The so called “special characters”, is the characters that intended to represent a particular meaning. The concept of “special characters” has been developed for a long time, and as early as the Southern Tang Dynasty, Xu Kai’s (徐锴) interpretation of “lang (郎)” in the “Shuowen Jiezi Xizhuan 《( 說 文解字繫傳》)” already had the meaning of “special characters”. The Qing dynasty scholar Wang Yun (王筠) also discussed “special characters” many times. “Special characters” are exist more or less in various periods of Chinese characters, and “special characters” have appeared as early as the existence of oracle-bone inscriptions. This paper preliminarily sorts out the “special characters” in the oracle-bone inscriptions, and then groups these “special characters” and briefly sorts out the configuration of each group of characters, in order to have a comprehensive understanding of the development of “special characters” in the oracle-bone inscriptions. On the basis of analyzing their use in combination with the example and context, the “special characters” in the oracle-bone inscriptions are compared with the “special characters” in Dongba script, and it is found that these “special characters” have distinctive characteristics when used. The “special characters” in the oracle-bone inscriptions are often accompanied by partial changes in the shape structure, and the frequency of their use is unbalanced. When “special characters” are used, there is often a situation where a character represents a phrase, the use of “special characters” is often limited by superordinate level semantics and it will gradually be unified into a glyph in the later stage. Finally, combined with the production and development process of Chinese characters, we find that the production of “special characters” is a natural manifestation in the process of writing development, which is closely related to the context of the use of oracle-bone inscriptions and the thinking habits of primitive ancestors.

The four angels standing on the four corners of the earth and the four winds of the earth by season are a same concept in a Shang Oracle Bone inscriptions. By the Yellow River in middle China, there are easterly winds during spring, southerly winds during summer, westerly winds during autumn and an northerly winds during winter. For example, when the Shang people saw the monsoon coming from the east for several days, they believed it shows that the angel of the east had come here, and announced that spring had come and they started farming. Even today the farmers are not only based on the calendar’s date to farm, also check up the new temperature keep for several days. Similarly when the southern monsoon comes and keeps, the Shang people know it is summer. However, due to seasonal lag, May, June, July, August and September are the warmest months in the middle China, it is not generally recognized that the four seasons on the calendar are equal. Two unearthed Shang bone tablets record the names (features) of the four angels on the four corners of the earth and their four winds of the earth, but so far wrongly explaining seven out of the eight characters in the bone script which name the four-end-wind inscription bone tablet. This paper deciphers the following bone scripts: The character Vibrate震 ( ), pictured that a mouth ( ) issues three forces ( ), which means shouting, the god shouting means thunderclap, the dog’s shouting means shock to awe, the belly’s shouting means pregnancy and birth娠. The character for sprout, separating out, spearing out and exploding out is depicted as Xi 析 ( ) , depicting an axe ( ) to a tree ( ). Thus, on the famous four-end-wind inscription bone tablet, the first inscription says 東方曰析，風曰震 “the east angel names Xi ‘dawn or budding’, the spring wind means thunder or birth (or the spring wind angle names thunder)”. The character Assist襄 ( ) is a picture of a host ( ) around two aliens (夷， ) and walk (行 ), it means the host helps the aliens to walk around his land. The picture is also seen as a Multiracial Zone, like a soil in which several grasses root togerther, thus it means Soil 壤. And the multi-race fusion leads culture prosperity, thus it means Rich and Varied 穰. The character Grow 長 ( ) is a person figure with long hair, in which the plant grows in a way similar to the man hair grows. One of the strategies is for the scribe to create a narrative picture (Chinese character) on the parable of the most familiar thing (for example, human body parts). Thus, the second inscription reads 南方曰襄，風曰長 “the south angel names Rich or Assistance, the summer wind means growth”. The character Dye 染 ( ), depicting a tree 木 ( ) with hatching 彡 ( ), it means the tree with multicolors, or dye is made from plants. The character Bride-kidnapping 彝 ( ), depicting two hands holding a girl with her arms back, it means marriage and extends the meaning of the cardinal law. In other perspective, it means Capture, Receive and Harvest 收 ( ). One shape is with two functions in Chinese characters. Thus, the third inscription says 西方曰染，風曰收 “the west angel names Dye or Color, the autumn wind means harvest”. The character Hug, Pack, Wrap and Womb 勹（ ）is a figure of a woman bows down and hugs a baby but the baby is omitted. Similarly a script for riding a horse is depicted as Yi 夷 and Qi 騎 ( ， ， ), the horse is omitted. The character Destroy毀 ( ), composed of an honoust man ( ) under the hand-mallet ( ). Thus, the fourth inscription says 北方曰包，風曰毀 “the north angel names Pack or Seed, the winter wind means destruction”. The first three pairs of characters Sprout-Birth, Enrich-Growth, Colour-Harvest are mutual glossing, the last pair of characters Pack-Destroy is in opposite, which forms a cycle.

