Chinese Character studies have mainly been focused on four areas: orthography, phonology, meaning, and character frequency. To add a new dimension to the existing approaches, this paper will provide and examine a quantitative data about the range of the vocabulary in Chinese character dictionaries. As a promising new method, the new approach, both diachronic and dynamic, will be very useful in exploring changing aspects of Chinese Characters usage, compared with the existing synchronic and static approaches. This paper aims to provide analysis of all Chinese Characters included in Chŏnun-okp'yŏn, the most authoritative dictionary of Joseon dynasty published in 1805 meaning ‘Chinese Rhyme Dictionary’, and in Sinjajeon, meaning ‘New Dictionary of Chinese Characters’ published in 1915, to explain their changing aspects in the entries of two dictionaries, and then to show how social change affected the use of Chinese Characters in early twentieth-century Korea. To that end, I construct the database of the two dictionaries on the basis of a detailed analysis of all the characters with respect to the radicals, strokes, components, and structures of these characters, which shows that Chŏnun-okp'yŏn includes 10,997 Chinese characters and Sinjajeon contains 13,348 characters with 13,084 in the body text and 264 in three appendices. 2,114 characters were newly inserted and 7 characters were removed in the body text of Sinjaeon. In particular, the number of the radical headings containing more than 20 newly inserted characters are 35, with 1,624 new characters in total, accounting for 77.1% of the total. The total number of radical headings including more than 30% newly inserted characters are 26. In addition, the number of radical headings containing more than 10 newly inserted characters with a growth rate of more than 20% is 903, accounting for 43% of the total number of characters. Based on these data, modern Koreans appears to have a wider vocabulary consisted of Chinese characters. The number of characters under the radicals meaning animal and plant ( 犬 (dog), 牛 (cow), 肉 (meat), 木 (tree), 米 (rice), 禾 (pine), 田 (farmland), 虫 (insect) etc.), those meaning mineral (石 (stone), 玉 (jade), etc), those meaning industrial products (皮 (leather), 巾 (towel) ect.), those meaning pathology (疒 (illness), 歹 (broken bones), etc.), increased quite a bit, the words reflecting newly emerged phenomena of industrialization or modernization in the early 20th century. In addition, it can be pointed out that the words used for spoken Chinese newly appears in Sinjaeon.

The twenty-first century is the Age of Digitization and Internet. According to the backdrop we are in, the paper points out that arguments and grounds of argument in the essay composed by Zhou Suyuan and Zhang Guangzhao still need to be further discussed: 1. The instrumentality of Chinese characters in the Age of Digitization can not determine its comlexity or simplicity in appearance. 2. It is a false proposition to say that the simplification is a must for the evolution, optimization and beautification of Chinese characters. 3. For further simplification of characters is definitely a possibility, but not a necessity. The Age of Digitization requires characters to stay in a relatively stable state. The standardization and unification of Chinese characters must be from a perspective of informatization and internationalization. As for now, there is no possibility or necessity for further simplification.

The study aims to discuss the relation between square-shaped Chinese Characters and the attitudes of life. There are six structures of Chinese Characters, which influence six kinds of attitudes of life of Chinese people. First, the right-and-left structure ( , ex.好) and the vertical structure ( , ex. 惡) demand symmetry and balance, which shows the love of equitable attitude of Chinese people. Second, the axis positioning of Chinese Characters, shows that Chinese people persist in moderation. Third, surrounding structures encourage Chinese people to be introverted and humble. Fourth, the Pyramid-shaped structures (ex.品) show the respect for seriousness and solemnity. Fifth, the components combined in layer strengthen Chinese people’s values of order and group. Last, the straight strokes and vertical writing reflects Chinese people respect for decency and uprightness. The six structures and the six attitudes influence and accomplish one another. This research is also hoped to inspire different thoughts on the cultural aspect of Chinese Characters. Most of all, the knowledge can lead us to know learn more about the Kaishu’s value in both the ancient and modern times.

Since China announced the “Chinese Character Simplification Scheme” in 1956, two sides of the straits have had different usage of Chinese characters, which is Traditional or Simplified. This situation has been there for 60 years and we have noticed that, although simplified characters make it easy to remember and write, some original concepts of the characters, such as Chinese culture or how the character was created, have been lost. As Chinese characters consist of “format”, “sound”, and “meaning”, which are closely connected with one another, simplified Chinese have made it inconsistent with the original Chinese characters as they have become simple lines and symbols. When people are learning Chinese, they are not able to understand the close relationship between the format and the meaning or the rich Chinese culture carried by the character. The research motive is from the trend in the survey of university students about their concepts of the usage of traditional and simplified characters. The research will further explain how the format and the meaning of ancient Chinese characters were closely connected.

The purpose of the study was to the Cognitive Interpretation of “the “White” System Words in Shuo Wen Jie Zi” Terms. The results revealed Based on Conceptual Blending Theory, the paper concluded: “the “White” System Words in Shuo Wen Jie Zi” Terms, is looking for more this word, and then by metaphor, metonymy activate the synthesis of new cognitive meaning empty, meaning the formation of a new color. Such a series of “hidden word refers specifically to look for” a lot of the later “refers to identifying the dominant word” generation preparations were made on semantics (a) Colors and nominal objects usually have a fusion form in ancient times and a batch of phraseologies take place in mediaeval times consisting of color terms plus original word with color acceptation having spillage over the original word due to the latter’s wearing away and expansion for accurate expression or because of word shapes, rhetoric and perceptions. The study findings may serve as a guide for further research on Chinese color terms system and culture of Chinese.

These seven chapters of Chu slips─‘Chéng wáng wéi chéng pú zhī xíng(A、B versions)’、‘Líng wáng suí shēn’、‘Chén gōng zhì bīng’、‘jǔ zhì wàng tiān xià (5 sections and chapters)’、‘bāng rén bú chèng’、‘shǐ zhòu wèn yú fū zǐ’、‘bǔ shū’─from the “Shanghai Museum Collection IX” were edited by Professor Ma, Chen-Yan. One of these chapters ‘Chéngōngzhìbīng (Chen gong zhibing)’ is a talking between King Chu and Duke Chen (Chéngōng), especially discussed a topic of battle array in military affairs. This study discuss four language-units: “shēnluán 罙”、“shībùjué 帀 （師）不”、“bùzhīqí qǐ zúlíngxíng 不智亓啓行”、“yǒu suǒ wèi è 又 （有）所胃（謂）綌” which were discussed frequently in the academic community, Currently. I have generalized most of these view points and try to annotate these language units with ancient Chinese character structure、 phonology、word formation、grammer and semantics. I hope that could really make an appropriately exegesis.

The research for the “Tsinghua possession Chu Jane” conduct a concentrated study to explore the “shí-organs” in some Chinese characters. The research focuses on the text of the test interpretation, and then throughout discussion to go deep into the understanding of food culture. The results will be beneficial to facilitate academic writing materials excavated Warring States to expand research in other areas.

“Guang jiao chou lue” (《廣校讎略》), an early masterpiece by Professor Zhang Shunhui (張舜徽) (1911-1992), has a significant impact on the theory system of Philology. It adopts widely the pre-existing discussions, which makes it have great historical significance inheriting the past and opening future. Jiao Chou Xue (《校讎學》) is one Textualism theory works by Xiang Zonglu (向宗魯) (1895-1941), which is completed earlier, be a system, both theoretical and practical.It reflects the author’s objections to the idea of “Jiaochou” (校讎).