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Towards Chinese Calligraphy Zhuzhong Qian
Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings. -
Neural Substrates of Hanja (Logogram) and Hangul (Phonogram) Character Readings by Functional Magnetic Resonance Imaging
ORIGINAL ARTICLE Neuroscience http://dx.doi.org/10.3346/jkms.2014.29.10.1416 • J Korean Med Sci 2014; 29: 1416-1424 Neural Substrates of Hanja (Logogram) and Hangul (Phonogram) Character Readings by Functional Magnetic Resonance Imaging Zang-Hee Cho,1 Nambeom Kim,1 The two basic scripts of the Korean writing system, Hanja (the logography of the traditional Sungbong Bae,2 Je-Geun Chi,1 Korean character) and Hangul (the more newer Korean alphabet), have been used together Chan-Woong Park,1 Seiji Ogawa,1,3 since the 14th century. While Hanja character has its own morphemic base, Hangul being and Young-Bo Kim1 purely phonemic without morphemic base. These two, therefore, have substantially different outcomes as a language as well as different neural responses. Based on these 1Neuroscience Research Institute, Gachon University, Incheon, Korea; 2Department of linguistic differences between Hanja and Hangul, we have launched two studies; first was Psychology, Yeungnam University, Kyongsan, Korea; to find differences in cortical activation when it is stimulated by Hanja and Hangul reading 3Kansei Fukushi Research Institute, Tohoku Fukushi to support the much discussed dual-route hypothesis of logographic and phonological University, Sendai, Japan routes in the brain by fMRI (Experiment 1). The second objective was to evaluate how Received: 14 February 2014 Hanja and Hangul affect comprehension, therefore, recognition memory, specifically the Accepted: 5 July 2014 effects of semantic transparency and morphemic clarity on memory consolidation and then related cortical activations, using functional magnetic resonance imaging (fMRI) Address for Correspondence: (Experiment 2). The first fMRI experiment indicated relatively large areas of the brain are Young-Bo Kim, MD Department of Neuroscience and Neurosurgery, Gachon activated by Hanja reading compared to Hangul reading. -
Universal Multiple-Octet Coded Character
Universal Multiple-Octet Coded Character Set (UCS) ISO/IEC JTC 1/SC 2/WG 2 N4701 Date: 2015-10-23 Source: WG 2 meeting 64, Kunibiki Messe, Matsue, Shimane, Japan; 2015-10-19/23 Title: Recommendations from WG 2 meeting 64 Action: For approval by SC 2 and for information to WG 2 Status: Adopted at meeting 64 of WG 2 Distribution: WG2 meeting 64 (ISO/IEC JTC 1/SC 2 and WG 2) Experts accredited by the national bodies or liaison organizations for Canada, China, IRG, Japan, SEI - UC Berkeley (Liaison), TCA (Liaison), the United Kingdom, the Unicode Consortium (Liaison), and the USA were present when the following recommendations were adopted (see attached attendance list). Character count 120585 in 4th edition 101 additions in DAM1 to the 4th edition 11630 in PDAM2.1 (end of meeting 63) Character count 132316 (total allocated till end of meeting 63) Note: Some of the referenced proposals in this document are contributions from the Unicode Consortium and do not have a WG2 document number. Observation M64.01 (Amendment 2 changes since meeting 63): WG2 notes that in addition to the total of 11630 characters listed in recommendation M63.11 (document N4604), progression of Amendment 2 through PDAM 2.2 and to DAM2 stages has resulted in several changes as summarized in document N4665. The net is that total number of characters that went for DAM2 ballot was 7332. count: 7332 additions in Amendment 2 Observation M64.02 (Additions in 5th edition ballot): WG2 also notes that the balloted text for CD of the 5th edition contained the Amendment 1 and DAM2 content, plus several changes. -
A Comparative Analysis of the Simplification of Chinese Characters in Japan and China
