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THE WORLD OF KANJI Alex Adler
THE WORLD OF KANJI Learn 2136 Japanese characters through real etymologies by
Alex Adler
© Copyright Alex Adler 2018 All rights reserved
No part of this book may be reproduced in any manner without written permission from the author, except in the case of brief quotations embodied in critical articles and reviews.
Published & Designed by Alex Adler more at https://gumroad.com/alexadler
ISBN 978-84-697-9625-2 Ebook Version
Contents Foreword
5
Arms
130
Acknowledgements
6
Feet
134
Preface
8
Review on Limbs
141 142
Introduction to Kanji
13
THE NATURAL REALM
Guidelines for Reading Kanji
24
Elements of Nature
Guidelines for Writing Kanji
27
Energy
145
How to Use this Book
34
Stars
159
Explanation of Entries
38
Water
169
THE HUMAN REALM
42
Fire
186
Earth
190
People The Upright Man
45
Heaven
205
The Different Postures
49
Review on Elements
210
Women and Gestation
54
Plants
The Individual and Society
60
Small Plants
212
Human Measures
70
Trees
237
Review on People
72
Grains
263
Review on Plants
277
Human Body Bones
73
Animals
Heart
81
Oviparous
279
Eyes
84
Mammals
295
Nose, Ears and Hair
89
Animal Manipulation
317
Mouth
92
Silk Production
320
Review on Animals
333
THE MATERIAL REALM
335
Review on Human Body
105
Limbs Hands
106
Everyday Objects
3
Wooden Objects
338
The Circular Plane
592
Bamboo Objects
358
Review on Spaces
625
Cloths
361
Constructions
Review on Everyday Objects
375
Walls and Roofs
627
Doors
659
Tools Counting Tools
376
Tall Buildings
668
Monetary Tools
384
Roads
676
Work Tools
396
Review on Constructions
695
Nets and Baskets
412
APPENDICES & INDICES
697
Review on Tools
423
Syllabaries
698
Semantic Components
702
Vessels Food and Drinking Vessels
424
Phonosemantic Components
704
Bags and Boxes
446
Strong Phonetic Components
707
Plates and Trays
457
Onyomi Readings Index
713
Boats
469
Kunyomi Readings Index
726
Review on Vessels
475
Radicals’ Main Meanings
742
THE TERRITORIAL REALM
477
Radicals Index
745
2136 Characters Index
746
Resources
761
Weapons Daggers
480
Pole Weapons
497
Axes
517
Defensive Weapons
526
Bows and Arrows
528
Review on Weapons
551
Spaces The Vertical Plane
553
The Horizontal Plane
578
4
Foreword
Chinese characters—or kanji—looks mysterious and exotic at first glance, and this is why it is fascinating for many: they arouse curiosity. This fascinating mystery is also a tool used daily by millions of people, and anyone who aspires to be able to communicate with it will have to decipher the mystery inescapably. The method of decipherment chosen, however, will undoubtedly influence the learning experience of the student for better or worse, so one has to be serious about the way to approach the characters. This book is written with the intention to be one of the helpful and favorable approaches. The World of Kanji is conceived as a tool for deciphering the mystery of Chinese characters by trying to keep in the student that initial fascination summoned by curiosity throughout the entire learning process, for kanji may be more captivating as one sips deeper into its unexpected coherence and symbolism that is pointed out throughout the book. I see kanji as a fascinating writing system because, in a figurative way, it represents an almost poetic world that serves as a conceptual link between words and ideas, something that, in turn, can be used with great effectiveness by the student to learn the characters himself. The symbolic and associative power of kanji, however, is hidden in the contemporary glyphs behind a linearization and a graphical simplification of the primitive pictograms and ideograms. The aim of the present book is, thus, to help the student decipher the original intended meanings to better understand the direct graphical relationships between Chinese characters and the world of ideas they represent, a world that I have tried to reveal and analyze for you: The World of Kanji
5
Acknowledgements
The conception of this book has only been possible thanks to the 2044 people from all over the world who supported this adventurous project with all their generosity and warmth in the funding campaign of summer, 2017. My most sincere thanks to all those people and the Kickstarter team for making this possible. Special mention to:
María Teresa Arroyo
Sean Pelkey
Alexander Alderete
Alonso Schaich
Eunbyol Choi
Samantha Walker
Carlos A. MonrroyTinoco
Daniel Senf
