The two most well-known Chinese characters dictionaries are Songben Yupian from China and Quanyun Yupian from Korea. These dictionaries contain a wealth of information on Chinese characters at the diachronic and synchronic level, while also retaining much information on Chinese characters during the period of its movement overseas. This paper is a corpus-based study which analyzes the differences in the style of arrangement, phonetic notation mode, interpretation, form interpretation, and other aspects of the two dictionaries, and further summarizes the laws of the development of Chinese characters in overseas dissemination. The result of this study indicates that the function of the two dictionaries is different, that the Chinese characters remained stable during their transmission to other countries, and that the overall trend in the evolution of the characters is toward simplification, and that the main way that Chinese characters morph extraterritorially is via phonetic and semantic replacement.

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.

본 연구의 목적은 공동체 미학이 애니메이션 캐릭터 창조에 어떻게 적 용되는지를 탐구하는 것으로, 중국 애니메이션 영화 <강자아>를 사례로 삼았다. 본 논문은 텍스트 연구 방법을 사용하여 <강자아> 내의 캐릭터 와 줄거리를 심층 분석함으로써 공동체 미학의 구체적인 적용을 탐구한 다. 이에는 공동체 미학의 기본 개념과 이론 틀 소개는 물론 <강자아> 내 주요 캐릭터의 감정 공명과 연결에 대한 심층 분석을 포함한다. 공동 체 미학이 문화 전달 분야에서의 중요성을 설명하고, <강자아>의 사례 분석을 통해 공동체 요소가 캐릭터 형성과 스토리 전개에 미치는 영향을 보여준다.연구 결과는 공동체 미학이 애니메이션 캐릭터 창조에 중요한 적용 가치를 가지며 <강자아>는 공동체 미학의 개념을 성공적으로 활용 했음을 보여준다. 이는 중국 애니메이션 영화의 창작을 풍부하게 하고 관객에게 깊은 감정 체험과 문화적 성찰을 제공한다. 그것은 중국 애니 메이션 영화의 발전에 유익한 시사점과 참고를 제공하며, 캐릭터의 감정 적 깊이와 복잡성을 통해 관객이 감정 공명을 느끼고 영화의 줄거리에서 공동체의 힘을 체감할 수 있도록 한다. 공동체 미학의 적용은 관객의 감 정적 체험과 문화적 이해를 깊게 하는 데 도움이 된다.

In recent years, many Vietnamese and International researchers have been interested in two aspects of Vienamese variant Chinese charaters – International variants and national variants. International variant characters here are Chinese characters originating from China. National variant characters are Chinese characters created by each country under the Chinese cultural influence, such as Vietnam, Korea and Japan. In order to clarify the charateristics of Vienamese unique variant Chinese charaters (national variants), we analyzed two Buddhist texts: The first one is Chư phẩm kinh 諸品經 (there are 187 variant Chinese charaters correspond to 183 standard charaters with total number of appearance is 1,697); the second one is Thích thị bảo dỉnh hành trì bí chỉ toàn chương 釋氏寶鼎行持秘旨全章 (there are 56 variant Chinese characters correspond to 41 standard characters with total number of appearance is 243).

한자는 특유의 고유성을 지닌 문자언어의 또 다른 형식이며, 인류 문명사의 중 요한 자산 중 하나이다. 그럼에도 표음문자 중심의 시각에서는 한자가 전근대적인 문자 로 폄훼되는 경우들이 많았다. 본서는 바로 이러한 인식의 전환의 필요성과 함께, 한자가 가진 형체-의미 간 통합성에 따른 문화적 보고로서의 가치와 의의를 인식해야 함을 강조 하고 있다. 저자는 이와 같은 주장을 뒷받침하기 위해 다양한 한자들의 형체와 의미를 분 석하였고, 이 형체-의미 간의 연관성을 입증하기 위해 방대한 문자·문헌·문화 자료들을 활용하였다. 저자는 또한 한자의 고유성과 가치에 대한 인식이 동양의 가치와 위상을 바 로잡을 수 있는 첫걸음이며, 또한 이러한 인식의 확장은 인류 문명사를 통합적 관점에서 바라볼 수 있는 중요한 계기를 마련할 수 있음을 역설하고 있다.

