Similar to Sumerian proto-cuneiform writing, the nature of Chinese writing is fundamentally ideographic, in which concepts or thoughts are represented visually rather than through abstract speech sounds. This paper explores ten ways to form Chinese characters by using the decoded characters through their ideograms. A character comes from thoughts, the thoughts come from images, and the images themselves come from the object or the event depicted. Therefore, the same character can be used in different dialects or languages to depict the same concepts. Only when there are enough ideograms to create their graphs for phonography can we develop phonography. During the first stage of hundreds of years, most Sumerian clay characters were pictograms and ideograms. The majority of the phono-semantic compounds appeared in the second stage when the foreign Akkadians used Sumerian characters. Just as the majority of Shang bone characters were pictograms and ideograms, most phono-semantic compound characters were modified and created by the foreign Zhou people later. At present, western theories have not followed the traditional path to the meaning of thought. The ten strategies of ideographic writing are the conventional path to the meaning of thought, rather than a bridge between language.

Between 1936 and 1940, Herrlee G. Creel and Peter A. Boodberg engaged in what has come to be seen as a celebrated debate over the nature of Chinese writing. Creel characterized this writing as fundamentally “ideographic.” Boodberg, for his part, objected that by definition writing represents speech, and therefore all writing—very much including Chinese writing—must be fundamentally phonetic. Seventy-five years have passed since Boodberg’s second essay was published. Although a number of influential Western scholars—especially those with an interest in linguistics—have pronounced his to be the final word on the topic, the history of Chinese writing is sufficiently rich to stimulate renewed discussion and perhaps also new ideas (or at least restatements of old ideas). In this essay, I suggest that not only can the category of Chinese characters termed semantographs have an ideographic basis, but the same is true as well for a sizable percentage of phonograms.

The Chinese Characters in stone inscription in Chinese middle ages is one of the most important research materials of the Chinese history and Chinese language and Characters. It is very hard word to use these materials for huge quantity, large time span, and spread over different area, so it is necessary to build a database to promote the research work on Middle Chinese Characters. Before this work, creating a set of standards is important basic work. This is the purpose of this paper. There are only some preliminary considerations on the Chinese Characters in stone inscription in Chinese Middle Ages. In the future, with the development of the work more scientific standards will be further discussed.

Xi-Yin writing Chinese characters is a kind of special form, it with the historical evolution of the Chinese characters change. As a kind of practical writing and artistic form of union, it has never left the category of Chinese characters, but also different from general characters written form, present a unique historical value and artistic charm. Based on the development of Chinese history longitudinal time sequence, induction and discusses the Xi-Yin writing in China from different periods, as well as the main form of the Chinese characters change along with the evolution of history context, trying to explain Chinese characters and Xi-Yin writing “river with the flow” coexist relationship, and then reveal Xi-Yin writing in China in the development of Chinese history.

漢字, 一般認爲是經過象形文字階段的‘表意文字’, 但嚴格來說, 漢字是 ‘意音文字’。‘形聲字’(占有漢字總數的90%以上)可以證實這點。只不過, 形 聲字缺乏表音技能。魏晋南北朝時代不斷地探究漢字字音表記法的結果, 韻 書出現於世上。漢字在‘反切法’里就作出表音文字技能。無論如何, 中國自 有文字以來, 至今幾千年, ‘中國的國字’就是漢字。十九世紀末, 不斷地有人主張‘改革文字’, ‘廢棄漢字‘ ’實現拼音化‘, 1892年, 盧戇章初次主張’漢字改革‘以來, 錢玄同․陳獨秀․胡適․魯迅․瞿 秋白等人也開始發出了’漢字改革‘, ’漢字拼音化‘的喚呼聲。 解放以後, 毛澤 東說: “文字改革要走世界文字共同的拼音方向”, 周恩來在≪當前文字改革 的任務≫的報告裡也指摘了“漢字簡化, 普及普通話, 漢語拼音方案的制定和 實現”等中國面對的文字改革3項任務。此後, 中國一直是堅持文字拼音化, 可是, 九十年代以後, 對漢字拼音化改革却有了消極的看法。無論如此, 不 僅是中國大陸, 一國兩制的香港和澳門, 臺灣, 新加坡以及分布於世界各地 的華僑, 他們使用的文字仍然還是漢字。一句話, ’漢字拼音化‘至今還是沒能 實現到。但拼音文字却在中國以官文使用了約100年之久。這就是所謂的八 思巴文字。 八思巴字在中國製造使用於官方文字。八思巴字可以說是中國的最初 ‘拼音方案’, 也是中國最後的‘表音文字’。元朝滅亡, 明太祖朱元章下令加强 禁止使用元帝國100餘年所使用的蒙古語言․風習, 加强復原漢文化, 在這種 政策之下, 元朝官文八思巴字一下子消失了有562年, 直到1930年, 蘇聯龍果 夫敎授以碑刻的蒙古字資料作爲硏究, 傳於人世之後, 才被人們所重視, 元 朝詔書․官印․牌符․兵符․碑刻․印章․錢鈔等元代官方文件和文物, 以 及≪蒙古字韻≫․≪百家姓蒙古字≫․≪蕯迦格言蒙譯本≫殘頁等豐富的拼 音文字文獻, 對於中國歷史․蒙古歷史․元代民族關係․語言․社會․政 治․經濟․文化․韓國韻書各方面都成爲珍貴的資料。