Tracey Booth and Olivier Van Acker William J. Hartley Jarrett S.K. Jenny Andrew Smith
Shifu Jennifer StJohn
Bastiaan Thomas Burger
Vesko Gavrilov
Eric Wells
Sami El Khalifa
Chris O'Mara
Neasa O'Sullivan
Søren Larsen
Alexey Kazantsev
Xeon Xai
Paul Anguiano
Tariq Azeez Hasanradja
Jenny Reed and Vicky Staubly
Tobias Hultman
Andre Chartier, MD
Tida
Mike Williams
Isaac
Martin Grant
Brad Hansen
Dr. Jim Laughton
Michael M. McFall
Daniel Walker
Fiikragg
Dr. Valentin Precup
Dodzidenu Dzakuma
Abner Isaac M. Alvarado
Jared Trezise
Michael Negron
Gregory Bevens
Robert D. Moser
Michael Tucker Daniels Dekters
Aaron Chuang
Lisa Ingrid Zech Shinyuu Gian Piero Santini
Marc Tischhauser 6
Alex Tucker
Luis B. Mora
Dale Thoms
Emmanuel Miranda
Josh Smith
Steven Nakamura
Ryan Wallace
Natan Akira Bussers
Nicky Bramley
Menny Castro
Franklin E. Powers, Jr.
Steven Dove
Luke Bennett
Adam Andrzej Jaworski
Iskandar Azani
Joshua Buchanan Yoshiaki Obara
Fabian "throtran" Otte
Mohammad Alzamel
level1imp
Alphonso N. Dandridge
Thomas Shaw
Sus and Barrie
Olaf Schuchardt
Rik Smale
Van Daatselaar Family
Otto Hubacher
Matthew Ruhl
Fabrissou
Anthony Barker
Mateo Gomez
Ebrahim Al-Bishri
Jörg Sonnenberger
Susumu Binford
Ghashghai Atabak
Sarah Beamish
Jdjfusion
Veleath Yea
Wanda Aasen
Jakob Mœller
Brent Atkinson
Dimitri van Dijk
James Welch
Nicholas James Schlavensky
James Watson
Timm Knape
Karli Ann Bailey Randolph Kent Wilson III
Berto Castelo
Savannah Barber
Giacomo ジャコモ Boccardo
Cris P. Advincula, Jr.
Dread Lioness
Alison Kidd
Lester F. Callif
Matt Edmiston
Tyler Romeo
Alex Doroshenko
Dodzidenu Dzakuma
Saz Wells
Georgina Toland
Alonso Schaich
Christopher Prusinski
Michael A. Desbrow
Emmanuel Miranda
Craig Sider
David A. Blake
Jonathan Vauhkonen
Andrew Hamblen
Douglas, Kiyan, and Barrie Lew
Heidi Kathrin Harnisch
Andreas Looser
Xenon Ventures
Duckiedale
7
Preface
THE DIFFICULTIES
OF
KANJI
Every student of Japanese knows how difficult and overwhelming learning kanji 1 can be. Every time you learn a new word in Japanese you have to learn not only how that word is pronounced, but also how to write the specific character (kanji) used to represent that word. In addition, it turns out that the same character can be pronounced in different ways depending on which word it is found in. In addition, the number of characters that the Japanese Ministry of Education prescribes as necessary to be considered proficient in reading Japanese reaches 2136 units. Learning 2136 different characters, with their different ways of reading, is not an easy task at any rate, and it becomes even more challenging if you want to memorize them as you encounter them in your everyday life, without an apparent logical order. But unfortunately for almost every first-time student of Japanese, that will be the first obstacle he will have to face in his attempt to understand what all those jumbled symbols that appear in a Japanese text mean: the lack of logic and structure in the learning and understanding of kanji. In most teaching programs, kanji is introduced as you learn new vocabulary, perhaps with some advice on how to remember such and such character, but, in truth, this method is based on engraving the characters in your memory using brute force. This, basically, has been the method always used in the countries where this writing system is practiced (China, Japan, Taiwan and, until recently, Korea). In these countries, children obviously end up learning what they have to learn and, when they are adults, they are able to read any text in their native language full of Chinese characters. This “brute force” method is ultimately effective in these countries because: 1. A young child may not need so much a logical and coherent system to acquire new knowledge because his brain is still permeable and all new knowledge is impregnated with more vehemence from the beginning; 2. They have teachers behind them who force them to memorize each character, the non memorization does not exist for them as an easy escape route option; 3. The native language of these students is full of words originating directly from Chinese characters (kanji) and they will be exposed to them every day, over many hours, all throughout the learning process; and 4. This learning process expands over years and years, from the time the individual is a young child until he or she reaches the age of college, i.e. over the entire period of time covered by compulsory schooling.
