From its emergence in the late Han Dynasty to its independence in the Qing Dynasty, Chinese phonosemantics has produced numerous phonosemantic works and accumulated rich research achievements up to the present. Classifying and organizing these achievements and compiling the Bibliography of the Achievements on Chinese Phonosemantics is an inevitable requirement for the scientific construction of the discipline of Chinese phonosemantics. The Bibliography of the Achievements on Chinese Phonosemantics serves the practice of building an independent knowledge system in China. It not only provides material basis for the construction of the discipline of Chinese phonosemantics but also offers considerable academic convenience for researchers entering this field, thereby enriching and expanding the content of general phonosemantic research.

Li Shan’s Wenxuan Annotations is regarded as a masterpiece of “Studies of Wenxuan”, which implies Li Shan’s unique ideas that are different from those of the previous phonosemanticans of Wenxuan. He fully inherited and developed the tradition of phonosemantics from the Han Wei (漢魏) to Sui Tang (隋唐) Dynasty. Under the influence and inspiration of the comprehensive and erudite style of learning at that time and the prologue of Jingdianshiwen (經典釋文), he opened up a precedent of large-scale citation-based annotating by adopting the sounds and meanings of various phonosemanticans, avoiding the shortcomings of the “one sect’s learning”. At the same time, he has chosen the sounds that he recognized, and achieved the right degree of simplicity. His demand for the unity of form, sound and meaning has been very close to the modern idea of “matching sound and meaning”, which can be regarded as an extremely important stroke in the history of the development of Chinese phonosemantics.

Huiyuanyinyi in the Goryeo Collection quotes 89 entries from the Erya and is of great value in research. This paper applies the combination of documentation study and linguistics, quantitative and qualitative analyses, and comparative summaries to explore in depth the form, content, and characteristics of Huiyuan’s quotations from Erya, and to provide detailed illustrations. The study reveals that the form of quotation is diverse, and there are both similarities and differences in content with the present-day version of Erya, with the differences covering cases of heterogeneity, quotation of meaning, and misinterpretation, etc. The purpose of quotation is mainly to explain the meanings of terms, and most of the quotations are focused on the interpretation of common words and phrases. These research results help to deepen the understanding of Huiyuanyinyi and Erya, and provide references for research in related fields.

The annotation style and commonly used terms of the phonetic and semantic annotations accompanying the Sixi Canon (思溪藏) are roughly similar to those of specialized Buddhist scripture phonetic and semantic works. Meanwhile, special terms such as “Jiuyin” (舊音) are also used. The mark of “Jiuyin” appears 100 times in the phonetic and semantic annotations accompanying the Sixi Canon. The function of this “Jiuyin” is not merely to indicate the pronunciation, but also involves differentiating characters’ forms and explaining their meanings. The phonetic and semantic annotations of the Sixi Canon not only refer to the three major specialized Buddhist scripture phonetic and semantic works, but also to rhyme books of the Qieyun (切韻) system. They also refer to lost Buddhist scripture phonetic and semantic works, and even to the original phonetic cuts that have been passed down along with the Buddhist scriptures. In general, the “Jiuyin” in the phonetic annotations accompanying the Sixi Canon has a relatively diverse reference and should be regarded as a general term.

At the end of each volume or each case of Jiaxing Tripitaka, a large number of phonetic explanation characters are attached. These characters are collectively referred to as the Suihan Yinshi. They use “Yinshi” and “Yinqie” and so on as their documentary identifiers, and are scattered at the end of each volume or at the end of the entire Buddhist scripture. The layout generally follows the pattern of Xuan Ying’s Yinyi: First, the character to be annotated is extracted, and then its pronunciation is noted and its meaning is explained. The catalog of characters and their annotations in the Suihan Yinshi of Jiaxing Tripitaka are rather complex, and the methods of phonetic notation are diverse. Overall, the Suihan Yinshi of Jiaxing Tripitaka are characterized by complex annotation materials, diverse base texts, and rich phonetic notation levels.

