The interpretation of Chinese classic poetry process, often involving different text, sound legal and other issues. The solution to these problems will directly touch so much of the understanding of classical poetry arts . In this paper, Bai juyi“drunk with Li shiyi memories Yuan ju” and Li shangyin “Sui gong”two pieces, for example, are intended to explain the process in the interpretation of classical poetry, the value and significance of the text reading.

The research is based on the multi-subject evidence to proving the origin of white couch Garuda symbol in Naxi Dongba Pictograph. According to the relationship between phonetics and semantics of Garuda in Tibetan and Naxi, we found that the archetype of white couch Garuda symbol in Naxi Dongba Pictograph origin from the Garuda of ancient Indian Hinduism and Buddhism and khyung in Tibetan culture, with the spread of religion and culture in Himalaya area, Garuda symbol accepted by Naxi and pronunciation of Garuda in Naxi also borrow from Tibetan. A Probing studies of white couch Garuda symbol in Naxi Dongba Pictograph show us a splendid cultural exchange history of Indian, Tibetan and Naxi, we when probation into the origin of Character in writing system, essential evidence of our point should from inner or outer of writing system , we cant just relay on inner of writing system.

The earliest characters in China originated from the Eight Diagrams drawn by Fuxi who was enlightened from Hetuluoshu and the characters resulted in the invention of Chinese characters. The earliest set of Chinese characters were the clan emblems. Drawing the Eight Diagrams, categrizing family names and scoring signs, Fuxi initiated the history of 5-thousand-year Chinese civilization. The recordations of literature shows that the activities of drawing the Eight Diagrams and scoring signs by Fuxi and creating words by Cangjie were both from central China. Seen from the archeological findings, the self-explanatory words represented by numerals mostly originated from the primary recording signs of Yangshao Culture in Guanzhong Rigion, the central Shannxi Province, while the main construct components of characters having the pictographic and associative traits might have certain connections and lineage with the pictographic signs of Dawenkou Culture in the rigion of Haidai, Shandong Province and its neighbors. It was in Central China that the Chinese ancient cultures developed in the way of exchanging, melting, expending and booming, and it was also there that the Chinese character system was firstly formed, where Chinese civilization sent out its first light.

Chinese characters are basically rooted into Chinese culture background, so the special form of a certain Chinese character has its unique historical connotation. Though some concepts about Chinese characters culture are still under discussion, the historical graphemes of Chinese characters are undoubtedly the main content in culture research. Some vivid practical applications are discussed in this study to reveal the abundant culture content in the historical graphemes of Chinese characters.

Chinese characters we used today were stereotyped and completed in tang dynasty. With the development of imperial examinations in Sui and Tang dynasties, “Zi Yang Xue” has been most developed and gloried. But Times have passed and circumstances have changed, we can not see how much it would be any more. This paper put forward that it is better refers to the stone inscription when we do research on “Zi Yang Xue”. Compared to the former research getting so caught up in body study——“Zi Yang Xue” and it’s analysis and introduction，this paper will play a positive role on the area.

I had a chance to realize an aesthetic sense of the Chinese character, one of the elements of Chinese culture, from the structures of China Pavilion at Shanghai World Expo 2010. And I thought of the Chinese characters’cultural expressions in Chinese culture, especially in seal- engraving from that experience. Since then, I started to study on the aesthetic relations between the Chinese characters and the seal-engraving. This study is titled as “The aesthetic expressions of Chinese characters in China’s traditional seal-engraving”, and deals with the beauty of character forms and the beauty of undertone of Chinese characters from the viewpoint of seal-engraving. The Chinese characters have changed into various character forms through thousands of year. For instance, there are the Inscription on Animal Bones and Tortoise Shells, the Bronze Inscription, the Small Seal Script, the Official Script, the Wei Script, the Regular Script, the Running Script and the Grass Script (Cursive style). Among them, the Small Seal Script has the most various forms. Furthermore, the Small Seal Script is in the position that none of the characters can replace in seal-engraving, the character forms changed constantly and showed various senses of beauty. This study tries to analyze the beauty of characters shown on the front and sides of the seal with the understanding of the character forms and the rules of change. Also, this study tries to show the value of Chinese characters in China’s traditional arts from the viewpoint of seal-engraving. The seal-engraving looks small but creates a big art using the beauty of character forms, the inner beauty of characters, the arrangement of characters, the implications of characters and supplementary contents of sides of the seal. On the whole, the aesthetic value of the Chinese characters in the field of seal-engraving is examined in this study through the examples of typical ancient seals and picture materials.

The crystallization of Chinese syntax is a necessary way to explore Chinese grammar. The crystallization is to generalize the brief paradigm of syntax rules which is scattered and expressed by languages. In this article, we try to prove its necessity and possibilities, the formation and use of one Paradigm and Three Forms. We also talks about the sorts of declarative sentence, three major problems of Chinese-English thought changing and the concept of educational reform.

