DOCSLIB.ORG

A Study on Quantitative Evaluation of Calligraphy Characters

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Study on Quantitative Evaluation of Calligraphy Characters Computer Technology and Application 7 (2016) 103-122 D doi: 10.17265/1934-7332/2016.02.005 DAVID PUBLISHING A Study on Quantitative Evaluation of Calligraphy Characters Zelong Wang1, Mengyuan Liao1 and Zenichiro Maekawa2 1. Department of Advanced Fibro-Science, Kyoto Institute of Technology, Kyoto 606-8585, Japan 2. Future-Applied Conventional Technology Center, Kyoto Institute of Technology, Kyoto 606-8585, Japan Abstract: In this study, a numerical method was proposed to evaluate the calligraphy work called calligraphy evaluation system. Four classical chirographies of “Kaisho”, “Gyosho”, “Sousho” and “Hiragana”, and 47 characters for each chirography, were selected and analyzed by this system. The “Sumi” distribution of character was clarified from 12 directions and summarized into four parts of horizontal part, diagonal left part, vertical part and diagonal right part. The character‟s contour line was converted to a signal data in order to calculate roundness index. The degree of character‟s radian was presented by roundness index. The smooth index was calculated at the same time. Additionally, width index, “Sumi” ratio, stability index also were calculated to contrast the features of each style. The main character points of four styles of “Kaisho”, “Gyosho”, “Sousho”, “Hiragana” were extracted to compare each other, and provide a reference for learners. The learners could obtain the quantitative data to understand their work‟s characteristics. It can also be compared with other person‟s work by this system in order to improve learners‟ writing skill. Key words: Calligraphy, chirography, quantization, evaluation, regular script, running script, cursive script, hiragana. Nomenclature are divided into two big flows of the phonogram and the ideograph at present. “Kanji”: Chinese character. Regular script, a kind of chirography of The history of Chinese writing extends back more “Kaisho”: Chinese character. than 6,000 years, and “Kanji” is the root of China and Running script, a kind of chirography of “Gyosho”: Chinese character. has the history of 4,000 years [1]. The “Kanji” is one Cursive script, a kind of chirography of “Sousho”: of most important representatives of the ideographs, Chinese character. “Hiragana”: Japanese character. which are the oldest written words of any language in Xuan paper is a kind of paper originating in the world. It is well known that “Kanji” is a ancient China used for writing and painting, “Xuan” paper: which is used for conveying the artistic representative of the ideographs and the alphabet is a expression of both Chinese calligraphy and representative of the phonograms, which is the main painting. “Sumi”: The ink of calligraphy. carrier of calligraphic art. The calligraphy, a visual art related to writing, is a splendid star and an exquisite 1. Introduction work in Chinese traditional culture, which was also a The purpose for the creation and development of kind of traditional art popular in Asia, including China, character writing was to preserve human Japan, Korea and Vietnam [2]. Put simply, calligraphy communication and create a way to characterize the is a kind of creation using brush dips in ink to write racial culture, which was the result of the joint efforts characters on “Xuan” paper [3]. Using calligraphy of all mankind through ages of social practice. There method written beautiful poems on the paper with red are a variety of characters exist in the world, which seal is a most important and art elegant in Asia. The Japanese character was originated from China, Corresponding author: Zenichiro Maekawa, Dr. Eng., adopted and used Chinese characters. The calligraphy senior fellow of Kyoto Institute of Technology, Applied traditional engineering. is also a widely practiced and revered art in Japan, 104 A Study on Quantitative Evaluation of Calligraphy Characters which is believed to cultivate the heart and improve influence the Japanese calligraphy for a long period of spirit [4]. time. Since the invention of “Oracle”, a writing is Japan is one of nations using the ideograph of incisions on bones and tortoise shell, Chinese “Kanji” and the phonogram of “Hiragana” at the same calligraphy font experienced five main stages of time. Japanese improved and simplified the “Kanji” development by the seal character, official script, and