CONTRASTING APPROACHES TO CHINESE CHARACTER REFORM: A COMPARATIVE ANALYSIS OF THE SIMPLIFICATION OF CHINESE CHARACTERS IN JAPAN AND CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES AUGUST 2012 By Kei Imafuku Thesis Committee: Alexander Vovin, Chairperson Robert Huey Dina Rudolph Yoshimi ACKNOWLEDGEMENTS I would like to express deep gratitude to Alexander Vovin, Robert Huey, and Dina R. Yoshimi for their Japanese and Chinese expertise and kind encouragement throughout the writing of this thesis. Their guidance, as well as the support of the Center for Japanese Studies, School of Pacific and Asian Studies, and the East-West Center, has been invaluable. i ABSTRACT Due to the complexity and number of Chinese characters used in Chinese and Japanese, some characters were the target of simplification reforms. However, Japanese and Chinese simplifications frequently differed, resulting in the existence of multiple forms of the same character being used in different places. This study investigates the differences between the Japanese and Chinese simplifications and the effects of the simplification techniques implemented by each side. The more conservative Japanese simplifications were achieved by instating simpler historical character variants while the more radical Chinese simplifications were achieved primarily through the use of whole cursive script forms and phonetic simplification techniques. These techniques, however, have been criticized for their detrimental effects on character recognition, semantic and phonetic clarity, and consistency – issues less present with the Japanese approach. By comparing the Japanese and Chinese simplification techniques, this study seeks to determine the characteristics of more effective, less controversial Chinese character simplifications. -
Using a Radical-Derived Character E-Learning Platform to Increase Learner Knowledge of Chinese Characters
Language Learning & Technology February 2013, Volume 17, Number 1 http://llt.msu.edu/issues/february2013/chenetal.pdf pp. 89–106 USING A RADICAL-DERIVED CHARACTER E-LEARNING PLATFORM TO INCREASE LEARNER KNOWLEDGE OF CHINESE CHARACTERS Hsueh-Chih Chen, National Taiwan Normal University Chih-Chun Hsu, National Defense University Li-Yun Chang, University of Pittsburgh Yu-Chi Lin, National Taiwan Normal University Kuo-En Chang, National Taiwan Normal University Yao-Ting Sung, National Taiwan Normal University The present study is aimed at investigating the effect of a radical-derived Chinese character teaching strategy on enhancing Chinese as a Foreign Language (CFL) learners’ Chinese orthographic awareness. An e-learning teaching platform, based on statistical data from the Chinese Orthography Database Explorer (Chen, Chang, L.Y., Chou, Sung, & Chang, K.E., 2011), was established and used as an auxiliary teaching tool. A nonequivalent pretest-posttest quasi-experiment was conducted, with 129 Chinese- American CFL learners as participants (69 people in the experimental group and 60 people in the comparison group), to examine the effectiveness of the e-learning platform. After a three-week course—involving instruction on Chinese orthographic knowledge and at least seven phonetic/semantic radicals and their derivative characters per week—the experimental group performed significantly better than the comparison group on a phonetic radical awareness test, a semantic radical awareness test, as well as an orthography knowledge test. Keywords: Chinese as a Foreign Language (CFL), Chinese Orthographic Awareness, Radical-Derived Character Instructional Method, Phonetic/Semantic Radicals INTRODUCTION The rise of China to international prominence in recent years has made learning Chinese extremely popular, and increasing numbers of non-native Chinese students have begun to choose Chinese as their second language of study. -
On the Pictorial Structure of Chinese Characters
National Bur'SaU 01 Jiwiuuiuu Library, N.W. Bldg Reference book not to be FEB 1 1965 taken from the library. ^ecltnlcai v|ete 254 ON THE PICTORIAL STRUCTURE OF CHINESE CHARACTERS B. KIRK RANKIN, III, WALTER A. SILLARS, AND ROBERT W. HSU U. S. DEPARTMENT OF COMMERCE NATIONAL BUREAU OF STANDARDS THE NATIONAL BUREAU OF STANDARDS The National Bureau of Standards is a principal focal point in the Federal Government for assuring maximum application of the physical and engineering sciences to the advancement of technology in industry and commerce. Its responsibilities include development and maintenance of the national stand- ards of measurement, and the provisions of means for making measurements consistent with those standards; determination of physical constants and properties of materials; development of methods for testing materials, mechanisms, and structures, and making such tests as may be necessary, particu- larly for government agencies; cooperation in the establishment of standard practices for incorpora- tion in codes and specifications; advisory service to government agencies on scientific and technical problems; invention and development of devices to serve special needs of the Government; assistance to industry, business, and consumers in the development and acceptance of commercial standards and simplified trade practice recommendations; administration of programs in cooperation with United States business groups and standards organizations for the development of international standards of practice; and maintenance of a clearinghouse for the collection and dissemination of scientific, tech- nical, and engineering information. The scope of the Bureau's activities is suggested in the following listing of its four Institutes and their organizational units. Institute for Basic Standards. -
