DOCSLIB.ORG

Ancient Chinese Writing by Emily Mark, Ancient History Encyclopedia, Adapted by Newsela Staff on 07.28.17 Word Count 826 Level 970L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ancient Chinese Writing by Emily Mark, Ancient History Encyclopedia, Adapted by Newsela Staff on 07.28.17 Word Count 826 Level 970L Ms. Kimball History- 6th Grade Week 7 5/18 - 5/22 Name: Date: Per Ancient Chinese Writing By Emily Mark, Ancient History Encyclopedia, adapted by Newsela staff on 07.28.17 Word Count 826 Level 970L Opening detail of a copy of "Preface to the Poems Composed at the Orchid Pavilion" (A.D. 353) by Wang Xizhi (A.D. 303-361), handscroll, ink on paper. Photo by: Palace Museum, Beijing, China/Wikimedia. Ancient Chinese writing first developed during the Shang dynasty. The Shang family ruled China from 1600-1046 B.C. The writing that developed during this time came from how Chinese people used bones for seeing into the future. Some scholars say that markings found on pottery in Ban Po Village are evidence of an earlier writing system. The pottery dates back to 4500-3750 B.C., long before the Shang dynasty. Other scholars argue that these markings were just used to show that people owned certain things. These experts say it wasn't an actual written language. The majority of scholars today agree that Chinese writing developed during the Shang dynasty. The development of writing in China had a significant effect on the culture. The government came to rely on written records. People also expressed their thoughts and feelings through writing, resulting in some of the greatest literature in the world. Oracle bones This article is available at 5 reading levels at https://newsela.com. Ms. Kimball History- 6th Grade Week 7 5/18 - 5/22 Oracle bones were the bones of oxen or the shells of turtles, that were carved with marks. The ancient Chinese were very concerned with knowing the future and would go to diviners for help with making decisions. The diviner would carve the person's question into the bone. Then the diviner would heat it with a hot poker or place it near a fire. The heat would crack the bone. The diviner would then interpret the lines of the crack to answer the person's question. An example of this might be whether the king should go hunting on a certain day. The diviner would carve the name of the king asking the question and the date the question was asked. The diviner would also carve the topic of the question (Hunting) and the specific question (Should king ___ go hunting tomorrow). The bone would then be heated and the lines of the crack interpreted. Afterward, the prediction would be carved into the bone (Yes, the king should go hunting tomorrow). Later, the verification that the prediction was correct (King went hunting and was successful) would also be carved into the bone. Oracle bones were consulted by everyone in the Shang period. During the Zhou dynasty (1046-226 B.C.), which followed the Shang dynasty, oracle bones were replaced by another form of divination. This form was known as the I-Ching (The Book of Changes). In this method, the person with the question would throw sticks onto a table. The diviner would use a written text of hexagrams (six-pointed stars) to interpret the meaning of the pattern made by the sticks. With both oracle bones and the I-Ching, people believed that the spirits of their ancestors were communicating directly with the diviner. Evolution of script From these early beginnings, Chinese script evolved. These scripts were: Jiaguwen: The earliest form of writing on Oracle bones, used around 1600-1000 B.C. This script was pictographic. The carving inscribed on the bone represented an object that had a bigger meaning. Example: If one wanted to write "Should the king go hunting tomorrow?" one would carve an image of the king with his bow and sunrise. Dazhuan: Known as Greater Seal script, developed around 1000-700 B.C. This was also a pictographic script, but it had many more characters and was more refined. The images were inscribed on bronze and wood. Xiaozhuan: Known as Lesser Seal script, developed around 700 B.C. It is still in use today. This script was less pictographic and more logographic, meaning the symbols represented concepts themselves, not objects. Example: If one now wanted to write "Should the king go hunting tomorrow?" one would carve the image for the king and the sign which represented "hunting" and "tomorrow." Lishu: Known as Clerky Script, was developed around 500 B.C. As the name indicates, the script was first used by clerks who kept records for the government. The script was later used extensively during the Qin dynasty (221-206 B.C.) and the Han dynasty (206 B.C. - A.D. 220). Its legacy Most of the scripts that developed elsewhere in Europe and Asia were phonetic. In a phonetic script, each symbol, such as "A," represents a sound, not a concept. This article is available at 5 reading levels at https://newsela.com. Ms. Kimball History- 6th Grade Week 7 5/18 - 5/22 It is accidental that the Shang developed a logographic script (symbols