then formed the “Hiragana” character, whose “Sousho”, “Kaisho”, “Gyosho”. The mention of the forms had changed drastically and made impact on the styles of calligraphy had brought the “Wang Xizhi” “Kanji” radicals. Japanese “Hiragana”, which [5]. “Wang Xizhi” was the most famous calligrapher originated from China, has evolved to be Japanese traditionally referred to as the Sage of Calligraphy in unique character over a long time development, which China, who lived during the Jin Dynasty. He has has thin, long and smooth form. There was a long arguably been one of the most esteemed Chinese history of using calligraphy to express “Kanji” and calligrapher until, and a master of all forms of Chinese “Hiragana” character with the writing brush. calligraphy, especially the “Gyosho”. The one of the There was a widely accepted calligraphy practice most influential “Gyosho” works of “Wang Xizhi” is process during the calligraphy training in China the “Preface to the Poems Composed at the Orchid according to the writing speed and the coherent Pavilion” (兰亭集序), the preface of a collection of between each component of “Kanji”: “Kaisho”, poems by a number of poets when gathering at “Gyosho” and “Sousho”. There was also a similar “Lanting” (兰亭). Wang Xizhi was also reached the calligraphy practice process in Japan from “Kanji” to peak of perfection for “Kaisho”, which brushwork is “Hiragana”. Therefore, “Kaisho” is the foundation of particularly fine with elegant and unconstrained style calligraphy, beginner uses “Kaisho” to practice while making you feel natural and free. His “Sousho” calligraphy. Skilled “Kaisho” was basic condition for looks like the wind had blown over the grass in a written practice Gyosho and Sousho. “Gyosho” is a manner with disorderly and orderly. He not only is cross style between “Kaisho” and “Sousho”, coherent appreciated in China, but also has been remained than “Kaisho”, not beyond recognition like “Sousho”. influential in Japanese calligraphy. Beginners try to raise the writing speed to practice Date back to C.E. 804, Japan sent the seventeenth “Gyosho” when they think they can grasp skilled Tang Dynasty missions, whose embassador was “Kaisho”. The “Sousho” and “Hiragana” are the most “Kadonomaro Fujiwara”, assisted embassador was radical forms of simplifying characters. Learners “Ishikawa Michi-eki”, accompanied with members practice “Sousho” and “Hiragana” after mastering the including “Kukai”, “Saicho” and writing skills of “Kaisho” and “Gyosho”. “Sousho” “TachibananoHayanari”, who established the and “Hiragana” were considered as the inspiration for development of Japanese calligraphy immortal feats. the best carrier, which were often used to be as a Additionally, “Kukai”, “Emperor Saga”, platform of playing a creative inspiration by “TachibananoHayanari” were the famous “three pens” grandmaster. of Japanese calligraphy during the early Heian period However, it is very difficult for a learner to see the [6]. “Kukai” came to “Tang” dynasty and studied as relationship between the different steps in the the “Tang” Monks, his calligraphy not only has progression from basic to advanced during calligraphy “Wang Xizhi” style, but also incorporated with “Yan learning process. Because the diversity of forms and Zhenqing” style, who is a leading Chinese calligrapher structures, combined with the complexity of the and a loyal governor of the “Tang” Dynasty, which personal style and involved evaluator‟s feeling, makes A Study on Quantitative Evaluation of Calligraphy Characters 105 the learners very difficult to identify and imitate was to establish a quantitative analysis system to between different chirography styles, even if copying evaluate calligraphy work and provided an appreciate others work. The evaluation of calligraphy art is a software to learner as a reference. quite subjective work, anyone who wishes to develop Previous research, we did some preliminary writing skill needs to study the technique of writing research about the digital evaluation of calligraphy skill and learn to appreciate chirography art styles. In works [14, 15]. And the characteristics of calligraphy other words, the creation and evaluation of calligraphy, characters between expert and beginner were not only should master of writing knowledge, get rich compared by numerical method [16]. In this study, a practical experience, but also need to artistic calligraphy evaluation system was proposed, which appreciation ability, such as a good eye, intelligence was