The studies of Chinese Phonosemantics in Korea have developed progressively since the introduction of Chinese characters to the Korean Peninsula. Scholars throughout history have emphasized the documentation of Chinese character pronunciation and meaning in the compilation of rhyme books and dictionaries, utilizing Hangul annotations to distinguish between Chinese character pronunciations and Sino-Korean character pronunciations. Hwadongjeongeumtongseokunko (華東正音通釋韻考, Park Seong-won, 1747) serves as a representative work, with historical records such as Veritable Records of the Joseon Dynasty (朝鮮王朝實錄) and the preface of Saseong Tonghae (四聲通解) also containing relevant records. As of the end of 2024, the studies of Chinese Phonosemantics in Korea have more than ten related works and over a hundred academic papers, categorized into three main areas: (1) studies on phonosemantic books (approximately 65%), with a focus on the sound and meaning of Buddhist scriptures and Tripitaka Koreana (高麗大藏經) research, represented by the team of Lee Kyoo-Kap; (2) dictionary research (about 15%), identifying Sungyeong Eui’ui (順憬音義) as the earliest Korean dictionary and clarifying its literature type; (3) researches on the relationships between sounds and meanings (around 20%), including Kim Young-Chan’s argument for the independence of phonosemantics, and Yum Jae-Ung’s investigation of specific correspondence of sound and meaning. The studies of Chinese Phonosemantics in Korea exhibits distinctive local characteristics, and future directions include strengthening and expanding Chinese Phonosemantics in Korea as a discipline, incorporating computational linguistics to advance digitalization and corpus-based approaches, and contributing to the internationalization of Chinese Phonosemantics studies.

This study aims to examine the cultural traditions, historical experiences, and political symbolism reflected in the naming systems of China’s aerospace development. China’s aerospace endeavors extend beyond mere technological exploration; through carefully crafted naming strategies, they uniquely integrate traditional Chinese culture with modern technological advancement, conveying profound cultural meanings and political messages. Firstly, from the perspective of Chinese mythology and traditional philosophical thought, this paper analyzes the cultural symbolism embedded in aerospace names such as “Tiangong,” “Shenzhou,” “Chang’e,” “Yutu,” and “Zhurong.” It explores how these traditional elements combine with modern technologies to strengthen the cultural identity and national pride of the Chinese public regarding their country’s aerospace achievements. Secondly, this paper delves into the historical experiences and political implications embodied in the naming of the “Long March” series rockets and the “Dongfanghong” satellite, illustrating how these naming strategies effectively preserve China’s revolutionary history and emphasize socialist ideology and national political symbolism. Finally, this study suggests that the cultural and political dimensions of China’s aerospace naming strategies have successfully enhanced domestic cohesion and shaped China’s distinctive aerospace image on the international stage.

Since 2015, a working group composed of scholars and experts from both mainland China and Taiwan has been submitting proposals for the encoding of small seal script from Shuowen Jiezi to ISO/IEC JTC1/SC2/WG2. To advance the work of encoding the small seal script into Information Technology Universal Multiple-Octet Coded Character Set (UCS, ISO/IEC 10646), it is necessary to conduct an Ideographic Description Sequence (IDS) analysis of these small seal script. This paper, based on the theories of “Shuowen” studies and Chinese character Structure studies, proposes two methods for the IDS analysis of small seal script from “Shuowen”. ⑴ The rationale-based IDS analysis refers to analyzing the direct components of small seal character according to the structural meaning as explained in Shuowen, and then describing the IDS based on the planar positional relationships of the direct components. ⑵ The form-based IDS analysis refers to analyzing the basic components of small seal character according to the natural segmentation and then descrbing the planar positional relationships of the basic components. With these two methods, both the structural meaning and the form information of the small seal script are preserved. Detailed rules of the two analysisi methods are also designed to ensure the consistency of IDS analysis and description of “Shuowen” small seal script. This work could also provide a reference for the information processing of other ancient scripts.

The ‘I bǎ you (this/that) + NP’ sentence pattern in modern Chinese, represented by the novel Journey to the West, has always been a hot topic in academic research. The various explanations made by predecessors from grammatical perspectives cannot well answer the reasons why this patttern only appears in the abusive context, nor are they in line with the pursuit of natural language habits in oral expressions. From the perspective of dialects and slangs, especially the commonly seen cases in modern dialect areas such as Wuhan and Yimeng, combining the process of writing Journey to the West and the source of language materials of which, interpreting ‘bǎ’ as a abusive word in folk vulgar language not only answers the unsolved questions, but also makes the ‘bǎ’ clause sentences more appropriate, natural and reasonable. With the development of language, the emotional color of the abusive word “ba” for scolding gradually weakened, eventually becoming a common pet-phrase in vulgar oral language.