for concepts) rather than a phonetic script. This accident, however, had important consequences for the way Chinese civilization developed. Mastering the script was difficult, and those who became expert in it became part of an elite group who possessed rare skills. However, this led to class divisions. Those who could read and write were considered more important than those who could not. This lasted until A.D. 1949. That year, military leader Mao Tse Tung took over China and simplified Chinese writing to try to make society more equal. Chinese script was adopted by Japan, Korea, and Vietnam. It also influenced other Asian nations. Having a written language allowed China and these other nations to not only to communicate and keep records but also to create some of the most important works in world literature. This article is available at 5 reading levels at https://newsela.com. Ms. Kimball History- 6th Grade Week 7 5/18 - 5/22 Quiz 1 Read the section "Oracle bones." Which sentence from the section BEST supports the idea that spiritual practices drove the creation of writing in China? (A) The ancient Chinese were very concerned with knowing the future and would go to diviners for help with making decisions. (B) An example of this might be whether the king should go hunting on a certain day. The diviner would carve the name of the king asking the question and the date the question was asked. (C) Oracle bones were consulted by everyone in the Shang period. (D) During the Zhou dynasty (1046-226 B.C.), which followed the Shang dynasty, oracle bones were replaced by another form of divination. 2 Which sentence from the article BEST supports a central idea of the article? (A) The pottery dates back to 4500-3750 B.C., long before the Shang dynasty. (B) The diviner would carve the name of the king asking the question and the date the question was asked. (C) In this method, the person with the question would throw sticks onto a table. (D) Most of the scripts that developed elsewhere in Europe and Asia were phonetic. 3 Which paragraph in the section "Its legacy" BEST supports the idea that the script developed in China was very different from the script developed in other places? 4 Read the detail below from the article. Example: If one now wanted to write "Should the king go hunting tomorrow?" one would carve the image for the king and the sign which represented "hunting" and "tomorrow." How does this detail develop a CENTRAL idea of the article? (A) It shows that kings were interested in going hunting. (B) It shows that kings were concerned about going hunting at a good time. (C) It shows how writing a question about a king going hunting changed from period to period. (D) It shows that the first writing was about a king going hunting. This article is available at 5 reading levels at https://newsela.com..
Load more

Recommended publications
  • 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]
  • 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.
    [Show full text]
  • Sinitic Language and Script in East Asia: Past and Present
    SINO-PLATONIC PAPERS Number 264 December, 2016 Sinitic Language and Script in East Asia: Past and Present edited by Victor H. Mair Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form.
    [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]
  • Negotiation Philosophy in Chinese Characters
    6 Ancient Wisdom for the Modern Negotiator: What Chinese Characters Have to Offer Negotiation Pedagogy Andrew Wei-Min Lee* Editors’ Note: In a project that from its inception has been devoted to second generation updates, it is instructive nonetheless to realize how much we have to learn from the past. We believe Lee’s chapter on Chinese characters and their implications for negotiation is groundbreaking. With luck, it will prove to be a harbinger of a whole variety of new ways of looking at our field that will emerge from our next round of discussion. Introduction To the non-Chinese speaker, Chinese characters can look like a cha- otic mess of dots, lines and circles. It is said that Chinese is the most difficult language in the world to learn, and since there is no alpha- bet, the struggling student has no choice but to learn every single Chinese character by sheer force of memory – and there are tens of thousands! I suggest a different perspective. While Chinese is perhaps not the easiest language to learn, there is a very definite logic and sys- tem to the formation of Chinese characters. Some of these characters date back almost eight thousand years – and embedded in their make-up is an extraordinary amount of cultural history and wisdom. * Andrew Wei-Min Lee is founder and president of the Leading Negotiation Institute, whose mission is to promote negotiation pedagogy in China. He also teaches negotiation at Peking University Law School. His email address is an- [email protected]. This article draws primarily upon the work of Feng Ying Yu, who has spent over three hundred hours poring over ancient Chinese texts to analyze and decipher the make-up of modern Chinese characters.