To transform old words into new words is a very efficient mode of word derivation in contemporary Chinese, which mainly involves the transformation of word form and the transformation of meaning. In the process of transforming the old words language users have created a lot of new words that are very novel in form or meaning based on the relationship between Chinese characters in terms of sound, shape and meaning or the structural features of Chinese characters. This paper lists more than 130 new appellations including sound-based words, form-based words, meaning-based words and words produced by changing the structure of Chinese characters, names the ways how old words transform into new words as JieYinFuXing, XieYinFuYi, BieJieFuYi, FanBeiFuYi, GaiZiBianXing and describes the transformation process of these words. These lexical phenomenons reflect some language psychology such as pursuing new differences, playing jokes and mental association. They have some impacts on the lexical system of contemporary Chinese as they open up new ways for the generation and change of contemporary Chinese words, they supplement the word-making methods and lead to some unconventional combinations in contemporary Chinese lexis. This paper intends to further clarify the important role of Chinese characters in word creation and word development, and deepen the understanding of Chinese Character study and contemporary Chinese lexicology.

The origin and evolution of Chinese characters (hanzi, 漢字), the reasons for its stability and longevity, and its future are some core issues in the study of Chinese characters. We have proposed three research models to tackle these problems: (1). Taking advantage of the logographic nature of Chinese characters, we have used a mathematical model to show that the Chinese writing should have already existed no later than 2100 BCE. (2). We have adopted the “funnel model” of protein folding in biochemistry to illustrate the landscape at the beginning of Chinese writing and how it evolved into a stable writing system. (3). We have proposed an ecological model for studying the past and future of Chinese characters. Based on these models, together with systematic archaeological study of pottery inscriptions and DNA analysis of human skeletons unearthed from various neolithic cultural sites, this article discuss specific issues related to the genesis, the longevity and the future growth of Chinese characters in the context of ecological model of Chinese characters. Particularly, how Chinese characters can be prepared to respond to future challeneges in a world of globalization and dataism.

This article investigates several examples of “Japanese Popular Characters (倭俗字)” in the four works of Zheng Kai Lu (正楷錄), Wo Kai Zheng E (倭楷正訛), Tong wen Tong Kao (同文通考), and Sheng Wen Zuan Kao (省文纂考) in the Edo Period of Japan, and finds that the judgment of Edo scholars is not completely accurate. “ (樂)” can be found in Japanese and Korean literature. “ (圖)” can be seen in Japanese and Vietnamese literature. The symbol “ ” can be found in Japanese, Korean and Vietnamese literature instead of vulgar characters. The character “豊 (豐)” can be found throughout the Chinese character sphere in East Asia. And “釈(釋)”, “訳 (譯)”, “円 (圓)”, “囲 (圍)”, though not in contemporary Chinese literature, but modern visible. It is necessary to study the Popular Characters from the perspective of Chinese character sphere in East Asia.

In the encyclopedia as the example of the book Gu Jin Shi Lin to record the number of Chinese Characters Vocabulary in Korean at Joseon era which was written by Li Yifeng like a Zhuxi’s scholars. From diachronic perspective, it is of great value in the study of Chinese word form, sound and meaning, spoken Chinese words and the oversea spread of Chinese vocabulary. It cannot be ignored that the Chinese characters and words collected at that time not only reflect the use of spoken words in the time when the book was written, but also provide fresh corpus for the study of modern Chinese characters and words, overseas sinology, overseas transmission of Chinese characters and other studies. By introducing the related content, the hope can cause the attention of academic circles.

홍콩의 소수민족 학생들을 위한 효과적인 교육 방법의 부족은 중국어를 배우려는 동기의 부족으로 이어진다. 본 연구는 소수민족 중등학교 학생들을 대상으로 그림책 수업을 실시하였다. 인터뷰, 수업 참관, 텍스트 분석 등의 연구 방법을 활용하여 중국어 교사가 어떻게 그림책 텍스트 속의 한자와 문장을 판별하게 하는지, 그리고 이야기의 내용과 주제를 이해시켜 깊은 성찰에 이르게 하는지를 분석하였다. 연구 결과, 교사와 학생은 그림책 수업의 효과에 대해 긍정적인 평가를 하고 있으며, 그림책 수업이 학생들이 한자의 의미를 쉽게 인지하게 하고 텍스트의 내용 과 주제를 깊이 있게 이해하는데 도움을 준다고 생각함을 알게 되었다.

