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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. -
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. -
Issn 1672-8025
Follow us on WeChat Now Advertising Hotline 400 820 8428 城市漫步北京 英文版 06 月份 国内统一刊号: CN 11-5232/GO China Intercontinental Press ISSN 1672-8025 JUNE 2015 2015 BEST BEIJING AWARDS VOTING ENDS JUNE 19 June 2015.indd 1 15/5/25 下午3:19 主管单位 :中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 :五洲传播出版社 地址 :北京市海淀区北三环中路31 号生产力大楼 B 座 602 邮编 100088 B-602 Shengchanli Building, No. 31 Beisanhuan Zhonglu, Haidian District, Beijing 100088, PRC http://www.cicc.org.cn 社长 President of China Intercontinental Press 李红杰 Li Hongjie 期刊部负责人 Supervisor of Magazine Department 邓锦辉 Deng Jinhui 编辑 Editor 刘扬 Liu Yang 发行 / 市场 Distribution / Marketing 黄静,李若琳 Huang Jing, Li Ruolin Editor-in-Chief Stephen George Deputy Editor Oscar Holland Senior Editors Marianna Cerini, Noelle Mateer Designers Tin Wu, Xiaoran Li Staff Photographer Holly Li Contributors Andrew Chin, Dr Jonathan Chatwin, Mia Li, Trevor Marshallsea, Sarah E. Weber, Qiao Zhi, Karoline Kan, Fahy Yen, Jiaming Wang, Randy Richardson, Sophi Pederson Urbanatomy Media Shanghai (Head office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 021-8023 2199 传真 : 021-8023 2190 (From February 13) Beijing 广告代理 : 上海和舟广告有限公司 北京市东城区东直门外大街 48 号东方银座 C 座 9G 邮政编码 : 100027 48 Dongzhimenwai Dajie Oriental Kenzo (Ginza Mall) Building C Room 9G, Dongcheng District, Beijing 100027 电话 : 010-8447 7002 传真 : 010-8447 6455 Guangzhou 上海和舟广告有限公司广州分公司 广州市越秀区麓苑路 42 号大院 2 号楼 610 房 邮政编码 : 510095 Room 610, No. 2 Building, -
An Intelligent System for Chinese Calligraphy
An Intelligent System for Chinese Calligraphy Songhua Xu†,‡∗, Hao Jiang†,§, Francis C.M. Lau§ and Yunhe Pan†,¶ † CAD & CG State Key Lab of China, Zhejiang University, Hangzhou, Zhejiang, P.R. China, 310027 ‡ Department of Computer Science, Yale University, New Haven, Connecticut, USA, 06511 § Department of Computer Science, The University of Hong Kong, Hong Kong, P.R. China ¶ Chinese Academy of Engineering, Beijing, P.R. China, 100088 Abstract if computers can tell the beautiful from what is not, beauty contests could certainly be open to them as well. Such con- tests will probably not feature a catwalking computer, but Our work links Chinese calligraphy to computer science rather computer-generated images of beauty, or these im- through an integrated intelligence approach. We first extract ages against real, human-generated ones. This might be go- strokes of existent calligraphy using a semi-automatic, two- ing overboard, but to imbue the computer with the ability to phase mechanism: the first phase tries to do the best possi- ble extraction using a combination of algorithmic techniques; recognize beauty will likely win general support. Further- the second phase presents an intelligent user interface to al- more, the ultimate intelligent machine in people’s mind is low the user to provide input to the extraction process for one that can create results of beauty on its own, which cer- the difficult cases such as those in highly random, cursive, tainly represents a nice challenge for AI researchers. or distorted styles. Having derived a parametric representa- tion of calligraphy, we employ a supervised learning based We feel entailing the computer in understanding or even pro- method to explore the space of visually pleasing calligraphy. -
PDF Download Art and Technique of Sumi-E Japanese Ink-Painting
ART AND TECHNIQUE OF SUMI-E JAPANESE INK- PAINTING PDF, EPUB, EBOOK Kay Morrissey Thompson | 72 pages | 15 Sep 2008 | Tuttle Publishing | 9780804839846 | English | Boston, United States Art and Technique of Sumi-e Japanese Ink-painting PDF Book Sat, Oct 31, pm - pm Eastern Time Next start dates 2. Know someone who would like this class but not sure of their schedule? Animals is one category of traditional East Asian brush painting. Dow strived for harmonic compositions through three elements: line, shading, and color. I think I'll give it a try! Kay Morrissey Thompson. When the big cloud brush rains down upon the paper, it delivers a graded swath of ink encompassing myriad shades of gray to black. He is regarded as the last major artist in the Bunjinga tradition and one of the first major artists of the Nihonga style. Landscape - There are many styles of painting landscape. Art Collectors Expand the sub menu. See private group classes. Get it first. Modern sumi-e includes a wide range of colors and hues alongside the shades of blackand the canvas for the paintings were done on rice paper. Ready to take this class? Depending on how much water is used, the artist could grind for five minutes or half an hour. Japanese Spirit No. First, it was Chinese art in the 16th Century and Chinese painting and Chinese arts tradition which was especially influential at a number of points. Want to Read saving…. Nancy Beals rated it liked it Aug 17, Different brushes have different qualities. PJ Ebbrell rated it really liked it Mar 29, Raymond Rickels rated it really liked it Oct 18, Submit the form below and we'll get back to you within 2 business hours with pricing and availability. -