Kanji (漢字): Logographic characters of Chinese origin used in Japanese writing.
8
The big difficulty comes when an adult student who is not brought up in the countries where kanji is used in a natural way tries to follow the method used in these countries. Trying to do so would be a great disadvantage for the adventurous student for the following reasons: 1. A trained adult holds in his mind a whole cognitive structure that will directly clash with the lack of logic and supposed arbitrariness—most adults not only want to learn but also to understand; 2. An adult's life is not about learning, learning rather becomes a complement to their everyday complexities. In other words, an adult is not usually “forced” to memorize a whole series of “meaningless” characters, but usually does so as a direct choice of his own or as an indirect result of his own choice; 3. To a student of Kanji in whose language these graphic elements have no presence, the sinitic characters will present a whole new paradigm about which everything is obscure and mysterious at first, since he will not feel any relation to it whatsoever (even though the common adult man already has much knowledge, little or none of it will help him with kanji). The lack of past and present reference—unless the student lives in Japan—it is an obstacle that makes the said brute memorization even more difficult; 4. An adult who wants to learn Japanese does not have over ten years of schooling at his disposal anymore to learn how to read or write the language. As we can see, following the system used by the Chinese or the Japanese can be regarded as a truly ineffective method. It will be much more convenient for the adult learner to use a system that best suits his or her circumstances. It is true that the circumstances of each individual may vary greatly, but the target reader of this book who wants to use it as a method of learning will most likely share these two characteristics: 1. He is not a child in primary school; 2. He has not been raised in Chinese or Japanese. The individual who meets the above two characteristics will need a method for learning kanji that allows him to learn these characters as quickly and efficiently as possible. An efficient method of learning will have to solve the problems addressed in the preceding paragraphs: it will have to give logic and meaning to the seemingly chaotic set of kanji; it will have to enthuse, motivate and instill curiosity in the student in an organic and natural way; it will have to be entertaining enough so that the student does not quickly or easily consider the option of abandoning his commitment. The method used will also have to be able to provide a new paradigmatic model to underpin gradual learning; and finally, it will have to be efficient in the sense that it allows the student to learn kanji in the shortest time possible. The main objective of this book is, therefore, no less than to serve as a solution to the problem of traditional kanji learning in keeping with the characteristics described above.
