Research on teaching of Chinese characters has seen a relatively late start in international Chinese language education. Since there is little experience in teaching handwritten characters in previous Chinese as a foreign language instruction, the theory and practice of Chinese character teaching for non-native speakers have developed gradually. The latest Chinese Proficiency Grading Standards for International Chinese Language Education list the Handwritten Chinese Character List as a separate item, strengthening the guiding position of the separation of character recognition and writing principle in teaching Chinese characters. It also allows us to re-examine the issue of handwritten instruction in teaching Chinese characters to those learning Chinese as a foreign language. This paper examines issues in Chinese character teaching based on the theory of Chinese character formation, focusing on three levels of mastery: whole character, component, and stroke. The component teaching method has gained a high level of attention in recent pedagogical circles, and this method offers both advantages and disadvantages. Stroke instruction, often overlooked, is also essential for mastering handwritten Chinese characters. Stroke instruction goes beyond merely practicing basic strokes and their order and emphasizes understanding of the logic behind stroke writing.

This paper focuses on the role of the Chinese classical texts in Japan from the 3rd to the 8th century. By looking at them, we can understand the characteristics of Japanese culture, which is to adopt foreign culture in different forms. In China, The Analects was included in the Imperial Examination, however, in Japan, according to Yasutami Suzuki, “it was regarded as an important text for learning Chinese characters”. This paper examined how Chinese classics were received and utilized in Japan. In the beginning, descendants of immigrants, whom we call ‘Toraijin 渡来人’ in Japan, were taught Chinese classics, likely for the purposes of indoctrination, similar to the teaching of Chinese. However, with time, a political system was established, and Chinese classics began to be used as a teaching tool for learning the Chinese characters in support of the system. Reading and writing Chinese characters would have been understood as a status symbol. The method of teaching, reading, writing using the Chinese classics may have been passed down from parents to children and from children to grandchildren. This study considers for whom these Chinese books were imported into Japan, where at the time there was no written language. It also considers what kind of education system was being built at the time of the establishment of the Yamato court. This type of research has been sparsely studied, but is significant in considering the implications for the foundations of education in Japan.

In the integrated ancient East Asian sphere, literature is an explicit expression of unity. However, due to differences in perspectives, there are huge contrasts and disharmony in contemporary East Asia surrounding historical issues. Using artificial intelligence, specifically the retrieval-enhanced generative model, to build an intelligent research platform for Yanxinglu, and completing research auxiliary work that includes named entity recognition, relationship extraction, and knowledge graph construction, the study of East Asian history can be enhanced. This paper focuses on the construction of the LLM-RAG model and rules in the construction of the Yanxinglu knowledge base, and discusses the time process and precautions for the refined processing of the Yanxinglu text data.

On the wooden slabs unearthed from the tomb of Guojianao (formerly, Guo) in the period of Sun Wu of the Three Kingdoms, there is a sentence with the words “針囊一枚, 白糸一 , 青糸一”. Past scholars interpreted the three characters “ ” ,“ ” and “ ” as the word “縱 (zong)” , which means “silk thread”, and “ ” ,“ ” as the word “㢧 (卷, juan, volume)”, which is a measure word. This study verifies that the word “ ” is “ ”, and “ ”, “ ” are “ ”, which are all variants of the word “線 (xian, line)”. This was achieved by changing the phonetic note. The measure word “ ”, “ ” used for weighing silk thread should be a variant form of the word “斤 (jin)”, which is similar to the writing of “ (jin)” or “ (jin)” in the Pan’s clothing list of the Eastern Jin Dynasty.

This study reviewed Chinese primary school writing curriculum from 1902 to 2022 to reflect on its strengths and weaknesses. The review came to the following conclusions: 1) The teaching of writing should be done independently from general Chinese language education; 2) Teaching objectives should not be limited to skills training but should also include emotional literacy; 3) Teaching methods should be connected to the mental and physical developmental stage of students; 4) The teaching process should not be random, but should be standardized, and; 5) Evaluation of teaching should be measured on an objective and detailed evaluation scale.

The Qi Family Tree Bone Inscription refers to the Xia dynasty king list, and the deciphered bone names match the names of the Xia kings recorded in the classics. First, this bone inscription is authentic according to Sarah Allan and Kuang Yu Chen’s recent study of the engraved strokes of script viewed under microscope. Secondly, this paper introduces the interactive events between Xia Si (夏姒) people and Shang royal people in the Shang bone texts, such as the Shang conquest of the Xia Si, using the Xia people to serve the Shang King affairs, resettling the Xia people north and letting them fight others. This paper specifically interprets the bone scripts of Xia Si to mean that Xia indicates lowland for farming, and Si is the family name of the Xia recorded in the classics. The script for Si (surname) is derived from the image of a silkworm, as the Si are a silkworm totem people. Another decoded script for Xia is a river name, Xia (river) is named after “canal digging and irrigating”. Third, this paper deduces that the Xia people were living in the Jiang Xia (now Jiang Han or Jiang and Han rivers) plains, the Shijiahe site is the ruins of the Xia or Pre-Xia, and a large number of the Shijiahe red pottery figurines for dances were unearthed, which is consistent with the Xia dance and music recorded in the classics. The unearthed jade statues of deities look like silkworm moths, which corresponds to Xia Si being a sericulture tribe. After the Shijiahe culture, the Xia people built a last capital at Panlongcheng (or Panlong City), near the Xia River outlet. Because the classic Poem for the war epic named Shang Hero (殷武) says, “Got there the hero Cheng Tang (達彼殷武), went to conquer Jing Chu in strength (奮伐荊楚, Jing Chu 荊楚is the alternative name of Jiang Xia 江夏).” Another classic Poem for the Shang national epic called Long Growth (長發) says, “The states of Gu and Wei have been conquered (顧韋既伐).” The Gu and Wei are the current Xiangyang 襄陽 and Suixian 隨縣 on the east and west pathways to the Jiang Xia Basin from the Yellow River Basin, based on their ancient names and their sounds being homophonic. After occupying the states of Gu and Wei, the Shang army went south to form a situation of surrounding the Panlongcheng site of the Jiang Xia Plain. Thus, King Jie of Xia gave up the capital and went north to through the Ming Pass (present-day Wusheng Pass 武勝關) to the Huai River Plain of the East People 東夷, and there was the Battle of Ming Tiao in the Ming Pass. Finally, this study introduces an article about the oracle bone script ten classifications or designs, explaining how to decipher a script. The script for names engraved on the bone tablet were deciphered, corresponding to the name of the Xia Emperors in the classics. The meaning of the deciphered characters of the Xia Emperor names is consistent with the deeds of the Xia Emperors recorded in the classics. In the Qi family genealogy, there are inscriptions of the event of an older brother dying and his younger brother assuming the throne, which matches the record in the classics.