consisted of the “Direction section analysis and intuition, combined with long experience. system” and “Font shape recognition system” based The problem of overemphasis of blind training was on the traditional calligraphy evaluation method. Four also existing in calligraphy training, teacher trying to classical chirographies were paid attention, “Kaisho”, let student improve writing skill by increasing the “Gyosho”, “Sousho” and “Hiragana”. In order to intensity of training. Usually, learners were taught provide a valuable reference for the learners, 47 from teacher by coping practice and oral explanation characters related from each chirography were to study calligraphy skill. However, it is very difficult
Load more

Recommended publications
  • Arabic Handwriting Synthesis
    © Yousef S. I. Elarian 2014 iii Dedication dهل لوالدي ثم لكل محب To Allah Then, to my parents, and to all who helped, cared, or loved. iv ACKNOWLEDGMENTS Thanks again to my Lord, and to my Parents. Thanks to King Abdul Aziz City for Science and Technology (KACST) for granting and supporting this work (Project # GSP-18-112). Thanks to Dr. Sabri Mahmoud and to Dr. Muhammad Al-Mulhem. Deep Personal Thanks to Dr. Zidouri, Dr. Al-Khatib, and the committee members. Thanks to my colleagues: Sameh, Tanvir, Misbahuddin, Irfan, Anas, and to all who helped that this dissertation is completed Thanks from the heart. v TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................................................................... V TABLE OF CONTENTS ............................................................................................... VI LIST OF TABLES .......................................................................................................... IX LIST OF FIGURES ........................................................................................................ XI LIST OF ABBREVIATIONS ..................................................................................... XIV ABSTRACT ................................................................................................................ XVII XIX .................................................................................................................... ملخص الرسالة CHAPTER 1 INTRODUCTION ..................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Changes to the Basic Resident Registration Law ～Foreign
    Update 258 Changes to the Basic Resident Registration Law ～Foreign residents will be subject to the Basic Resident Registration Law～ Quotation from Portal Site on Policies for Foreign Residents by Cabinet Office, Government of Japan http://www8.cao.go.jp/teiju-portal/eng/policy/index.html (English) http://www8.cao.go.jp/teiju-portal/port/index.html (Português) http://www8.cao.go.jp/teiju-portal/espa/index.html (Español) Foreign residents will be listed on the Basic Resident Registration With the soaring number of foreign nationals entering and residing in Japan each year, the establishment of a legal system by which munici- The Basic Resident Registration Law which currently does not apply to palities can provide basic public services to both foreign and Japanese foreign nationals will be revised, making it applicable to foreign nationals. residents has become an urgent concern. Consequently, foreign residents will be listed on the Basic Resident Registration along with Japanese residents. The Basic Resident Registration is the compiled residence records arranged by household. In order to address such concern, the law for partial amendments to the Basic Resident Registration Law was enacted at the 171st session of Diet and promulgated on July 15, 2009. This will make the Basic Resident Registration Law applicable to foreign residents and help improve their More convenient for foreign residents convenience and streamline municipalities’ operations. This amendment will come into effect within three years after the promulgation date (exact date is to be determined by the Cabinet). ◦This revision enables municipalities to have a better grasp of the members of multinational households (family composed of Japanese and non- In addition, the bill to abolish the Alien Registration Act and revise Japanese individuals), compared with the current two-tier system that list *concerned immigration laws was passed and enacted at the 171st Diet Japanese members and non-Japanese members of the same family in two session.
    [Show full text]
  • 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.