中國文字是一種表意體系的文字, 字的形體與字義密切相關, 想要了解它, 首先就要掌握字形結構的特點與規律. 但從另一方面來看, 它也是一種方塊文字, 字形複雜, 筆劃錯縱, 加上中國文字淵源久遠, 文字繁衍不息, 錯亂日多, 積非成是的情況層出不窮, 更容易造成使用者的誤寫, 誤讀與誤用, 成為所謂的「錯別字」. 現今, 韓國大學念中文系的學生寫漢字的情況, 出現了多種「錯別字」, 除了漢字本身的問題以外, 也有從繁體字換到簡體字當中有些不規律的變化引起了令學生寫錯字的原因.而學生也有自己寫韓字的習慣,寫漢字的書寫方法沒得教育之下, 以自己韩字書寫的方法來寫漢字,因此在中國沒看過的書體會出現. 除了這些原因以外, 字意不清楚就寫錯或寫別字.因此要儘量克服這些問題,　要參考鄰近的中國,　臺灣,　香港的漢字教育, 他們也有遇到同樣的問題, 我們也要參考他們摸索的方法, 而重新造出我們自己的方法, 我個人提出構築漢字的網站, 在課堂上教漢字的時候, 利用多煤體, 漢字的形, 音, 意在一個畫面上, 尤其是利用古文字, 有圖片的文字給學生看, 讓他們辨別字的本義與現今所使用的字義之間差異, 這樣讓學生學漢字容易懂, 而減少產生「錯別字」的問題.

文学是以文字表现出来的，文字就是文学的最重要工具。不过在韩国无论是一般人，或是学术界，对文字并没有明确的概念。韩国本来用汉字， 后来创制韩文，加以混用，由此韩国的文字就是汉字与韩文两种文字结合而成，一直用到现在了。不过混用两种文字，往往造成混乱，有些人主张废除汉字，专用韩文，很像是过去中国的鲁迅所说“汉字不灭，中国必亡。”的主张。尤其韩文学者的这种主张是很激烈的。汉字是韩国的国文，还是外文，国家及学术界都没有明确的答复。研究文学的学术界竟然对自己的文字也没有统一的标准，可以说是搞文学最基本的条件也没有具备。 在此主要探讨有关汉字的这种问题，想找一个标准，来建立国文的范围。汉字不能说是外文，韩国用汉字的历史已经超过两千年，过去韩国的文献，绝大部分都是使用汉字记载的。到了现在计较汉字的产地，排斥汉字，并否定用汉字的历史，这不能说是合理的态度。 世宗大王创制训民正音，并不是要代替汉字的，而是要补充汉字的缺点。汉字原来并不是很完善的文字。‘字形’到了秦始皇才开始用统一的形态。‘字音’呢，到了现代造出汉语拼音方案以后才有了全国性的标准音，这才有了半世纪左右的历史，又是借用罗马字母的。训民正音就是汉语拼音方案一样，给每个汉字注音，更进一步用韩国话解释字义，这是因为训民正音不只是表音符号，而是一个完整的表音文字，用来把汉字及汉文的意义都可以翻成韩文。 训民正音如此解决了当时文字的两大问题；其一确立汉字的注音方法，以确定汉字的标准音，其二可以记录当时的口语，一般平民也很容易掌握文字，可享有文字生活。 训民正音既是伟大，正如郑麟趾说；“因声而音叶七调，三极之义，二气之妙，莫不该括，以二十八字而转换无穷，简而要，精而通。……虽风声鹤唳鸡鸣狗吠，皆可得而书矣。”，不过训民正音还是表音文字，只能表音，不表义。因此与汉字结合，才能尽其功用，这就是世宗大王创制训民正音的目的了。 现在我们用汉字是极为自然的，单独用韩文是不合世宗大王的意图，是很明确的。再说我们用的汉字就是我们的文字。