    [Show full text]
  • 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.
    [Show full text]
  • The Origin and Evolvement of Chinese Characters
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portal Czasopism Naukowych (E-Journals) BI WEI THE ORIGIN AND EVOLVEMENT OF CHINESE CHARACTERS Writing, the carrier of culture and the symbol of human civilization, fi rst appeared in Sumer1. Like other ancient languages of Egypt and India, ancient Sumerian symbols have been lost in the process of history, but only Chinese characters still remain in use today. They have played a signifi cant role in the development of Chinese lan- guage and culture. This article intends to display how Chinese characters were creat- ed and how they were simplifi ed from the ancient form of writing to more abstract. Origin of Chinese characters Chinese characters, in their initial forms, were beautiful and appropriately refl ected images in the minds of ancient Chinese that complied with their understanding of reality. Chinese people selected the way of expressing meaning by fi gures and pic- tures, and Chinese characters begun with drawings. Three Myths in Ancient Times It is diffi cult to determine the specifi c time when the Chinese characters emerged. There are three old myths about the origin of Chinese characters. The fi rst refers to the belief that Chinese characters were created by Fu Xi – the fi rst of Three Sovereigns2 in ancient China, who has drew the Eight Trigrams which have evolved into Chinese characters. The mysterious Eight Trigrams3 used for divination are composed of the symbols “–” and “– –”, representing Yang and Yin respectively. 1 I.J. Gelb, Sumerian language, [in:] Encyclopedia Britannica Online, Encyclopedia Britannica, re- trieved 30.07.2011, www.britannica.com.
    [Show full text]
  • 3608 - Roadmap Snapshot
    JTC 1/SC 2/WG 2 N3608 - Roadmap Snapshot INTERNATIONAL ORGANIZATION FOR STANDARDIZATION ORGANISATION INTERNATIONALE DE NORMALISATION ISO/IEC JTC 1/SC 2/WG 2 Universal Multiple-Octet Coded Character Set (UCS) ISO/IEC JTC 1/SC 2/WG 2 N3608 2009-04-09 Title: Snapshot of Pictorial view of Roadmaps to BMP, SMP, SIP, TIP and SSP Ad hoc group on Roadmaps (Michael Everson, Rick McGowan, and Ken Whistler) Source: Adapted by: V.S. Umamaheswaran Status: For review and adoption by WG 2 at its meeting M54 Distribution: ISO/IEC JTC 1/SC 2/WG 2, ISO/IEC JTC 1/SC 2 and Liaison Organizations Replaces: JTC 1/SC 2/ WG 2/ N3398 Summary This document is the latest snapshot of the roadmap documents that has been presented to and adopted by WG 2 (ISO/IEC JTC1/SC2/WG 2). Included in this document are four tables containing the roadmaps to ● the Basic Multilingual Plane (BMP - Plane 00) (version bmp-5-1-5, 2009-02-04) ● the Supplementary Multilingual Plane (SMP - Plane 01) (version smp-5-1-4, 2009-02-04) ● the Supplementary Ideographic Plane (SIP - Plane 02) (version sip-5-1-1, 2009-02-26, and ● the Tertiary Ideographic Plane (TIP - Plane 03) (version tip-5-1-1, 2008-10-17, and ● the Supplementary Special-purpose Plane (SSP - Plane 14) (version ssp-5-1-0, 2008-04-04). The Roadmap ad hoc group maintains and updates the roadmaps as a service to the UTC (Unicode Technical Committee) and to WG 2 (ISO/IEC JTC 1/SC 2/WG 2).