9
THE SOLUTION
TO THE
DIFFICULTIES OF KANJI
Compiling a method for learning kanji in the form of a book, that is able to reveal the logic and meaning of Chinese characters, is entertaining and encouraging, provides a foundation for gradual study, and provides a saving in time invested, is not an easy task. There have been some attempts to provide a methodology with the above mentioned objectives through the use memorization techniques based on mental associations invented by the different authors2. The contradiction of those pioneering methods is that in the end that system which, in principle, was intended to provide a rationale, eventually ends up losing cohesion, and the student ultimately ends up using memorization through brute force or even wasting more time and effort inventing his or her own associative histories for each character. The clear solution to this problem of lack of logic and cohesion is to look at the true composition of Chinese characters by examining their real etymology, that is, their compositional origin, since these logograms were not created randomly, but following a very cohesive conceptual logic. Learning the composition of kanji in an orderly manner makes its memorization happen naturally and progressively without the need of an extra effort, be it on the creative process of mnemonic associations or on the illogical and incoherent memorization by means of mere repetition. The most basic logograms or characters are symbolic representations of images that can be easily associated with everyday life concepts. The rest of the characters are mixtures or compositions made between two or more basic logograms. Essentially, this means that the vast majority of kanji or Chinese characters are related to each other and are much easier to study them if the student is able to see these relationships in a clear and orderly way from the start. In the Eastern academic world there are several publications 3 that deal with this fact of the logical and coherent composition of Chinese characters in a quite reliable way through etymological studies, but it is evident that they are not addressed to new students of Chinese characters, but to people who use them on a daily basis. In the West there are also some publications on this subject, such as Cecilia Lindqvist's Empire of Living Symbols (2007), in which a fairly revealing and concise etymological analysis is made. That book, however, is not addressed to the student of Japanese kanji and does not cover all the characters necessary to be able to read and write this language. It is apparent, then, that a book was needed to provide the new student of kanji with a system that takes advantage of the etymological composition of Chinese characters in a way that is fully adapted to the
2
E.g.: Remember the Kanji (James Heisig, 1985) ; kanjidamage.com
3
Ej: 漢字樹 (廖文豪, 2011) ; 漢字の世界 (白川 静, 2001), 漢字百話 (白川 静, 1977)
10
learning of the Japanese language as a whole, so that this learning becomes fluid, organic and also faster and more efficient than “traditional” systems. The unsuccessful pursuit of such a method during my student years and the acknowledgement of its absence is what ultimately led me to compose the present book. By writing The World of Kanji my intention was to offer a learning instrument that, encompassing the 2136 kanji of the official list for literacy provided by the Japanese ministry of education, gives the student a cohesive and gradual course of study using the actual etymologies of characters and their compositional logic. The student, with the help of this book, will progressively learn the basic components that make up the set of characters and the related characters that combine those elements, so that everything starts to assume such a powerful logic that the student will even be able to interpret by himself the approximate meaning of new characters. At the same time, thanks to the etymological explanations and structured arrangement of the kanji, once the student learns a new character, he will not be able to forget it. The World of Kanji is thus intended to be an innovative and integrated system useful for irreversibly memorizing the kanji essential for reading and writing Japanese in a fast and efficient way.
CHARACTERISTICS
OF THIS
BOOK
As I have stated so far, the purpose of this book is, in short, to minimize the difficulty of the already complicated learning process of kanji. To this end, special emphasis is placed on memorizing the meaning of each character, while at the same time I intend to facilitate the identification of patterns of phonetic parity. Such memorization is guided through the use of an ordered structure based on a thematic categorization derived from the real etymologies of each character. The World of Kanji, then, unlike other books, offers etymology— explained in an accessible and straightforward manner—as a fundamental help for memorization. This book also offers a gradual arrangement of primitive characters and subsequent compounds, with a thematic background so the learning process can maintain a solid cohesion that will facilitate the association between components. Finally, The World of Kanji has also the goal to facilitate the reading and writing of the Japanese language, which is why it covers the 2136 characters needed for enabling this task. Although the main target reader of this book is the student of Japanese, it is worth mentioning that it can also be quite appealing for the curious one who has a little interest in the etymology of Chinese characters, and also for the person who already knows kanji, but simply needs a reference book to reinforce his knowledge (the book has several indexes at the end to fulfill such a function). 11
As a final note, I will say that to get the most out of the learning system presented here, it is recommended, before embarking on the study of characters, to acquire some fundamental notions of how they were formed and how they are graphically structured. The reader will be able to inquire into these specifications in the following introductory section. I hope this book is to your liking and that you can make the most of it.
Alex Adler January 2018
12
Introduction to kanji
JAPANESE
AND
KANJI
One of the unique features of the Japanese language compared to other languages is its writing system. The Japanese language does not use an alphabet to represent every word and sound, rather there are two syllabaries (hiragana and katakana) and at least 2136 logographic characters of Chinese origin called kanji. Hiragana is used for some of the words of purely Japanese origin and various lexemes with grammatical functions. On the other hand, katakana is used for words of foreign origin, onomatopoeia or emphasized words. Finally, kanji is used for the roots of a large number of common words and for almost all the words composed of affixes of Chinese origin taken in Japanese in the same way that Indo-European languages adopt prefixes and suffixes of Greco-Latin origin. This complication places a burden on students of Japanese who are not familiar with Chinese characters, since they have to learn not only two different syllabaries, but also a large number of new symbols that seem arbitrary at first. This book seeks to break with this arbitrariness by offering students of Japanese a logical system based on the original etymology of kanji and the orderly attainment of its learning that endows each character with meaning and renders them with a rational understanding.
