1619年，《誦念珠規程》作為中國第一本漢譯圖文版玫瑰經，和第一本以問答型式出現的教理書，正式在南京出版。這本歸在羅儒望名下，正值教難與禮儀之爭浪朝興起等最為不利的時局條件下所問世，又融祈禱經文、圖像藝術，以及靈修默觀類書於一紙的著譯，在西畫東漸和明末清初西方傳教士入華的歷史上舉足輕重外，經由其圖像與敘事反映的跨文化圖文翻譯、聖母圖像的旅行和耶儒對話向度，尤彰顯出其跨越界域的特質在文化傳輸上的特殊意義和價值。本文因之從跨文化角度出發，進行上揭三項重要課題的探討。
《誦念珠規程》的跨文化圖文翻譯，首先關涉的是本書如何問世？其譯本譯語反映之文化向度、幅度、及作者問題，內容和型式等問題。本文採取回返原初背景，重探前述出版當下面對的各種議題及背後思潮，以揭露書中貫注的宗教美學意含。就聖母圖像的旅行展開的，則是以《玫瑰經》十五端主題為考察之西洋繪畫譜系之差異呈現的探究，尤重發掘圖像在跨國流變下反映的聖俗遞嬗、意義流動現象。論域主要由《誦念珠規程》圖像中西融合之視覺特色進入，並以晚明聖母形像為例，分就主題文本之《聖母經》和會士著述所呈現之脈絡性轉化內容，以及多重文化跨越下如何進行作品之理解及詮釋的角度，來討論基督宗教美學在異文化中的轉化與續存，最後則經由十五端敘事的重構來揭示耶儒對話邁向文化美學會通之可能。
依照文脈不同論題的發展，本文援用了存有的詮釋學、揭示存有的美學，和敘事詮釋學。他們在上開議題的探討中，有效地突破了過去主題文本在視角及研究課題上僅只作為誦念經文的方法書，或於西洋繪畫技法傳入有所影響的既定看法。本文除了探究作品自身的美學及跨文化下的流變課題，亦進一步將其推進至耶儒對話，乃延申為文化美學會通可能之探究，所獲具體成果如下：1）經由揭示《誦念珠規程》多重譯本及譯語的特殊現象，及分析其出版背景，深入探討主題文本問世的重要意義，彰顯出羅儒望著譯《誦念珠規程》在中西文化交流中無可取代的圖像證史地位；2）透過以聖母/子形象為例討論的基督宗教美學的脈絡性轉化，與異文化圖像之在地凝視，指出文化跨越下作品的理解和詮釋，在於文本動態的意義生成及其開放性的詮釋。圍繞主題文本的課題，所揭示的關鍵莫不在於愛（善）的實踐。3）應用圖像的象徵及其指涉來對照進行晚明跨文化（耶儒）對話的探討，將能揭示一跨文化美學會通的可能之境，它並且是一跨越界域，在讀者重構視域中進行對話與融合的路徑。

As the first Chinese and imaginary rosary translated, and the first catechism, Song Nian Zhu Gui Cheng published in Nanjing in 1619 while constituted under such difficulty as religious persecution and the so called Chinese Rites Controversy. However, it is its unique genre congregated with prayer text, art of icon, and spiritual-contemplation-like book that set it apart from others. It is thus not only proclaimed to be one of the primary sources of western arts incoming to China, but also impacted largely on missionary history starting from the turn of Ming and Qing dynasties. Above all, there lies particular meaning and value within boundary-crossing element onto cultural transmission reflected through its cultural translation, traveling images, and Christian-Confucian dialogue via narratives and imaginaries. This research therefore takes approach of above intercultural focus as a perspective base and a meaningful whole horizon to bridge over all.
The paper context begins firstly with looking back into its publishing background, dual-cultural translation in disclosing the religious aesthetics. Secondly, to analyze Chinese-Western visual style of the subjected image text for investigating foreign images seeing in domestic eyes, and explore their aesthetics as well as those of thematic works which relevant to Rosary’s fifteen miracles in western arts. Consequently, take the imaginary of Virgin Mary from Ave Maria and other Jesuits’ writings reflected as the discourse example for further discussing the contextual turn and continuity of Christian aesthetic within cross-cultural environment. Then indicate there seems an integration of cultural poetics in between the Christian-Confucian dialogue.
Under such discussion, this paper breaks the framework of the subjected text seeing merely as script reciting and introducing Western art techniques effectively. Base on exploring its aesthetics and changes under cross-cultural nations, so as push toward to Christianity-Confucian communication, there are three major results achieved. Accordingly, they are：1) To reveal the subjected Song Nian Zhu Gui Cheng itself an irreplaceable position in the Eastern and Western cultural exchange history when taken image as a way of history. 2) To indicate the way of further understanding and interpreting a cross-cultural text base on its dynamic meaning and open manner. For the subjected text, they all regard praxis of love. 3) To apply the methodology of iconology as a vehicle allows advance Christian-Confucian dialogue in terms of symbols and its reference, it then builds a promising possibility of integration in readers’ horizon.