    [Show full text]
  • Tangut (Xixia) Script and Unicode (L2/07-289 = WG2/N3307)
    Tangut Background WG2/N3307 L2/07-289 ISO/IEC JTC1/SC2/WG2 Universal Multiple-Octet Coded Character Set Title: Tangut Background Reference: L2/07-143 “Proposal to encode Tangut characters in UCS Plane 1” Doc Type: Working Group Document Source: UC Berkeley Script Encoding Initiative (Universal Scripts Project) Author: Richard Cook Status: Liaison Contribution Action: For consideration by UTC; provided for information to JTC1/SC2/WG2 Date: 2007-09-01 No action by WG2 is requested on this document — it is only provided for information. The current document provides background information relating to L2/07-143 (WG2/N3297) “Proposal to encode Tangut characters in UCS Plane 1”. L2/07-143 (p.2,3) refers to the following “Research Notes” link, for scanned examples, and for details on Tangut history, writing, and for background information relating to the mapping database and code charts: http://unicode.org/~rscook/Xixia/index.html These notes (included below in PDF snapshot), go into some depth on points summarized in L2/07-143, and also reflect on-going revision of the property documentation in L2/07-290 (== L2/07-158, “Proposed Draft Unicode Technical Report #43: A User’s Guide to the UniTangut Database” [PDUTR #43]). These notes are now being provided to the technical committees for use in preparing text for a Tangut Block Introduction, for a future version of the standard. The online database look-up tool (also mentioned in L2/07-143), has been updated with images for the full set of representative glyphs (in four styles, and in three sizes each) from the Multi-Column Code Chart (L2/07-144), and accesses data from a draft of “UniTangut.txt” (L2/07-291): http://linguistics.berkeley.edu/~rscook/cgi/ztangut.html Copies of the latest revision of PDUTR #43 (L2/07-290) and latest “UniTangut.txt” (L2/07-291) draft are also linked on that page.
    [Show full text]
  • Seal Script in UCS Source: TCA, China, Selena Wei, Chen Zhuang Action: for Consideration by JTC1/SC2/WG2
    ISO/IEC JTC1/SC2/WG2 N5105 Date: 2019-6-20 Title: Proposal to encode Small Seal Script in UCS Source: TCA, China, Selena Wei, Chen Zhuang Action: For consideration by JTC1/SC2/WG2 This document was discussed at three meetings of Shuowen Seal Ad Hoc Meeting (28-29th Aug, 2017 in Taipei), WG2#67 (18-22th June, 2018 in London), and Shuowen Seal Informal meeting (1st June, 2019 in Beijing), and revised according to the resolutions of these meetings. This document proposes to encode 11,093 (Note 1) Small Seal Script characters of Shuowen Jiezi (Tenghuaxie Version, 14 volumes in total) in UCS. The appendix contains 14 parts, providing original glyphs, TTF font, SW Radicals, Corresp Modern Chars. For WG2 discussion and feedback. NOTE 1: We originally proposed to encode 11,108 Small Seal characters in N4688. Due to Chongwen will only accept one, so delete 15 repeated characters. See n5089 Q2. Legend of the tables 1. Serial Number This is per-volume serial number. The first heading character in each volume is number as 1. 2. Serial No. in Tenghuaxie version This is whole-volumes serial number. Normally expressed by zero-padded 5 digits “[0-9]{5}”. Exceptionally, the newly added characters (新附字) which were introduced since Sung dynasty are expressed as “ [Xx][0-9]{3}”. The newly added characters l 3. Original glyph The scanned images of Tenghuaxie version of Shuowen Jiezi. Basically they are scanned image of 商務印書館 石印本 of Tenghuaxie version, but for the cases which it had wrong glyphs, the scanned image of original Tenghuaxie version.
