Chinese ancient wordbook of standard characters is a type of character book that establishes a standard style for the writing of Chinese characters. This article selects seven types of character books, including the Tang Dynasty’s Ganlu Zishu, Wujing Wenzi, Xinjia Jiujing Ziyang, the Song Dynasty’s Fugu Bian, the Yuan Dynasty’s Zi Jian, the Ming Dynasty’s Sushu Kanwu, and the Qing Dynasty’s Zengguang Zixue Juyu. Through a review and analysis of their research status, it is determined that the style of character books is mainly explored from three aspects: character collection, bibliography, and arrangement style. Chinese ancient wordbook of standard characters has the characteristics of small volume and stable quantity in the collection of characters. In terms of typography, the form of the prefix has gone through a process of typography, from typography to typography, and gradually fixed to typography; Except for the “Fugu Bian”, all fonts are in regular script and stand out; Except for the “Ganlu Zishu”, all prefix categories are listed in regular script. In terms of arrangement style, the Ganlu Zishu has had a profound impact on future generations of character books. More character books use phonetic order, and are all based on four tones, with rhyme as the main focus. The use of radical method in the “Wujing Wenzi” and “Xinjia Jiujing Ziyang” is different from the radical in the “Shuowen Jiezi” in terms of the number, form, and order of radicals, mainly reflecting the trend of radical function transformation from structure to character inspection.

There are five main types of Vietnamese orthographic texts among the extant Chinese literature. This paper introduces these five types of orthographic literature and summarizes their main contents as orthographic forms, orthographic sounds, and orthographic meanings to regulate the use of Chinese characters, thus deriving the orthographic criteria reflected in these five types of Vietnamese orthographic literature. In addition, we explore the background of the formation of Vietnamese orthography in relation to the ecology and actual use of Chinese characters in Vietnam at that time, thus revealing the value of Vietnamese orthography to theoretical studies of orthography, to the study on the spreading value of Chinese characters, and to the compilation of dictionaries.

朝鮮時代（1392~1896年）의 漢語 教科書인《翻譯老乞大朴通事》를 대상로 이미 허다한 學者들이 研究를 하였다. 게다가 巨大한 成果를 거두었다. 그러나 지금까지 그 研究가 不足한 면이 存在한다. 첫째는 研究가 表面的이고 主觀적이라서 어떤 歷史적 文獻의 연구는 歷史와 一致하지 않는다. 둘째는 어떤 硏究는 他人의 檢證하지 못한 論點을 定論으로 여겼다. 旣存의 定論을 유지하기 위해서 文獻 가운데 자기 구미에 맞는 개별적 구절만 따내고 심지어 억지로 들여 맞추기 위해서 文獻의 原文을 任意로 修改하기도 한다. 《翻譯老乞大朴通事》를 예로 들면 許多한 사람들의 硏究는 오른쪽 음을 대상로 삼은 것이다. 그것은 어떤 학자가 오른쪽 음이 當時(16世紀初)의 現實語音을 반영했고 왼쪽 음은《洪武正韻譯訓》에 음이라서 現實音하고 매우 큰 差異가 있다는 定論을 정했기 때문이다. 사실 그 觀點을 檢討할 必要가 있는데, 學界에서는 많은 학자들이 그 觀點을 그대로 받아들이고 정론삼아 여기고 있는 것이다. 《翻譯老乞大朴通事》中에는 漢字마다 아래에 두 개 音을 달았다. 그중에 左側音은 申叔舟（1417~1475年）등이 司譯院에 학생들을 위해서 王命에 따라서 編纂된 중국어를 배우는 見本이다. (“所習漢音字樣” 即“增進諺文洪武正韻”) 崔世珍은 當局에 “事大主義” 외교적 國策을 유지하기 위해서 그를 존경스럽게 左側에 모시고 임시로 目的語로 여겼다. 그 중에 右側音은 崔世珍（1468~1542年）이 創製한 “漢訓諺字”이며 意思疏通이 可能하지만 그 음은 中國音과 유사한 것이다. 다시 말하면 韓中 中間言語를 創製한 것이다. 崔世珍은 당분간 中國語를 배우는 見本으로 여긴 左側音에 實際로 存在하는 非現實音을 揭示하고 그를 “漢訓諺字”로 反譯했다. 前者는《凡例》이고，後者는《翻譯老乞大朴通事》中에 “漢訓諺字”이다.

Chinese characters are basically rooted into Chinese culture background, so the special form of a certain Chinese character has its unique historical connotation. Though some concepts about Chinese characters culture are still under discussion, the historical graphemes of Chinese characters are undoubtedly the main content in culture research. Some vivid practical applications are discussed in this study to reveal the abundant culture content in the historical graphemes of Chinese characters.