Modern attempts to decipher the Shang bone scripts have been hampered by the fundamental assumption that the scripts are recordings of the sound of the language and not ideas. Some phonetic “translations” could be proposed without the possibility of verification, and some graphic “translations” without meanings are seen as the names of sacrificial rituals by previous scholars. Actually, a character is derived from a thought, and the thought is derived from a figuration, while the figuration itself is derived from the graphed object or event. Therefore, the same character can be used in different dialects or languages to depict the same concepts. Based on the bone scripts being ideograms, several bone scripts used frequently for the names of the day were assumed to be the moon phases; thus, the time interval between two corresponding days with its moon phase was calculated for verification. Extensionally, according to the time interval between the two days, and the moon phase recorded on the bone tablets (or bronze wares) and the chronological table of the kings of Shang compiled by the pre vious scholars, the assumptions of the moon phase characters are attested by the calculations of the numbering days of the solunar date. Solunar dates (Chinese: Gan-Zhi 干支) were used to record dates with a cycle of 60 days. Conversely, on consideration of the dates and moon phases for the bone inscription events, the prevous chronology is improved with iterative methed, and we propose new chronology for Shang kings. In addition, through computation, three records of a lunar eclipse on the Shang bronze inscriptions and on the Zhou bronze vessels are newly recognized, which helps to reconstruct the years of the kings of Shang and of the kings of Zhou; the Shang bone calendar’s New Year started from the summer solstice of the year, from the full moon of the lunar phase and from the dawn of the day.

The origin of the ‘rainbow’ in oracle bone inscriptions has been debated in the academic circles, but no final conclusion has yet been found. According to what the ‘rainbow’ in the oracle bone inscriptions looks like, scholars roughly divide it into two categories: the ‘snake’ and ‘dragon’. Reviewing previous argumentations on this issue and resting on comprehensive analysis of various views, this paper traces the academic origin of the ‘rainbow’ in the oracle bone inscriptions, and, at the same time, takes the ‘rainbow’ as the ‘dragon with two heads’, one of the description views on it. Furthermore, it, by means of combining with some arguments over the present archaeological results and discussing again relevant points of them, puts forward an argument that the ‘rainbow’ in the oracle bone inscriptions was taken from the image of the ‘dragon’. On the basis of this argument and relevant theories of philology, archaeology and cultural anthropology, it reinterprets the cultural connotation of ‘auspicious and ominous symbols’ and ‘gender metaphor’, both of which are unique to the special natural phenomenon of the ‘rainbow’ in Chinese culture. Analyzing the cultural meanings such as pouring rain, giving birth to an emperor or a sage, fornication and reproduction, etc. also helps to explain the cultural interconnectedness between the ‘rainbow’ and ‘dragon’ or, more specifically, dragon worship-related cultural prototypes of China.

Micro-Blade (Stone knife) and its manufacturing techniques or flaking methods, considered by many scholars as the marker of modern humans, are used popularly back from 20 000 years ago Lower Old Stone Age until to 2 500 years ago Zhou Dynasty. Visible technological processes map invisible thinking patterns. The thinking model of Genesis, create a pioneering work, hurt your skin and bruise in Oracle Bone Script all are derived from Stone knife flaking process model. Comparing a common thing or process to a concept, especially abstract concepts, are a common means for the expression of thought in ancient, like a parable in the Bible and proverb in public. OB Script uses a scene of a common process, a parable or proverb to expressing ideas. An Oracle character does not have to record language, first is an ideograph used for alluding. The other sample of Dongba (Mo-so) pictographic glyphs is largely a mnemonic system, and cannot by itself represent the Naxi (Mo-so) language. Tab.2 is a sample of Mo-so Genesis can be read as a long story for hours and hours by the priest. A popular and most academic understanding of the Oracle characters as logograph or phonograph hinders the deciphering of many Oracle characters. The character刅 (Tab.3 CH1, now write as創. 倉 is add-on sound, 刀 is刂 idea) imitated to K” (transcription),「K」set as a Knife, 「”」as like debris from broken scars. K” suggests a third scene of flaking a stone knife from a stone core by percussion (Fig.1), this is Scene-parable telling 說象 . The scene of Blade flaking suggests skin hit or trauma 創傷肌膚 , enemy hitting or attacking 重創對手 , pioneering tool by hitting or innovation and creation創 造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創造全新 工具或創(a knife is a pioneering tool when comparing to Chopping tool that perhaps in nature), analogy of an egg hatch by mom percussion can be stretched a genesis by god percussion創世紀 , this is sense reading解意 . The scene is rich in symbolisms above that are depicted the word meanings as much as possible; this can be called as Self Deriving. For English example, a scene of hive is depicted meanings of a school of bees, gather into a hive, a place full of people who are busy as bees, hive off [divide up family property and live apart], store (like bees). A scene of hand (of head, of bow, of moon, so on) may be another example. The character刀 (Tab.4) is imitated to K (transcription), pictograph of Micro-Blade (Stone knife, Fig.3). The character勿(Tab.4) is imitated to C: (transcription), 「C」as bow, 「:」as no string, 「C:」suggest a third scene of an unstringing bow. The scene of the archery removed bowstring suggests no-shoot arrow or hunting, no attack, 勿 use as No, Do not in OB Script.