본 연구는 東晉의 王羲之(303-361)가 쓰고 宋人(米芾(1051-1107)로 추정)이 편찬한『草訣 百韻歌』에서 시작한다. 기존 歌訣 해설과 다르게 본 연구는 전통 이론과 실제 붓을 잡고 쓴 경험을 바탕으로, 宋人이 가결을 통해 후학에게 전달하고자 했던 초서의 요체를 새롭게 밝히고 자 한다. 이로써 전통 이론 중, 초서에게 부여된 ‘積其點畫, 乃成其字’, ‘草以點畫為情性, 使轉 為形質’과 같은 간단명료한 원칙의 의미를 더욱 깊이 있게 이해할 수 있을 것이다. 또한, 초서 문자 구조에 잠재된 변화규칙과 초서의 ‘連綿’, ‘游絲’의 추론과 설명 방식을 고찰할 것이다. 이는 초서 문자의 해독과 초서 문헌의 이해할 수 있게 한다는데 의의가 있다. 본 연구의 방법 및 과정은 크게 4가지로 구분된다. (1) 『草訣百韻歌』 중 간략하게 서술된 초서 변화의 요체를 해석하고, 점을 찍는 것에서부터 선을 연결하고 문자를 구성하는 기본 ‘結字 法’을 상세하게 분석한다. ‘圓筆’, ‘潤筆’, ‘渴筆’, ‘轉筆’ 등의 필법이 포함되며, ‘楷’에서 ‘草’로 전개되는 과정에서 문자의 틀과 필획의 구조 변화도 설명한다. (2) 초서에서 가로획과 세로획의 교차 운용 법칙을 상세하게 분석하고, 나아가 ‘撇捺改筆’, ‘戈法變換’ 등 획과 선의 배치, 한자 구조의 변화 등도 아울러 분석하고 논한다. 이는 초서 쓰기, 읽기, 이해에 이론적이고 과학적 해결법을 제공할 것이다. (3) 초서 章法의 기본을 해석하고 초서 필획 중 虛･實의 분배와 운용 및 ‘計白當黑’, ‘意連形連’과 같은 필획 구성의 요체를 고찰한다. (4) ‘連綿’을 재구조화하고, 초서의 점과 획의 변화 규칙을 활용하여 ‘連綿’, ‘游絲’의 필법 원리를 해석한다. 또한 고문헌의 해석에 응용하여 ‘龍蛇競筆端’에 포함된 초서로 쓰인 한자의 수수께끼를 풀어낼 것이며, 이로써 초서 筆法字學 학습의 중요성과 그 가치를 밝힌다.

국제 중국어 교재에 초과 한자와 초과 어휘가 존재한다는 것은 객관적인 사실이다. 이는 학생 이 텍스트를 이해하는데 영향을 주며, 교사가 수업을 진행하는데 있어서도 피하기 힘든 문제이 다. 본고는 《국제 중국어 교육 중국어 수준 등급 표준》를 기준으로, 『發展漢語』 고급 종합 교재에 포함되어 있는 초과 한자와 초과 어휘를 연구 대상으로 삼았다. 코퍼스 기술을 바탕으로 빠른 식별과 태깅을 진행하여, 『發展漢語』 고급 종합 단계 교재에 나타난 초과 한자와 초과 어휘 현황을 분석하였다. 또한, 초과 한자를 기준으로 真性과 假性으로 구분하고 글자 단위의 의미와 어휘 단위의 의미의 연관성을 근거로 교육 방법을 제안하였다. 한자와 연결되는 동사를 함께 가르치고, 한자와 어휘를 연결하여 학습시키는 방안은 학생의 중국어 학습 능력을 향상시킬 것이다.