The Chinese Script T � * 'L
Norman, Jerry, Chinese, Cambridge: Cambridge University Press, 1988. 1 3.1 Th e beginnings of Chinese writing 59 3 FISH HORSE ELEPHANT cow (yu) (m ii) (xiimg) (niu) " The Chinese script t � * 'l Figure 3.1. Pictographs in early Chinese writing 3.1 The beginnings of Chinese writing1 The Chinese script appears as a fully developed writing system in the late Shang .dynasty (fourteenth to eleventh centuries BC). From this period we have copious examples of the script inscribed or written on bones and tortoise shells, for the most part in the form of short divinatory texts. From the same period there also Figure 3.2. The graph fo r quiin'dog' exist a number of inscriptions on bronze vessels of various sorts. The former type of graphic record is referred to as the oracle bone script while the latter is com of this sort of graph are shown in Figure 3.1. The more truly representational a monly known· as the bronze script. The script of this period is already a fully graph is, the more difficult and time-consuming it is to depict. There is a natural developed writing system, capable of recording the contemporary Chinese lan tendency for such graphs to become progressively simplified and stylized as a guage in a complete and unambiguous manner. The maturity of this early script writing system matures and becomes more widely used. As a result, pictographs has suggested to many scholars that it must have passed through a fairly long gradually tend to lose their obvious pictorial quality. The graph for qui'in 'dog' period of development before reaching this stage, but the few examples of writing shown in Figure 3.2 can serve as a good illustration of this sort of development. -
Proposal to Encode Small Seal Script in UCS Source: TCA and China Action: for Consideration by JTC1/SC2/WG2
ISO/IEC JTC1/SC2/WG2 N4634 Date: 2014-09-30 Title: Proposal to encode Small Seal Script in UCS Source: TCA and China Action: For consideration by JTC1/SC2/WG2 This document proposes to encode 10,516 Small Seal Script characters in UCS. Note: This document shows 799 of 10,516 characters, with TrueType fonts. The fonts of remaining ones will be provided later. The 799 characters in this document are selected from Volume 1 of the 14 volumes Tenghuaxie version Shuowen Jiezi (14 卷 藤花榭本說文解字). 1. Small Seal Script and the Book Shuowen Jiezi The Small Seal script (小篆) is a kind of ancient Chinese script, predecessor of modern Chinese (漢字, Hanzi). The book Shuowen Jiezi (說文解字), edited by Xu Shen (許慎, 58 AD to 147 AD), collects the Small Seal characters of Qin Dynasty (秦, 220 BC to 206 BC) of China. The collection contains 9,353 canonical Small Seal characters, 1163 variants (called “Chongwen” in Shuowen Jiezi). Chongwen contains Zhouwen (籀文, Small Seal script in Zhou Dynasty, 周 1046 BC to 256 BC) and Guwen (古文, the scripts used in the other six nations excluding Qin in the Warring States period, 475 BC to 221 BC) which are incompatible with Small Seal characters. There were two types of publicly accepted scripts prevailing in Qin Dynasty, canonical Small Seal script and clerical script which was used by the public (known as Qin Li in philology, also named Gu Li to distinguish from subsequent Han Li). Some people think Small Seal script is a calligraphy typeface, which is a misunderstanding. -
The Challenge of Chinese Character Acquisition