The circulation of modern Chinese-character neologisms in East Asia has attracted considerable scholarly attention, yet research on the Vietnamese context remains insufficient. This article reviews existing academic work on the topic and examines both the sources of Sino-Vietnamese neologisms and the routes through which they were transmitted. Primary source materials include Sino-Nôm “new books,” textbooks, dictionaries, newspapers, writings by Vietnamese students returning from Japan, and texts authored by communist revolutionaries. There are two main transmission routes for these neologisms into Vietnam: one from China, primarily through publications from Shanghai and revolutionary circles in Guangzhou; the other from Japan, via Vietnamese students involved in the Đông Du (Go East) movement. The study argues that Vietnam’s reception of these Chinese-character neologisms reflects its efforts toward linguistic modernization and highlights the complex network of cultural interactions within East Asia.

The monographic study is a targeted and in-depth study of a specific theme. It is an important supplement to the macroscopic description of general history and the microscopic analysis of individual cases, and it serves as an entry point to push the research on the history of learning deeper and more comprehensive. The theory of Chinese character studies is of utmost importance in monographic research. It plays a role in laying the theoretical foundation and defining the disciplinary connotations for the construction of the history of Chinese Grammatology. When researching the theory of Chinese Grammatology, one should “pay more attention to the overall situation and the system, and at the same time, pay attention to the connections and communication with linguistics, as well as archaeology, history, philology, cultural studies, etc., further expand the breadth and depth of the research on character studies, and establish theoretical systems of Chinese character studies with different styles, so that Chinese character studies can have its own discourse system on a world-class platform.” Western research on the theory of Chinese Grammatology involves multiple topics such as “the nature of Chinese characters” “the origin of Chinese characters” “the evolution of Chinese characters” “the ‘liushu’ Chinese Characters” “the structure of Chinese characters” “the pronunciation of Chinese characters” “the classification of Chinese characters” “the dissemination of Chinese characters” “the relationship between characters and words” and “the relationship between Chinese characters and the Chinese language.” Conducting re-research on the relevant studies of Western scholars from the perspective of academic history helps to provide an “other” perspective and a global vision for the research on the theory of Chinese Grammatology in China. This article takes the materials related to the theme of “the dissemination of Chinese characters” in Western Chinese Grammatology as the research object. Through the combination of research overviews and case analyses, it aims to gain a more in-depth understanding and recognition of the focuses, research spots, and research trends that Western scholars pay attention to when studying the dissemination of Chinese characters.

The preface, postscript, foreword, and general notices of the Korean Chinese dictionary, contain not only the reason and purpose of compiling the dictionary and the relationship with other Chinese dictionaries, but also the understanding and even the view of Chinese characters in ancient Korea. Combining the contents of the preface, postscript, foreword, and general notices of Korean dictionaries, as well as other Korean Chinese literature, it analyzes Korea’s understanding of Chinese characters, and explains the main contents of Korea’s view of Chinese characters from different dimensions, such as the dissemination of Chinese characters, Chinese characters ontology, and the use of Chinese characters. On this basis, a comparison is made with the views of Chinese characters in Chinese dictionaries and other literature and Chinese character views in Vietnam, to provide new perspectives on the study of extraterritorial dissemination of Chinese characters and Korean Chinese characters.

