Shuowen Jiezi compiled by XU Shen is the first dictionary in China to systematically explain meaning of character, decompose font and distinguish pronunciation of words. The book shows a variety of Chinese fonts before the Eastern Han and records ancient sound materials and culture of Chinese character. Scholars of all dynasties attaches great importance to Shuowen Jiezi after the publication of Shuowen Jiezi. A lots of classic ancient works regard the explanatory notes of Shuowen Jiezi as an important basis, and quote the content of Shuowen Jiezi to annotate has become a common method of academic research. Analysising and Researching content of the materials quoted from Shuowen Jiezi in all kinds of literature is helpful to explore the original appearance of Shuowen and the development law of Chinese characters. Wuche Yunrui is a non-official encyclopedias book compiled by Ming’s historian LING Zhilong which collected and collated classic words, poems and allusions to become an important tool for ancient literary creation to select words and allusions and rhyme couplets. Arrangement of Wuche Yunrui is following the rhyme. That is each word and allusion is collected into each rhyme according to the rhyme at the end of the word, and fully explainning the meaning, pronunciation and font of the first word of each rhyme. Wuche Yunrui widely quotes many ancient literatures and materials such as Shuowen Jiezi, Erya, Shiming, Guangyun, Yupian, Jiyun to definite the first word of rhyme, among which quotes the most from Shuowen Jiezi. This study takes definition content of Shuowen Jiezi quoted by Wuche Yunrui as the research object. On the basis of exhaustively collecting the definition materials of Shuowen quoted by Wuche Yunrui, taking current version of XU Xuan’s Shuowen Jiezi as the comparison object, the paper compares the definition materials of Shuowen quoted by Ling Zhilong’s Wuche Yunrui with current version of XU Xuan’s Shuowen Jiezi, corrects the errors and omissions of this two books, analyzes the reasons for the different definitions, and finds out meaning evolution process and law of Chinese characters.

Punishment is an important method for the ruling class to discipline criminals and alert people. According to historical records, a systematic punishment system was already existent during the Xia Dynasty. The “Ancient Five Punishments” recorded in Book of Documents occupies an important position in ancient Chinese punishments. Because they were all corporal punishment and the execution methods were extremely cruel so they were abolished in the Han Dynasty. The execution process of corporal punishment depends on the use of various knives. Therefore, punishment in ancient China is closely related to the “knife”. Shuo Wen Jie Zi contains a large number of Chinese characters related to punishment, and they are closely related to the “Ancient Five Punishments”. “刵（Er）”, as an ear-cutting penalty, can be traced back to the Zhou Dynasty or even earlier, and has similar meaning with the words “聝(Guo)” and “取（Q u）”. “㓷（Yi）” and “劓(Yi)” are variants of each other, and they were widely used as a penalty for cutting the nose only before the Han Dynasty. “刖(Yue)” means the punishment of cutting the legs, which has same meaning with the words “剕(Fei)” and “跀(Yue)”, but it was different from the word of “膑(Bin)” though they have similar meaning. The three characters “ (Xing)”, “刭(Jing)” and “刎(Wen)” can be explained by each other, and they all refer to the punishment of beheading. “罚(Fa)” means punishment for minor crimes. This word and the word of “刑(Xing)” meaning the punishment for serious crimes constitute the phrase of “刑罚(Xingfa)” in Chinese.

說文에서 말하는 이체자중 古文과 籒文의 자형은 문자학상의 가치가 매우 높다. 그러므로 한자 형체 발전 과정에서 매우 중요한 자료이다. 許愼이 말하는 소위 省의 개념은 주요하게 몇 가지 방면 으로 나타나는데 이것이 바로 한자발전상 매우 중요한 현상 省形 省聲현상과 연관된 것이다. 본 논문은 說文의 籒文과 古文중의 省形 省聲현상을 연구하고, 연구대상은 籒文이나 古文에서 形旁이나 聲旁을 생략한 글자로 삼는다. 說文 籒文과 古文의 省形 省聲字를 고찰한 결과, 籒文의 省形字는 6개, 籒文의 省聲字는 14개, 省形이면서 省聲字는 2개, 형체에 의혹이 있는 글자는 1개이다. 古文의 省形字는 5개, 省聲字는 7개, 고문자와 소전과의 관계를 省形과 省聲으로 잘못 오해한 것이 18개로 가장 많았다. 省形과 省聲은 일종의 특수한 현상으로, 이러한 현상이 생기는 원인은, 고대 사람들이 글자를 쓰기에 편리하게 하기 위하여 만들거나 쓸 때 자형의 균형을 위해서 조자 과정중 일부형체를 省略한 것이다. 한자는 簡化와 변화의 모순 속에서 발전하고 있고, 발전과정도 서사나 기억의 簡化를 위해, 공시 적이나 통시적 평면에서 존재하고 발전하고 변천하고 있다. 許愼이 비록 古文字 材料의 한계로 인해, 字形의 분석에 오해를 가져왔지만, 說文解字의 省形 省聲방법은 漢字를 創造하는 방법으로, 후 대사람들이 漢字構造를 硏究하는데 많은 도움을 주었다.