    [Show full text]
  • 49 Original Article TWO UNPUBLISHED WOODEN LIDS NOS.1410 and 1411 in EL
    Egyptian Journal of Archaeological and Restoration Studies "EJARS " An International peer-reviewed journal published bi-annually Volume 6, Issue 1, June - 2016: pp: 49-57 www. ejars.sohag-univ.edu.eg Original article TWO UNPUBLISHED WOODEN LIDS NOS.1410 AND 1411 IN EL- ASHMUNEIN MAGAZINE Safina, A. Egyptology dept., Faculty of Archaeology, Fayoum Univ., Egypt. E-mail: [email protected] Received 29/2/2016 Accepted 14/5/2016 Abstract The main purpose of this article is the publication and study of two wooden lids in El- Ashmunein Magazine. Illustrated drawings are produced for the first time. The complete text of the five columns of hieroglyphs on the lid No.1410 and of the four columns of the lid No. 1411 are the Nut formula, PT 638- 639 (sections a-d), which were incorporated later into the th last part of the 178 chapter of the Book of the Dead. Keywords: Baboon coffin lid, Pyramid Texts, The underground galleries at Tuna el-Gebel. 1. Introduction The two sycamore wooden lids Gebel (c) [2]. Similar burials were found with which we are concerned in this at Saqqara where, after mummification, paper were probably presented to El- most of the upper level baboons were Ashmunein Magazine by S. Gabra (a) . linen-wrapped and each was deposited They were bequeathed to the museum in its own purpose-built rectangular as part of a collection of wooden wooden box without a plaster filling. objects (b) [1] probably all made in the The boxes were placed in niches which same carpenter’s workshop since they were sealed with limestone slabs [3,4] .
    [Show full text]
  • Manual De Iroha: Instalaci´On,Inicio, API, Gu´Iasy Resoluci´Onde Problemas Выпуск
    Manual de Iroha: instalaci´on,inicio, API, gu´ıasy resoluci´onde problemas Выпуск Comunidad Iroha Hyperledger янв. 26, 2021 Содержание 1 Overview of Iroha 3 1.1 What are the key features of Iroha?................................3 1.2 Where can Iroha be used?......................................3 1.3 How is it different from Bitcoin or Ethereum?..........................3 1.4 How is it different from the rest of Hyperledger frameworks or other permissioned blockchains?4 1.5 How to create applications around Iroha?.............................4 2 С чего начать 5 2.1 Prerequisites.............................................5 2.2 Starting Iroha Node.........................................5 2.3 Try other guides...........................................7 3 Use Case Scenarios 9 3.1 Certificates in Education, Healthcare...............................9 3.2 Cross-Border Asset Transfers.................................... 10 3.3 Financial Applications........................................ 10 3.4 Identity Management........................................ 11 3.5 Supply Chain............................................. 11 3.6 Fund Management.......................................... 12 3.7 Related Research........................................... 12 4 Ключевые концепции 13 4.1 Sections................................................ 13 5 Guides and how-tos 23 5.1 Building Iroha............................................ 23 5.2 Конфигурация........................................... 29 5.3 Deploying Iroha..........................................
    [Show full text]
  • A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
    Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .
    [Show full text]
  • 2020 Hyperledger Iroha Application Pentest Report Final
    Linux Foundation 2020 Hyperledger Iroha Web Application Penetration Test Report Tevora Threat Research Group Delivered July 7, 2020 CONFIDENTIAL This report is confidential for the sole use of the intended recipient(s). If you are not the intended recipient, please do not use, disclose, or distribute. Linux Foundation 2020 Hyperledger Iroha Web Application Penetration Test Report Table of Contents Table of Contents EXECUTIVE SUMMARY .............................................................................................................................................................. 3 PURPOSE ............................................................................................................................................................................... 3 SCOPE ................................................................................................................................................................................... 4 FINDINGS OVERVIEW ............................................................................................................................................................... 5 WEB APPLICATION PENETRATION TEST RESULTS ................................................................................................................ 5 STRATEGIC RECOMMENDATIONS .......................................................................................................................................... 6 TECHNICAL SUMMARY ............................................................................................................................................................
    [Show full text]
  • Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards
    Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards Gulnar Rakhmetulla* Ahmed Sabbir Arif† Steven J. Castellucci‡ Human-Computer Interaction Group Human-Computer Interaction Group Independent Researcher University of California, Merced University of California, Merced Toronto I. Scott MacKenzie§ Caitlyn E. Seim¶ Electrical Engineering and Computer Science Mechanical Engineering York University Stanford University Table 1: Conventional error rate (ER) and action-level unit error rate ABSTRACT (UnitER) for a constructive method (Morse code). This table illustrates Computer users commonly use multi-step text entry methods on the phenomenon of using Morse code to enter “quickly” with one handheld devices and as alternative input methods for accessibility. character error (“l”) in each attempt. ER is 14.28% for each attempt. These methods are also commonly used to enter text in languages One of our proposed action-level metrics, UnitER, gives a deeper with large alphabets or complex writing systems. These methods insight by accounting for the entered input sequence. It yields an error require performing multiple actions simultaneously (chorded) or rate of 7.14% for the first attempt (with two erroneous dashes), and in a specific sequence (constructive) to produce input. However, an improved error rate of 3.57% for the second attempt (with only evaluating these methods is difficult since traditional performance one erroneous dash). The action-level metric shows that learning has metrics were designed explicitly for non-ambiguous, uni-step meth- occurred with a minor improvement in error rate, but this phenomenon ods (e.g., QWERTY). They fail to capture the actual performance of is omitted in the ER metric, which is the same for both attempts.