The handwritten copy of the Ishinpō in the “Gohon - Nakarai family’s edition” in Japan contains a large number of marginal notes on phonetic notations and semantic explanations quoted from Chinese dictionaries. It is an important material for studying the overseas dissemination of Chinese characters and their usage forms in the Middle Ages. This article selects the second volume of this handwritten copy as the main research object. Combining the content of the marginal notes with the materials of character books in different dynasties, it conducts in-depth textual research and verification on difficult characters or semantic explanations such as Xin ( ), Huang (䀮), Chi (瘛), Zhi (𣛰), Liao (𢨺), Nao (臑), Luo (濼) and XieYi (解㑊) that appear in the marginal notes, and clarifies that Xin ( ) is the vulgar form of Xin (囟), Huang (䀮) is a character with the sound component replaced for Mang (盲), the original form of Chi (瘛) is Chi (𤸪), Zhi (𣛰) is a miswritten form of Zhi (榰), Liao (𢨺) should originally be Liao (窌) and should be distinguished from Liao (髎), the original form of Nao (臑) is Er (胹), and there is also a cognate character Ruan (腝), Luo (濼) is a part of XiaoLuo (消濼), this word should be the abbreviated form of XiaoYinLuo (消淫濼) and can be interpreted as meaning “to eliminate soreness and weakness”, and XieYi (解㑊) is a variant writing of XieYi (懈伿), and Yi (㑊) is a later variant of Yi (伿).

The cooking method {炒 (stir-frying)} is a commonly used verb in daily life, closely related to our existence. Its appearance in transmitted texts did not occur until the Han Dynasty. The term {炒} was historically represented by eight model of characters, though only six were actually used, each with numerous variant forms. During the Han Dynasty, {炒} was recorded using “𩱦” and “㷅”, with “𩱦” being the predominant choice. In the Six Dynasties period, “ ” remained the standard. After the emergence of “炒” and “煼”, both characters were widely adopted across subsequent dynasties, with “炒” becoming the conventional form, though it never fully supplanted “煼”. This trend was also interspersed with the use of simplified variants like “㷅” and “𩱦”. Investigating the historical graphic representation of {炒} holds significant importance for understanding the development of Chinese culinary techniques and interpreting related transmitted texts.

“Mu mi” is a type of fragrant tree. Also known as honey fragrance, wood fragrance and other names in ancient books. And there are four major regions in the growth area of “Mu mi”. It often used in conjunction with “sandalwood”, and has significant importance in Buddhist activities. However, upon examination of Chinese Buddhist scriptures, it was found that the writing of “mi (櫁)” has various forms of variant script. This article integrates relevant variant texts in Buddhist scriptures, examining the use of characters in Buddhist scriptures from three perspectives: diachronic, synchronic, and edition. It explores the use of characters for the name of the “mu mi” tree and the relationships between various variant texts.

Integrating exegetical and textual scholarship with analysis of the Eastern Jin text Cārya-nidāna, this study resolves gaps in inter-character relation communication in Great Chinese Dictionary (second edition). Specifically, the characters zè (仄), cè (側), cè (惻), cè (𡍫) and cè (畟) should each supplement the semantic value of "filled; filled to capacity", and their phonetic loan relationships necessitate clarification. The pronological entry (1) for cè (側) as 阻力切 should be marked with the historical reading zè. While emphasizing that the phonetic differentiation of cè/zè (側) is influenced by its near-synonym zè (仄), it is crucial to note that zè (側)'s "narrow" semantic sense is independently derived and didn't require the inter-character relation with zè (仄). The character niè ( ) and liè ( ) should be introduced, with an explanation of its variant relationship between niè (孽) and liè (鬣).The meaning of "long hair (on the human body and head)" should be added to liè (𣰌), with an explanation of its variant relationship between liè (鬣). The relationship of being alternative forms of each other between gāi (姟) and gāi (垓) should be established. The character méng (萠) should be introduced, with an explanation of its variant relationship between méng (萌).

The historical local chronicles of Chongqing during the Ming and Qing dynasties as well as the Republic of China period valued both history and geography while also emphasizing humanities. The generic toponym characters best indicate the geographical type to which individual toponym belongs, and accommodates the changes in natural and social characteristics of the southwest region in China. The Grand Dictionary of Chinese Characters is an authoritative large-scale Chinese language dictionary, serving as a bridge between national language norms and the reality of people’s spoken language. It focuses on reflecting the origin, evolution, and actual usage of toponymic characters, but has quite limited absorption and utilization of toponymic materials from local chronicles. In order to investigate the lexicological value of local chronicles, this article uses the historical local chronicles of Chongqing to supplement the pronunciation, explaination, use cases, and inter-character relationships of the generic toponym characters compiled in The Grand Dictionary of Chinese Characters.