The digitization of ancient characters allows ancient writing materials to break the limitations of time and space. The application of digital technology can also help the interpretation of ancient writings and contribute to the protection of original materials. After more than 20 years of efforts, the research on digital processing of Chinese ancient characters has made a series of attempts in ancient character database and query system, big data platform, ancient character input software and recognition software, and achieved a series of achievements. In the future, we need to make continuous efforts in the interdisciplinary talent training of Chinese Palaeography and computer science, the cooperation between different research institutions, and the openness of digital achievements.

Based on the preface to the Dictionary of Vietnamese Chinese characters and the relevant documents, this paper looks at nine aspects of the origins of Chinese characters, the introduction of Chinese characters to Vietnam, the morphological and phonological meanings of Chinese characters, the development of Chinese characters, the limitations of the use of Chinese characters, erroneous Chinese characters, the question of the survival of Chinese characters, the evolution of Chinese names, and the relationship between Chinese characters and Nom characters. A comprehensive overview of the Vietnamese view of Chinese characters, comparing it with the Chinese view of Chinese characters and pointing out the similarities and differences between the two, thus summarising the transmission and variation of the Chinese view of characters in Vietnam, in an attempt to provide a new perspective for studies related to the history of the development of Vietnamese characters and the spread of Chinese characters.

Two stage-corpora of the newspaper LianHe ZaoBao from 2005-2008 (6678,6564 characters) and from 2018-2020 (3308,2690 characters) were collected and were used for Chinese characters statistics by the Huayu Research Center at Jinan University. Chinese character Species used in the two stage-corpora are 7004 and 6166 respectively. Chinese characters beyond the General Standard Chinese Character List in the mainland are 952 and 621 respectively, and the proportions of off-list characters are 13.59% and 10.07% respectively. The proportion of non-universal standardized Chinese characters decreased by 3.52 percentage points, indicating that Chinese characters used in the rear stage of LianHe ZaoBao are more consistent with those in mainland China. The Statistics, recording and sorting of the Chinese characters used in LianHe ZaoBao will help us understand the current Chinese characters ecology in Singapore and understand the commonalities and differences of Chinese characters between China mainland and Singapore. Based on the survey, we can explore the feasibility, methods and scope of the Chinese characters differences between Singapore and the mainland, as well as the strategies of compiling global Chinese dictionaries and further thinking about cross-border Chinese characters coordination.

This article introduces the Korean “vulgar characters” recorded in the “Jaseo Jibyo” (《字書輯要》) written in the late Joseon Dynasty with the addition of Dong-vulgar corrupt characters (referred to as “Dong-su characters”), and to clarify its academic significance for the purpose. The article contains a total of 117 vulgar Chinese characters, which were probably written in the late 19th or early 20th century. It includes various common and special characters that were seen at that time, so that we can understand the use of common characters in the late Joseon Dynasty. For this reason, this article has made the “Popular Characters”, and compared with the square-printed edition “Shiwencuo” which preserved the alien society at that time, and obtained the universal use of the common characters. The “vulgar words” are divided into four categories: “①omit, ②add, ③replace, and ④symbolize”. Then, taking the characters (國guo), 伩(儒 ru), and (聖sheng) as seen in the “Dong-vulgar characters” as examples, the cultural awareness hidden behind the characters is analyzed in detail, in order to navigate the cultural research of variant characters. Attached is the “Popular Character Catalog” attached to the “Manuscript Addition and Deletion of Yeomlag Pung-a”(《增删濂洛風雅》) collected by the author for comparison and reference.

The study of Chinese vulgar characters is one of the important contents in the study of modern Chinese characters, and it is also one of the important contents in the study of the dissemination of Chinese characters. Based on the 81 poems and more than 300 folk characters in the Vietnamese Chinese document “Giới Hiên Collected Poems”, this paper explores the nature of Chinese vulgar characters and related issues. The nature of Chinese vulgar characters can be characterized from the perspective of Chinese character shape, structure and function: Vulgar characters are used by the civil community, with different forms of different forms, different components of the composition of the word, often used to record and correspond to the orthography of the Chinese character. Clarifying the nature of “vulgar characters” is of great significance to its ontology research, modern Chinese research, and Chinese character dissemination research.