    [Show full text]
  • Special Collections and University Archives Pages From
    Special Collections and University Archives Pages from the Past: Original leaves from Rare Books and Manuscripts Manuscript Group 178 For Scholarly Use Only Last Modified January 29, 2015 Indiana University of Pennsylvania 302 Stapleton Library Indiana, PA 15705-1096 Voice: (724) 357-3039 Fax: (724) 357-4891 Manuscript Group 178 2 Pages from the Past: Original leaves from Rare Books and Manuscripts; Manuscript Group 178 Indiana University of Pennsylvania, Special Collections and University Archives 4 folios; 4 linear feet Historical Information The “Pages from the Past: Original leaves from Rare Books and Manuscripts” (1964) were proprietorial folios that Alfred W. Stites assembled, individually signed, and marketed to academic libraries in the 1960s. In 1966, Stites was president of Stites Associates in Washington, DC, and he amassed several thousand leaves that were removed from rare books and manuscripts and collected by earlier bibliophiles. The original intent of the creation of these folio collections was to address “the concern of rare book collectors today, that the price of a book only a few centuries old had become too costly.” The folios created an affordable way for academic libraries to purchase many examples of artifacts, rare books, and manuscripts. Please note that although these folios have educational and research potential for those interested in the history of the written word and European printing presses, the IUP Special Collections and University Archives does not condone the unnecessary separation of leaves from any rare book or manuscript. Stites created 122 portfolio sets of leaves removed from rare books and manuscripts that were sold to academic libraries (including the IUP Libraries).
    [Show full text]
  • VMD134 Calligraphy
    VMD134 Calligraphy Grendl Löfkvist • Instructor CCSF CALLIGRAPHY [VMD134] O COURSE WEBSITE grph151.wordpress.com YAHOO GROUP [email protected] CLASS MEETINGS Ocean Campus, VART Room 142 Mondays, August 21 – October 23, 2017 6:00 p.m. – 8:50 p.m. INSTRUCTOR Grendl Löfkvist [email protected] OFFICE HOURS Mondays, 5:30 p.m. – 5:50 p.m. COURSE REQUIREMENTS COURSE This class is a fun and exciting hands-on introduction to various techniques and styles of DESCRIPTION handlettering and calligraphy. At the end of this course, you should have an appreciation for the written letterform and its history, an understanding of how it relates to type design, and the resources to further pursue the study and practice of scripts and letterforms. CLASS This class meets for 8 class sessions from 6:00 – 8:50 p.m. Class time will include hands- MEETINGS on practice as well as demonstrations, critiques, and discussions. If you need to miss more than one class/homework deadline in a row, please contact me in advance to avoid being dropped from the class. LEARNING Upon completion of this course, students will be able to identify and discuss historical and OUTCOMES contemporary styles of calligraphy, prepare a surface and work environment for calligraphy practice, demonstrate various styles of calligraphy such as Rustic Roman, Uncials, and Copperplate, use an iterative process to create a calligraphic layout, and demonstrate the use of various calligraphic tools and materials. TEXTBOOKS AND REQUIRED COURSE READER AND SYLLABUS assembled by Grendl Löfkvist (bring to class!) READINGS SUPPLEMENTARY (OPTIONAL) READINGS: supplementary handouts and specimen sheets available on the course website, and a bibliography of recommended readings is provided along with the course reader.
    [Show full text]
  • 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.
    [Show full text]