WHAT
IS
KANJI?
Kanji is the group of logograms originated in Chinese writing—sinograms —adapted to the Japanese language. A logogram is a graphic character that indicates a meaning and, in most cases, also a sound or phoneme associated with it. A kanji is, more concisely, a graphical representation of a semantic concept (meaning) that in turn is represented by a certain pronunciation (sound) interpreted according to the phonetic patterns of the Japanese language. The semantic correspondence of kanji with the original sinograms and, consequently, with the characters used in China today, is in most cases maintained to this date. That is why, for example, the character 人 means ‘person’ in both Chinese and Japanese. However, while Chinese always treats the phonetic correspondence of characters in the same way (it gives each character only one reading), in Japanese the same character can be read in different ways. 13
In Chinese, 人 will always be read as rén, but in Japanese its reading will vary depending on whether the character appears as a single word or as an affix forming part of a compound word. The logogram 人, in the case of functioning as a standalone character, representing a monolexemic word, will be read in Japanese as hito, while if it acts as an affix, it will adopt a pronunciation of Chinese origin, as in the word 人生 (jinsei), ‘human life’, where 人 is read jin—or the word 人間 (ningen), ‘human’, where 人 is pronounced nin. Using the example above, we see that a kanji adopts a different reading depending on whether it appears on its own or as a component of a word. In the former case, the reading—usually representing a word of purely Japanese origin—is called kunyomi or ‘semantic reading’, while in the latter case, the reading—representing a phoneme adapted from Middle Chinese pronunciation—is called onyomi or ‘phonetic reading’. This is a widely applied rule that, however, can sometimes be broken, as the Japanese language learner will see throughout his learning process. Be that as it may, in most cases, each kanji has a corresponding kunyomi and onyomi reading—or sometimes just an onyomi reading. Nevertheless, in the most common characters it can be also the case that a variety of different kunyomi readings have been adopted due to the semantic versatility of such character. In addition, there also can be a variation of onyomi readings due to the different phonetic adaptations that have been made through time. Although there is a certain consistency in the case of onyomi or phonetic readings and their graphical representation in each kanji, the student of Japanese will have no choice but to learn these variations independently of the graphical form of the character through both focus and exposure to kanji and its use within the context of the Japanese written language.
THE IMPORTANCE
AND
UNIQUENESS OF KANJI
The reader may wonder or have wondered why kanji has been continually used by the Japanese, when they could have adopted a phonetic alphabet like the Latin, or even make an exclusive use of their already present hiragana and katakana syllabaries. This issue has also been raised on numerous occasions by the Japanese themselves, but despite the introduction of certain restrictions and standardizations, in the end it has always been decided to preserve the usage of kanji. In order to understand the reasons for the conservation of kanji, customary considerations aside, it is necessary first to understand the intrinsic functionalities of Chinese characters as individual elements and also as elements integrated within a systematic set. As I will explain more in detail later on, each kanji is, or is composed of, an essential component that represents a concrete idea. That 14
is, each character refers to a particular concept or a sum of concepts that together generate a new concept. A concept, basically, is a mental representation that is associated with a material or abstract meaning (idea). Such representation is usually made by means of a symbol, so to say, an element which, by convention or association, is considered to be representative of an identity. In the case of languages with an alphabetical writing system, the symbols used are merely phonetic. The letters symbolize sounds that together form the pronunciation of a word with a certain meaning. In contrast, sinitic symbols as kanji do not only have phonetic associations (a posteriori), but are visual symbols themselves. In other words, each kanji or component is in origin associated not with a sound but with an image. Nevertheless, these representative images are not arbitrary, they are pictographic elements, strokes that deliberately seek a visual similarity with the object or concept to be represented. This type of symbolism can be addressed with the term icon, since an ‘icon’ is a sign that holds a certain degree of resemblance with the represented object. Kanji are not mere symbols, but icons in their own right, so