lake, Jazz scale in E major, B-flat minor；淀山湖，爵士音阶 E大调，降 b小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Dianshan Lake, Jazz in F Major；淀山湖，爵士音阶 F大调 Wusongkou Battery, Jazz C11 chord；吴淞口炮台，爵士 C11 和弦 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 爵士 C11 和弦 爵士 C11 和弦 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model,Jazz Scale A major, e-flat minor；石膏像，爵士音阶，A大调，降 e小调 Jazz Scale C major,f-sharp minor；爵士音阶，C大调，升 f小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model,Jazz Scale C# major, g minor；石膏像，爵士音阶，C#大调，g小调 Plaster model,Jazz Scale C major, f sharp minor；石膏像，爵士音阶，C大调，升 f小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model,Jazz Scale C# major, g minor；石膏像，爵士音阶，C#大调，g小调 Plaster model,Jazz Scale C major, f sharp minor；石膏像，爵士音阶，C大调，升 f小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model,Jazz Scale C# major, g minor；石膏像，爵士音阶，C#大调，g小调 Plaster model,Jazz Scale C major, f sharp minor；石膏像，爵士音阶，C大调，升 f小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model,Jazz Scale C# major, g minor；石膏像，爵士音阶，C#大调，g小调 Plaster model,Jazz Scale C major, f sharp minor；石膏像，爵士音阶，C大调，升 f小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model,Jazz Scale C# major, g minor；石膏像，爵士音阶，C#大调，g小调 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 3. Chromatic；无调性 Still life,Atonal; 静物，无调性 Still life,Atonal; 静物，无调性 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life,Atonal; 静物，无调性 Still life,Atonal; 静物，无调性 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Still life,Atonal; 静物，无调性 Still life,Atonal; 静物，无调性 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage River valley,Atonal；河谷，无调性 Fishing boat,Atonal；渔舟，无调性 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model C-D-E,key group；石膏模型、C-D-E 调群 Plaster model C-D-E,key group；石膏模型、C-D-E 调群 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Plaster model C-D-E,key group；石膏模型、C-D-E 调群 Plaster model C-D-E,key group；石膏模型、C-D-E 调群 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage C major, f# minor, T-D-S key group | C大调、f#小调，T-D-S 调群 C major, f# minor, T-D-S mixed tone group | C大调、f#小调，T-D-S 混合调群 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage C major, Eb minor, T-D-S key group | C 大调、Eb 小调，T-D-S 调群 C major, f# minor, T-D-S key group | C大调、f#小调，T-D-S 调群 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage C major, Eb minor, T-D-S key group | C 大调、Eb 小调，T-D-S 调群 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Conclusion；结语 《和弦语言》提出了一种以和弦结构为核心的观察方法，区别于以数学推导和假设为主的传统理论物理。 其核心在于直接观察——既包括第一人称的内在体验，也包括第三人称的外在呈现——从而捕捉生命、精神与 宇宙的整体和谐结构。世界在和弦语言中不被外部解释，而是在观察与体验中自我呈现，体现了存在的内在秩 序与相互关联。通过音乐、绘画及直觉式感知，和弦语言架起科学与艺术的桥梁，提供了理解自然、生命与精 神的新途径，为探索宇宙秩序和意识本质提供了一种可操作的实践框架。 Conclusion Chord Language proposes an observational framework centered on harmonic structures, distinct from traditional theoretical physics, which relies primarily on mathematical derivation and hypotheses. Its core lies in direct observation—encompassing both first-person inner experience and third-person external manifestation—thereby capturing the integrated, harmonious structures of life, mind, and the universe. In Chord Language, the world is not externally explained but reveals itself through observation and experience, reflecting intrinsic order and interconnection. Through music, painting, and intuitive perception, Chord Language bridges science and art, offering a novel approach to understanding nature, life, and consciousness, and providing an operational framework for exploring cosmic order and the essence of awareness. Disclaimer；免责声明 本书的少数图片采集自网络，作者信息不详，如果涉及到原作者的知识产权，一经提出，我们将会立即纠 正。 A few pictures in this book were collected from the Internet and the author information is unknown. If it involves the intellectual property rights of the original author, we will correct it immediately once it is raised. 作者：李晓虹，中国、四川、宜宾 Author: Li Xiaohong, China, Sichuan, Yibin 预印本地址： 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage Preprint address: https://www.researchgate.net/profile/Xiaohong-Li-17 https://zenodo.org/records/14583089 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage References；参考文献 1、Core works (original works by the authors);核心著作（作者原著） 1. Xiaohong Li ;李晓虹. (2016). Chord Language. [预印本]. Zenodo. https://doi.org/10.5281/zenodo.10699309 2. Xiaohong Li; 李晓虹. (2018). 