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: Department of Teaching, Department of Teaching, Learning and Teacher Learning and Teacher Education Education 2017 The hC allenge of Chinese Character Acquisition: Leveraging Multimodality in Overcoming a Centuries-Old Problem Justin Olmanson University of Nebraska at Lincoln, [email protected] Xianquan Chrystal Liu University of Nebraska - Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/teachlearnfacpub Part of the Bilingual, Multilingual, and Multicultural Education Commons, Chinese Studies Commons, Curriculum and Instruction Commons, Instructional Media Design Commons, Language and Literacy Education Commons, Online and Distance Education Commons, and the Teacher Education and Professional Development Commons Olmanson, Justin and Liu, Xianquan Chrystal, "The hC allenge of Chinese Character Acquisition: Leveraging Multimodality in Overcoming a Centuries-Old Problem" (2017). Faculty Publications: Department of Teaching, Learning and Teacher Education. 239. http://digitalcommons.unl.edu/teachlearnfacpub/239 This Article is brought to you for free and open access by the Department of Teaching, Learning and Teacher Education at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: Department of Teaching, Learning and Teacher Education by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Volume 4 (2017) -
The Chinese Strokes
The Chinese SSStrokesStrokes Far from being complicated drawings, Chinese characters are made out of simple single strokes, all of them variations of only eight basic ones. All strokes have their own name and are written according to a few rules. 1. The following are the first six strokes, the fundamental ones: as in the horizontal stroke character heng (written from left to right) yi (one) as in the vertical stroke character shu (written from top to bottom) shi (ten) as in the down stroke to the left character pie (written from top right to bottom left) ba (eight) as in the down stroke to the right character na (written from top left to bottom right) ru (to enter) as in the dot character dian (written from top to bottom right or left) liu (six) as in the upward stroke character ti (written from bottom left to top right) , 我 ba (to grasp) 2. The last two strokes have several different variations. The first group is composed by five strokes with a hook: as in the character henggou horizontal stroke with a hook zi (character) as in the character shugou vertical stroke with a hook xiao (small) as in the character wangou bending stroke with a hook gou (dog) as in the character xiegou slant stroke with a hook wo (I, me) as in the level bending stroke with a character pinggou hook wang (to forget) 3. And the following by two single strokes with a turn: as in the character vertical stroke with a horizontal shuzhe turn to the right yi (doctor, medicine) as in the horizontal stroke with a vertical character hengzhe turn kou (mouth) 4. -
CJK Strokes Range: 31C0–31EF
CJK Strokes Range: 31C0–31EF This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation. -
Areal Script Form Patterns with Chinese Characteristics James Myers
Areal script form patterns with Chinese characteristics James Myers National Chung Cheng University http://personal.ccu.edu.tw/~lngmyers/ To appear in Written Language & Literacy This study was made possible through a grant from Taiwan’s Ministry of Science and Technology (103-2410-H-194-119-MY3). Iwano Mariko helped with katakana and Minju Kim with hangul, while Tsung-Ying Chen, Daniel Harbour, Sven Osterkamp, two anonymous reviewers and the special issue editors provided all sorts of useful suggestions as well. Abstract It has often been claimed that writing systems have formal grammars structurally analogous to those of spoken and signed phonology. This paper demonstrates one consequence of this analogy for Chinese script and the writing systems that it has influenced: as with phonology, areal script patterns include the borrowing of formal regularities, not just of formal elements or interpretive functions. Whether particular formal Chinese script regularities were borrowed, modified, or ignored also turns out not to depend on functional typology (in morphemic/syllabic Tangut script, moraic Japanese katakana, and featural/phonemic/syllabic Korean hangul) but on the benefits of making the borrowing system visually distinct from Chinese, the relative productivity of the regularities within Chinese character grammar, and the level at which the borrowing takes place. Keywords: Chinese characters, Tangut script, Japanese katakana, Korean hangul, writing system grammar, script outer form, areal patterns 1. Areal phonological patterns and areal script patterns Sinoform writing systems look Chinese, even when they are functionally quite different. The visual traits of non-logographic Japanese katakana and Korean hangul are nontrivially like those of logographic Chinese script, as are those of the logographic but structurally unique script of Tangut, an extinct Tibeto-Burman language of what is now north-central China.