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. -
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. -
Problems and the Coping Measures in American Beginners' Chinese
Suggested Citation: Li, H., & McDermott, B. (2017). Problems and the coping measures in American beginners’ Chinese calligraphy writing. Chinese Language Teaching Methodology and Technology, 1. Chinese Language Teaching Methodology and Technology Manuscript 1003 Problems and the Coping Measures in American Beginners’ Chinese Calligraphy Writing Huiwen Li Brendan McDermott How does access to this work benefit you? Let us know! Follow this and additional works at: http://engagedscholarship.csuohio.edu/cltmt Part of the Chinese Studies Commons, Curriculum and Instruction Commons, Educational Assessment, Evaluation, and Research Commons, Educational Methods Commons, and the Instructional Media Design Commons Li and McDermott: Problems and the Coping Measures in American Beginners’ Calligraphy Problems and the Coping Measures in American Beginners’ Chinese Calligraphy Writing Huiwen Li, Cleveland State University Brendan McDermott, HESS International Education Group ABSTRACT Through class observations and interviews, this study identified eight types of writing errors that American beginners of Chinese calligraphy. These errors include: (1) failure to apply the Chinese philosophical mindset when producing a real work of calligraphy, (2) dropping some stroke(s) or stroke part(s), (3) misplaced strokes, (4) improperly connected strokes, (5) misshapen curved strokes, (6) disproportionate component size, (7) incorrect thickness and character size, and (8) angled vertical strokes. These errors reflect the students’ lack of knowledge of Chinese characters, the writing skills, and the application of Yin and Yang philosophy. Corresponding instructions and guidance are needed to help American beginners cope with these issues. Keywords: American students, Chinese calligraphy writing, problems, coping Culture is intertwined with language, and thus cannot be separated from language learning (Ishihara & Cohen, 2014; Sapir, 2014). -
09812 14: 24 1 "East Asian Civilizations: Traditional Era
01:574:111 The History of the Korean Script and Calligraphy II (2 credits) Class time: Wed. 6:10-8:10 pm Classroom: Hardenbergh Hall B4 (HH-B4) Prerequisites: 01:574:110 The History of the Korean Script and Calligraphy I Professor Hyobin Kwon Office Hour: 5:00-5:30pm & by appointment (e-mail: [email protected]) Course Description As a continuation to Korean 111, the course will further explore the history and characteristics of Hangul, the indigenous morphophonemic writing system from its invention in the 15th century throughout the history of Korea. It will provide more practice in a variety of Hangul writing styles in brush and pen writing (e.g. old Panbon style and Palace style with regular and cursive forms for brush writing). In addition, "Literary painting(Painting with literary themes). One of the main themes of the genre is "Sagunja (Four noble ones)" that consist of plum blossoms, orchid, bamboo and chrysanthemum. Students will learn brush stroke techniques, composition, and essential skills and will develop an understanding of aesthetics of Korean calligraphy and Korean brush painting and its role in traditional Korean culture. Assessment: Students will be evaluated based on the midterm and calligraphy productions. Grading is based on: Attendance, practice, concentration 10% Midterm (on theoretical part) 20% Brush writing production (calligraphy) 20% Ink painting production (Sagunja) 20% Final brush artworks in scroll 30% Goals/outcome of the course: Understand characteristics of the Korean script, Hangul and its historical development Understand and appreciate different brush writing styles and their historical contexts Develop the basics of brush writing techniques Develop pen writing skills in the Korean calligraphic tradition Learn the basics of brush painting of Sagunja (“four noble ones”) Appreciate innovative typeset designs through the history of Korean printing Appreciate and practice a modern genre of “Hangul calligraphy” as a new art form 1 Required Books and Materials: Textbook: Lee, Mikyung. -
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.