和弦绘画： Chord Painting. [预印本]. Zenodo. https://doi.org/10.5281/zenodo.17431483 2、音乐与和弦理论（Music & Harmony Theory） 2. Pythagoras. On the Harmony of the Spheres. (Fragments). 3. Helmholtz, H. (1877). On the Sensations of Tone as a Physiological Basis for the Theory of Music. Longmans. 4. Hindemith, P. (1940). The Craft of Musical Composition. Schott Music. 5. Schoenberg, A. (1969). Theory of Harmony. University of California Press. 6. Lydian Chromatic Concept of Tonal Organization. Wikipedia. 7. Kocur, J. (n.d.). Chord–Scale Theory. Open Music Theory. 8. Brunner, G., Wang, Y., Wattenhofer, R., & Wiesendanger, J. (2017). JamBot: Music Theory Aware ChordBased Generation of Polyphonic Music with LSTMs. arXiv:1711.07682. 9. Zhao, Y. et al. (2020). Vertical–Horizontal Structured Attention for Generating Music with Chords. arXiv:2011.09078. 10. Lazzari, N., Poltronieri, A., & Presutti, V. (2023). Pitchclass2vec: Symbolic Music Structure Segmentation with Chord Embeddings. arXiv:2303.15306. 11. Cook, N. (1994). A Guide to Musical Analysis. Oxford University Press. 12. Meyer, L. B. (1956). Emotion and Meaning in Music. University of Chicago Press. 13. Wilson, G. (2022). The Geometry of Harmony: Mathematical Foundations of Music. 3、物理、宇宙与时间（Physics, Cosmology, and Time） 14. Einstein, A. (1916). Relativity: The Special and the General Theory. 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 15. Bohm, D. (1980). Wholeness and the Implicate Order. Routledge. 16. Penrose, R. (1989). The Emperor’s New Mind. Oxford University Press. 17. Smolin, L. (2013). Time Reborn: From the Crisis in Physics to the Future of the Universe. Houghton Mifflin Harcourt. 18. Greene, B. (1999). The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory. 19. Rovelli, C. (2018). The Order of Time. Riverhead Books. 20. Schrödinger, E. (1944). What Is Life? Cambridge University Press. 21. Prigogine, I. (1984). Order Out of Chaos: Man’s New Dialogue with Nature. Bantam Books. 4、语言与认知科学（Language, Cognition & Structure） 22. Saussure, F. de. (1916). Course in General Linguistics. 23. Chomsky, N. (1957). Syntactic Structures. MIT Press. 24. Lakoff, G., & Johnson, M. (1980). Metaphors We Live By. University of Chicago Press. 25. Hofstadter, D. R. (1979). Gödel, Escher, Bach: An Eternal Golden Braid. Basic Books. 26. Dehaene, S. (2020). How We Learn: Why Brains Learn Better Than Any Machine... Penguin Books. 27. Damasio, A. (1999). The Feeling of What Happens: Body and Emotion in the Making of Consciousness. Harcourt. 28. Tononi, G. (2012). Phi: A Voyage from the Brain to the Soul. Pantheon. 5、哲学与精神学说（Philosophy, Spirituality & Consciousness） 29. Plato. Timaeus. 30. Laozi. 道德经 . 31. Zhuangzi. 庄子 · 齐物论 . 32. Spinoza, B. (1677). Ethics. 33. Whitehead, A. N. (1929). Process and Reality. 34. Teilhard de Chardin, P. (1955). The Phenomenon of Man. 35. Wilber, K. (2000). A Theory of Everything: An Integral Vision for Business, Politics, Science, and Spirituality. 36. Capra, F. (1975). The Tao of Physics. Shambhala Publications. 和弦绘画；李晓虹；DOI: 10.13140/RG.2.2.14021.17127/1；ISBN:9780463058800；ASIN: B07L7Y87F1 Email: [email protected]; https://orcid.org/0000-0001-6461-1239 CHORD PAINTING, Li Xiaohong, DOI: 10.13140/RG.2.2.14021.17127/1, ISBN:9780463058800,ASIN: B07L7Y87F1 Email: [email protected]; https://twitter.com/ChordLanguage 37. Chopra, D. (1993). Ageless Body, Timeless Mind. Harmony Books. 38. Suzuki, D. T. (1956). Zen Buddhism and Its Influence on Japanese Culture. 6、综合与前沿交叉（Interdisciplinary & Future Studies） 39. “Musical Science: Pythagoras, Einstein and Divine Principle.” (2018). Applied Unificationism. 40. Wang, Q., & Liu, J. (2022). Quantum Music: Exploring the Physics of Sound and Harmony. Frontiers in Physics, 10. 41. Kurzweil, R. (2005). The Singularity Is Near. Penguin Books. 42. Harari, Y. N. (2016). Homo Deus: A Brief History of Tomorrow. Harper. 43. Tegmark, M. (2014). Our Mathematical Universe. Knopf. 44. Hinton, G. E. (2023). The Promise and Peril of Thinking Machines. Lecture Notes, University of Toronto.