In order to understand Xǔ Shèn’s 許慎 contribution to the analysis of the Chinese writing system, it is important to clarify the terminology he uses in his Shuōwén jiězì 說文解字 (100 AD). In this paper I shall focus on the term shěng 省. Scholars who have studied the problem of shěng 省 in Shuōwén usually tried to reveal the mistakes either made by Xǔ Shèn or added later to the text, from different perspectives including the classification of the graphs in traditional liùshū approach, paleography, as well as phonological reconstructions. i Most of these authors may be right in their critical investigation of shěng 省, there are indeed many mistakes in Xǔ Shèn’s graphic analysis, but none of them considered the problem as a whole or tried to understand what was the real reason for Xǔ Shèn to use this term. Shěng 省is a rather complex term with different significations, such as ommission, abbreviation, fusion, etc. I shall first clarify the meanings and uses of shěng in Shuōwén, before trying to understand why Xǔ Shèn needed this special term. We will see that despite many mistaken graphic analysis, already described by Chēn Shìhuī 陳世輝 (1979), Qiú Xīguī 裘錫圭 (1988), and others, shěng 省was an important tool for Xǔ Shèn’s methodological approach to the Chinese writing system that also shows his deep knowledge of the evolution of the script.

中国除了文字以外还有特别的符号系统，功能有时超出文字，这就是≪ 周易≫六十四卦。许慎在≪说文解字≫序文里提到“近取諸身，遠取諸物； 於是始作易八卦，以垂憲象”，以暗示文字之前先有八卦，文字也许始源于 八卦。 在所谓六书中，有两种造字法是基本的，此即‘依类象形’以造文，‘形声 相益’而成字，如此孳乳浸多而表达万事万物。不过文字始终难免有“书不尽 言，言不尽意”的缺点。 八卦演绎成六十四卦，最简单的阴阳两爻象征人事吉凶的各变化，就发 挥了“立象以尽意，设卦以尽情伪”的功效。 ≪说文解字≫一书就是仿≪周易≫而编纂的第一部中国文字字典。≪周 易≫以象为本，许慎认为文字也以象为本。≪周易≫的六十四卦具备完整的 系统，不过文字的孳乳则日益增多而过于繁杂。许慎引≪周易≫“知天下之 至啧而不可乱也”，以表示≪说文解字≫也是仿≪周易≫的系统结构而编 的。≪说文解字≫的9353字都按照540个部首来排列，部首又从‘一’部开始， 以‘亥’部结束。540的数字显然是从≪周易≫阴阳的极数六、九乘来的。许慎 以前的文字未曾整理过，复杂纷乱，经过许慎，文字才有了系统的结构。不 过后来的字典都失去了这种系统，也忘却了文字本身‘象物’、‘象事’的本质。文字因为只有照‘形声相益’的无限增值，并没有整体的配合规律，因此现在 的文字成了无条理而杂乱的堆积。 传说初造文字的时候，“天雨粟，鬼也哭”，神灵以此表示了忧虑，文明 随着文字发达，并没有整体的调和，使用文字只重其工具性，没有想到它与 自然协和的本意，以至招来“诈伪萌生，去本趋末”的世俗风情。 文字要保持整体的系统，不能杂乱。文明也不能离开‘人本’的原则，若 只求发达而失去方向，就必定变成对人类的灾害。我们可以窥测许慎模仿≪ 周易≫而编书的用意所在。

综合分析“非”字的形、音、义，我们认为：“非”是“飞”的分化字，“非”的本义是“相背”，“非”也有“飞”义。采用蔡永贵的“母文表义”说，我们解析了《说文解字》中收录的31个“非”族字，写成了《解析“非”及〈说文解字〉中的“非”族字》一文。在此基础上，本文补充分析《汉语大字典》所收录的《说文解字》以外的“非”族字，分成“相背”义、“交错”义、“错、反对、讥讽等”义、“两两相从、成双成对”义、“隐盖、隐藏”义、“飞扬、上腾”义、“赤”义七个字族，并用表示意于文末。

“非”是个独体字，许多学者都解析了“非”字及一些以“非”为构字部件的字。综合分析“非”字的形、音、义，我们认为：“非”是“飞”的分化字，“非”的本义是“相背”，“非”也有“飞”义。人们探求汉语中字与字之间的关系由来已久，“右文说”“因声求义”“语根”等都是重要的理论。1988 年，蔡永贵先生在《“右文说”新探》中把“右文说”定义为一种“母文表义”的理论，认为“右文”不是声符，“右文说”所论对象不是形声字，而是一种“母文外化字”，即在“母文”上加注表示具体事类的偏旁（简称“外化符号”）为外部标志而产生的孳乳字。采用蔡永贵的“母文表义”说，引用《说文解字》系列文献资料解析了《说文解字》中收录的“相背”义、“交错”义、“错、反对、讥讽”等义、“两两相从，成双成对”义、“隐盖、隐藏”义、“飞扬、上腾”义、“赤”义的“非”族字。

本文为北京师范大学本科生科研基金项目《基于汉字文化圈视角的简化字历史与现状研究》的阶段性成果，该项目旨在追溯简化字来源，考察民国年间教育部推行的汉字简化方案字形以及建国以后大陆颁布的简化字方案，同时探究汉字文化圈的简化汉字运用状况及其中可见的对汉字简化的态度。本文作为其阶段性成果，旨在在前人研究的基础上，整理《说文解字》、《干禄正字》、《宋元以来俗字谱》等三部字书中沿用至今的简化字，并结合《简化字总表》，追溯简化字的起源，总结汉字简化的原则与方法，理顺简化字的历史发展脉络。在接下来的研究中，还将基于汉字文化圈的视角，以日本、新加坡、韩国等国家和地区汉字简化方案为例，对比文化圈内简化方案的各自特征，探究其中的联系，蠡测其中的发展趋势，同时调查汉语文化圈内简化字的使用和推广情况，进而分析 简化字的推广在文化交流中的作用。