It is an irreplaceable important issue in the artificial intelligence (AI) development of the 21st century to establish a database, to recover the related memory, and even to extract big data from written texts in the Chinese characters cultural circle.
Theories about the “transitional forms” and “intermediary graphs” of Chinese characters provide theoretical basis for the big data excavation of the written texts in Chinese characters cultural circle. Chinese characters have been deconstructed twice during its long-time development history from the Warring States period to the Six Dynasties period. Experts tend to focus on the first time which is known as “libian” (transformation of the graphic shapes of the zhuanshu into clerical script forms) so there are lots of investigation and research on it. Regard to the second time, as the cursive scripts prevailed, the components of a graph can be reorganized or distorted and some strokes’ order can change the direction in hand-writing process, making a new distinguishing mechanism to produce batches of “transitional forms”. A very few of the “transitional forms” were evolved into “fixed standard scripts”, and a bulk of them were conversely developed as “intermediary graphs” gradually.
The first priority for establishing a database for the written texts in the Chinese characters cultural circle is to exclave massive amounts of related information based on big data construction. It is imperative to collect and sort the ancient written letters which are of great value in Japan, Korea and China. This database acts as not only the foundation of the research on history of Chinese writing systems and new historical data, but also the “firsthand data” for revealing the rules of the development of cognitive behavior and intellectual inheritance of human being.
Sizuka Sirakawa’s theory on the Chinese Characters before the Warring States Period is a system theory. The theory includes several kinds of content as followed: First, the causes of Chinese Characters birth. Sizuka Sirakawa thought that characters creation is to express something sacred. Second, the resources of Chinese Character symbols. Sizuka Sirakawa thought, Chinese Characters are etiquette reflections, developing from the symbols which have the sacred nature. Third, Chinese Characters functions. Sizuka Sirakawa thought that to the ancient Chinese people, Chinese Characters had extraordinary power before the Warring States period. Fourth, the usage of Chinese Characters. Sizuka Sirakawa thought that Chinese Characters were mainly used in activities of offering sacrifices and casting inscriptions. The last, the essence of Chinese Pictographic Characters. Sizuka Sirakawa believed Chinese Pictographic Characters not as pictograph characters, but as symbolic characters. However, based on the facts and the logic, we can prove that the five points have some mistakes.
In ancient Chinese religion peoples prayed powerful spirits of nature, for example 祟•蠱• , these are the scourge that the insect as evil spirit brings. The magic ritual is done for such scourge．
The city and feudal system associated with the establishment of royalty developed, along with the formof ritual changed, the blade statement concerning ritual such as 祭•祀and such as 史•使•事that means sacrificial rituals appeared. Further 師•追 that uses 𠂤; (that means festival meats) and 降•隠•際 that uses 阝(that means god ladders) as the characteristic theory of Dr.Sirakawa is considered．
The word “dictionary” originated in China. China used to call the dictionary a “word book” which was used as a general term for the interpretation of Chinese characters, sounds, and meanings. At the beginning of the 20th century, in the era of modern China's alternating old and new cultures and Chinese and Western cultures, the social language has undergone tremendous changes, which has caused obstacles to the reading of the people and has also seriously affected academic research. In almost the same period, the Korean peninsula, which borders China, has also abolished the status of Chinese characters as an orthodox script under the influence of Japanese colonial rule. In the context of a similar era in which the culture of the country is influenced by foreign cultures, the “New Dictionary” and the “New Dictionary” of the Republic of Korea should be born on time. Both are compiled on the basis of the “Kangxi Dictionary” to comply with the new situation and new Form, hence the name of the "new dictionary." The characters in the two “The New Dictionary” are mostly the same, but there are also some characters in them, which are different because of factors such as referral and transmission. This article starts with the differences between the Chinese characters in the Chinese and Korean New Dictionaries and uses the Chinese character configuration theory to classify the differences in the shape of the characters and to trace the origin of the characters, combining ancient Chinese characters such as Oracle, Bronze, and Warring States. Further analysis of the reasons for the differences in the type of characters to analyze the characteristics of Chinese and Korean dictionary compilation.
CAIWUPU is a dictionary of lexicographical features. This book has the nature of an encyclopedia. Recording to the survey, this book has six versions with our searching: first published in ouchi; the second published in ouchi; A copy of the blue grid; A copy without a grid; A copy of the single CAIWUPU, The new published by Korea’s governor. The first one is our research object. This book has an activity effect on collation of ancient books. Dictionaries research. Meibutsu research. For example, the collation of ancient books can correct the error in the book and it is not the modern researcher can pay attention to it. The Dictionaries research can give some supplement in the grant dictionary like Grand Chinese Dictionary, Chinese Dictionary which make it by the Current scholar. The Meibutsu research can help us to know the Classification system and Interpretation system in ancient Korea. It has an active effect on related research.
Examining Yang Shuda’s Interpretations by the contemporary standards, it is hard to avoid some mistakes or time limitation. Yang Shuda’s two interpretations of the word “ ” are contradictory. The word “戴目” in Hanshu Kuiguan (<漢書窺管>) should not be interpreted as “側目” (strabismus). It is also debatable for the interpretations of “ ”, “ ” and “ ”.
The existence of the similar Chinese characters is a special phenomenon which is determined by the rule of Chinese character formation law and the characteristic of configuration for expressive meaning. Traditional understanding located the similar Chinese characters in static similar shape category only according to the standard Chinese characters, it virtually ignored the dynamic adjustment and change of the relationship of handwriting and font in the historical evolution of Chinese character system, it also covered the deep-seated contradictions and the problems of the font between seeking for the simplicity and the difference in the process of Chinese characters system development. Chinese characters as symbols of recording and writing are often static and dynamic use of the organic unity, the similar Chinese characters will be accompanied by the two characteristics of static and dynamic similar shape. The effect between the two levels of static and dynamic interaction made the similar Chinese characters phenomenon presenting similar shape law of absolute and relative, direct and indirect, and so on. The rules and characteristics reflect similar shaped characters not only for seeking common ground, reflecting the character system and the inheritance of structural elements, but also for focusing in difference, reflecting distinction between characters and the different ways of richness, flexibility and subtlety to Chinese characters configuration system. The existence of the similar Chinese characters is essentially the result of the comprehensive function of the internal contradiction of the Chinese character system.
‘Fu 桴’ and ‘Cha 槎’ are connected with the sea. Taking ‘Fu 桴’ floating in the sea represents the idea of seclusion, and ‘Cha 槎’ is used as an allusion to the immortal-Taoism by the literati. In the middle ages, the hermit from the seaside appeared frequently, which had the example of the supernatural being. ‘Fu 桴’ referred to the seclusion and ‘Cha 槎’ that refers to the fairy show the obvious traces of differentiation and fusion in the middle ancient literature works.