It is recognized that Wadang Characters is used not only for archeologist, but also for cultural history, history, archeology, study of types and objects. Wadang Characters with distinct characteristics in space and materials has closed-relations with users. Their distinct factors of Wadang Characters have uncommon importance in the course of translating the letters. When inscribing letters, Types of letters such as Gansang, Jeungpil, Banseo, etc.are also changed. Along with this, various types of characters such as Haeseo, Yeseo, Sojeon, etc. are in harmony with diversity that Wadang has. In the process of transition from Sojeon to Yeseo, Yebeon-Phenomena occurs, Hapmoon and Banseo forms the diversity of Wadang making the changes in external and internal structures of Wadang. As a result of comparison and contrast analysis of Wadang Characters. Gansang, Jeungpil, Banseo, Hapmoon, Jeonseo, Yeseo, Jochoongseo, Moojeon, etc. have been appeared, and also letters, being displayed with partial characters show plentiful art of Wadang having united with structure of“types of letter”(called, “Jahyung”). The letters which emerged after Gapgolmoon showed continuous “Jahyung”performance. The importance of Wadang Characters may be various types of letters from appearing in one object (Gimool) which reflects overall Han Dynasty Characters. The ancient China's Wadang culture has been described in two values: practical of purpose and internal beauty in Han Dynasty. Such factors are the keys elements that attractiveness and gorgeous art of Wadang decorated eaves of palace which emphasized glamour art of letters itself. Thus, Wadang Characters in Han Dynasty has a pivotal role in architectural letter of palace.

‘ShuiWen’is a racial Ancient Character. Minority group called ‘ShuiZu’live in southwest area of China has recorded their religious scriptures with it. ShuiWen was influenced by Chinese Characters, then that was made up of three Characters, original letters, borrowing letters and mixing letters. HanZu’s culture has influence on southwest area of China. Specially, Chinese Characters was a direct cause. At the same time the introduction of Chinese Characters made HanZu’s culture solidify influence on ShuiZu.

The early shapes of ancient Chinese had been directly represented, and impersonated characters.Since early Shang dynasty, the surface of the bronze casting had the reason for casting, as well as the name written upon it. Through the era of Qin and Han dynasty not only was bronze casting used but also roof tiles, cupper mirror had a pattern writing Chinese character to express auspicious meanings directly. From Tang to Song dynasty,the Chinese design patterns developed further, also under the influence of characters chirography. From the Ming to Qing dynasty, “auspicious”is the main subject of design, all expressions of luck or implied auspicious patterns could be used for decorations. The principle of harmonic and assonance also used the already formed pattern and design by combining Chinese character with plants, animals, and other various objects having the implicative auspicious meanings, and it is more on the visual arts development. Through the study on history of Chinese pattern, we can penetrate into the wisdom of the language and the cultural vastness.

Internet language is a new communication tool, although not from the mother tongue from the root system, but it is quite different specification language, with an obvious innovation, simplicity, vivid, witty sex, oral sex and other characteristics, not only Enrich the vocabulary of modern Chinese language, but also to bring some standardization of Chinese language. As the information age, a cultural phenomenon, should promote the correct view of language, to treat network language, and actively guide and promote the healthy development of Internet language.

The Chinese characters in Qin of the Warring States era has a special position on the history of Chinese characters, especially, the bamboo scripts unearthed from Qin Tomb at Shuihudi, which can be called the Shuihudi Qin bamboo scripts for short, are the best of all unearthed materials to study the Chinese characters in Qin dynasty for a great deal of popular characters and plentiful fruits of studying. The paper analyses the rationality of the Shuihudi Qin bamboo scripts from two different aspects. Commonly speaking, the Shuihudi Qin bamboo scripts have their own principles, and only 4.95percent ones have no reason. Another way, the pure sign component parts always weaken the rationality, by appearing on the direct component parts stage or appearing on the basal component parts stage.In addition, there are some mistakes on the both stages, resulting in instability of the Shuihudi Qin bamboo scripts system.

This paper, based on vocabulary statistics from sample test paper, analyzed Business Chinese Test(BCT) content validity through comparing to Business often-used vocabulary in BCT syllabus. Vocabulary from the BCT sample test takes 16.1% of total 2455 from Business often-used vocabulary, which makes BCT sample test is a representative one. On the other hand Business vocabulary from Business often-used vocabulary covered 89.6％ of the sample test’s Business words. View of two aspects above, we draw the conclusion that Business Chinese Test has a comparatively high content validity.

In this article, we analyze the general Chinese Characters in China and Korea on their types and font style through the comparison of 7,000 general Chinese Characters in China and three contemporary Word Tables in Korea. Through the comparison, we got related data and point out the crucial problems which need to be settled of those contemporary Chinese Characters in Korea. The use of Chinese Characters is vital to the inheritance of Korean history and culture. It is also important to the source sharing in Asia. Therefore, this research has significant meaning to the research about the common Chinese Characters in Asia.