    [Show full text]
  • Iso/Iec Jtc 1/Sc 2/Wg 2 N4605-A
    ISO/IEC JTC 1/SC 2/WG 2 N4605-A DATE: 2014-10-02 Tentative Agenda – Meeting # 63 Topic (Document No.) Proposed Outcome 1. Opening and roll call (N4551) Update Distribution List 2. Approval of the agenda (N4605-A) Approved agenda 3. Approval of minutes of meeting 62 (N4553) Approved Minutes 4. Review action items from previous meeting (N4553-AI) Updated Action Item List 5. JTC1 and ITTF matters FYI 5.1 Results of Voting: ISO/IEC FDIS 10646 4th ed (N4586) Published 2014-09-01 – SC2 N4358/WG2 N4618 6. SC2 matters: 6.1. SC2 Notification of approval of subdivision of work (N4578) FYI 6.2. Notification of SC2 approval of SC2 N4319, request from FYI the Unicode Consortium for changing the category of liaison from C to A (N4577 ) 6.3. Summary of Voting on 10646: DAM1 (Ed 4) Review and progress (N4611, N4611-BSI) 6.4. Proposed Disposition of Ballot Comments DAM1 (N4615) Approve and progress 7. WG2 matters 7.1 Possible ad hoc meetings – Nushu (N4647 ad hoc report) (8:30 Wed), Tangut (post close on Monday) Consider (Tangut - N4642) 7.2 Summary of Voting on 10646 4th edition PDAM2 (N4614) FYI (N4614 Commentfiles PDAM2) 7.3 Proposed Disposition of Ballot Comments on PDAM2 Approve and progress 10646 4th ed (N4616) 7.4 Roadmap Snapshot (N4617) Adoption 8. IRG status and reports 8.1 IRG No. 42 Resolutions – Qindao, China (N4582) FYI 8.2 IRG No. 42 Summary Report (N4581) Adoption 8.3 IRG Principles and Procedures version 7.5 (N4579) FYI 8.4 Report of Inaccurate Source Reference for Twelve FYI HKSCS Compatibility characters(N4598) 9.
    [Show full text]
  • The WAY of CHINESE CHARACTERS
    The WAY of CHINESE CHARACTERS 漢字之道 The ORIGINS of 670 ESSENTIAL WORDS SECOND EDITION JIANHSIN WU SAMPLEILLUSTRATED BY CHEN ZHENG AND CHEN TIAN CHENG & TSUI BOSTON Copyright © 2016 by Cheng & Tsui Company, Inc. Second Edition All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, scanning, or any information storage or retrieval system, without written permission from the publisher. 23 22 21 19 18 17 16 15 1 2 3 4 5 6 7 8 9 10 Published by Cheng & Tsui Company, Inc. 25 West Street Boston, MA 02111-1213 USA Fax (617) 426-3669 www.cheng-tsui.com “Bringing Asia to the World”TM ISBN 978-1-62291-046-5 Illustrated by Chen Zheng and Chen Tian The Library of Congress has cataloged the first edition as follows: Wu, Jian-hsin. The Way of Chinese characters : the origins of 400 essential words = [Han zi zhi dao] / by Jianhsin Wu ; illustrations by Chen Zheng and Chen Tian. p. cm. Parallel title in Chinese characters. ISBN 978-0-88727-527-2 1. Chinese characters. 2. Chinese language--Writing. I. Title. II. Title: Han zi zhi dao. PL1171.W74 2007 808’.04951--dc22 2007062006 PrintedSAMPLE in the United States of America Photo Credits front cover ©Fotohunter/ShutterStock CONTENTS Preface v Basic Radicals 1 Numerals 17 Characters by Pinyin (A-Z) A - F 21 G - K 65 L - R 106 S - W 143 X - Z 180 Indexes CHARACTER INDEX by Integrated Chinese Lesson 227 CHARACTER INDEX by Pinyin 239 CHARACTER INDEX: TRADITIONAL by Stroke Count 251 CHARACTERSAMPLE INDEX: SIMPLIFIED by Stroke Count 263 ABOUT the AUTHOR JIANHSIN WU received her Ph.D from the Department of East Asian Languages and Literatures at University of Wisconsin, Madison.
    [Show full text]