Through the description, and inscriptions tool books, the Yin Ruins Oracle was edited by Wang Shaodong and Wang Yuxin, there are at least four aspects of the following problems: First, the interpretations is not new. secondly, the notes are uncertainty. and thirdly, The translation is out of order. Finally, some punctuations are wrong. As an exact textbook for the introduction of ancient Chinese characters in the cultural relics press, we can not fully trust and should use it carefully when using it.

이 논문은 제3차, 4차, 5차 교육과정기의 교과서를 통해서 갑골문 학습의 양상을 밝히고, 당시 갑골문 학습의 문제점을 밝혀 낸 것이다. 제3차, 4차, 5차 교육과정기에는 분석 대상의 교과서들이 單體字 위주로 甲骨文 한자를 제시하고 있다. 合體字는 본디 會意字와 形聲字의 造字 原理를 제시할 수 있음에도 불구하고 갑골문으로 제시 된 合體字는 會意字와 形聲字의 조자 원리를 제시하지 않았다. 또한 대부분 ‘중학교 한문 교과서’의 주로 초기 단원 또는 ‘중학교 한문1’에서 甲骨文을 제시하고 있다. 이는 초기 학습에 字源을 제시할 목적으로 제시한 것일 뿐이다. 상형자의 특징을 보여 주고 한자의 변천 과정과 함께 제시하여 字源 을 통해서 한자를 익히도록 했다. 제5차 한문과 교육과정 해설에서는 ‘內容體系(한문과 교육의 구 조)’가 처음으로 분류 제시되었다. 內容體系는 ‘漢字, 漢字語, 文章’으로 체계화되었으며, 그에 따라 교과서의 소단원에서 ‘본문 이해’의 구성을 ‘한자의 짜임(구조), 한자어의 짜임(구조), 문장의 구조’ 로 제시하였다. 그러나 매 소단원의 한자의 짜임은 楷書를 위주로 ‘한자의 짜임’을 반복 제시하였다. 오히려 甲骨文에 따른 자원 교육은 앞서의 제3, 4차 교육과정기보다도 감소되었다. 제3, 4차 교육과 정기 교과서의 갑골문 제시는 한자의 자원을 보여주기 위한 것으로 제시되었으나, 합체자의 회의자 나 형성자의 자원을 제시하지는 못했다. 제5차 교육과정기 교과서는 ‘한자의 짜임’을 내용체계에서 체계화했으나, 자원 제시 및 자원 해설과 자체 변천 과정 제시는 이전 보다 약화되었다. 제3, 4, 5차 교육과정기의 자원 제시는 체계성이 부족함이 밝혀졌다.

四柱命理學은 시간의 吉凶을 해석하는 학문이다. 그렇다면 처음 四柱의 年月日時라는 시간 의 기록은 언제부터 시작되었으며, 여기에 吉凶의 의미가 부여된 것은 어느 때부터일까. 고대 인들은 天文을 통해 일 년과 四時라는 시간의 기점을 만들었다. 특히 해와 달의 변화를 관측 하여 만든 시간의 의미는 신화를 통해 10개의 태양으로 표현되었는데, 이는 태양숭배 사회인 商나라에서 통치 전반에 영향을 미치는 중요한 가치체계가 되었다. 그들은 10일을 旬의 단위 로 사용하였고, 10개의 태양과 12달을 의미하는 글자를 혼합하여 60干支로 조합된 달력을 만 들었으며, 天干의 명칭으로 조상의 묘호를 삼아 제사를 지내었다. 甲骨文에서 時는 해의 밝기 나 생활관습에 따라 이름 지어졌으며, 달과 윤달은 朔望의 순서에 따라 숫자로 매겨지고, 年 은 거의 기록되지 않았다. 干支는 날의 표기부호로만 사용되었는데, 甲骨文 卜辭의 신탁과 그 것의 실현 여부를 대조하여 庚, 乙, 辛, 丁, 甲의 날이 점차 길한 날로 인식되었다. 길한 날은 조상들의 묘호와 제사의 이름이 되었으므로, 점차 미리 점을 치지 않아도 天干을 통해 길한 날을 알 수 있게 되었다. 商代의 날짜 표기 부호인 干支는 고대를 거쳐 축적된 天文學的 지 식과 商代의 甲骨文化 속에서 시간에 吉凶의 의미를 부여하는 단초가 되었다.

There are a lot of Oracle Bone Inscriptions in Yin Dynasty Ruins. But what the exact number is. Different ideas come from different people.The key one among many reasons is that the statisticians don’t have the uniform and specific standards. We can also use some rigid standards to judge the Oracle Bone Inscriptions of Hunting, for example, Shou, Ge, Tian(It has limited conditions), Xian, Jing, Bi, Qin, Fen etc.

The Yin Dynasty remains are‘Underground Museum’exhibiting the humanity advanced material civilization. It was important to excavate scientifically the Yin Dynasty ruins. through the scientific research works represented the Yin Dynasty and many of the local people have made the huge sacrifice for the protection of the Yin Dynasty ruins, finally, the Museum of Yin Dynasty ruins is constructed.