they assume a meaningful identity of their own. To exemplify what has been noted, I will discuss the kanji 手 and 足. The kanji 手, originally , is the graphic representation of an open hand. This kanji is clearly referring to the idea of ‘hand’. Conversely, the kanji 足 is the graphic evolution of the icon , which represents a leg attached to a foot, thus symbolizing the concepts of ‘leg and foot’. With a single pictographic symbol, the reader will be able to visually summon the concept of ‘hand’ or ‘foot’ accordingly. On the contrary, if the reader sees the words hand or foot written, he will mentally read the words and then associate the reproduced phonemes with the concepts to which they refer. The essential difference when encountering a visual icon instead of phonetic symbols is the immediacy of the associative progression. Although in reality this difference is of milliseconds, when this symbolic construction evolves into an interconnected system, that difference becomes more apparent and affects in a distinct way the mental processes and the relationship that the reader maintains with his written language. The immediate visual association provided by kanji allows the reader, for example, to examine the subject matter of a text more quickly by locating several key icons, as the connection between symbol and concept is made faster by visual association than by phonetics. That is why, on signage and placards that intend to convey a direct and forceful message, graphic symbols are often used instead of written words. A further incentive of the primordial sinitic characters or logograms of Chinese origin is that, as I mentioned before, they not only act as individual icons of their own, but also as constituent elements of new icons, both in the formation of words and new characters. Taking the examples used above, we can see how 手 (hand) and 足 (foot), besides being independent icons, they act as components of a new kanji and a new word.
15
If we combine 手 and 足 to form a new character, we get the kanji 捉 4, which symbolizes the image of a hand bumping into a foot and represents the meaning of ‘to capture’. Besides, the element 足, pronounced with its onyomi reading as soku, is also used here as a phonetic guide, because 捉 adopts the same phoneme soku for its reading. We see that kanji composition can be made not only through logical elements, but also through logical and phonetic elements, turning the new characters formed in this way into logographic hieroglyphics. On the other hand, if we take the same elements but place them next to each other this time as individual kanjis, we get the word 手足, hand and foot, which, indeed, means ‘hand and foot’ or ‘hands and feet’. CONCEPT (e.g. ‘hand’)
➡ ! IMAGE
+
! SYMBOL
➡
⼿
ICON
➡ COMPOSITE ICON (e.g. 手 + 足 ➝ 捉) As we see, each essential logogram acts as a formative link, thus providing an intuitive cohesion to the whole set of writing systems based on Chinese characters, since the whole frame of complex kanji and words formed by them is based on these compositional principles that are also, in many cases, self-explanatory. When we talk about kanji we are talking then, in short, about a writing system that directly reinforces visual thought, something that purely phonetic systems cannot claim. To conclude with the argument about the importance of using Chinese characters, I will refer to the more obvious practical reasons against not using them in Japanese. The Japanese language, known for its simple phonetic system of only five vowels and lack of consonant clusters,
4
The element 手, when used as a component, gets its original form simplified to ⺘扌.
16
is characterized by the use of particularly long words and grammatical constructions and by a remarkable amount of homophones. In such circumstances, kanji efficiently solves the two main problems that can arise from writing such a language: the problem of space and the problem of semantic ambiguity. Kanji, if read with their kunyomi readings, allows to abridge in a single character a word that would require several phonetic symbols if written in a phonetic system, thus considerably reducing the space required to write that particular word. This is how, for example, the word ashi (‘foot’) goes from two to one character if we convert it from kana to kanji (あし ➝ 足). As for the problem of semantic ambiguity, it is evident how a visual icon with its own meaning is able to define the meaning of a word independently of its sound. Thus, for example, the word fusoku, which can mean three different things5, goes from being completely ambiguous out of context if written phonetically, to being able to be interpreted at a glance if written in kanji. We can say that, specifically in Japanese, the complete abandonment of the use of kanji could ultimately prove to be more detrimental than helpful, and after all, this unique writing system is one of the elements that draws many students’ attention towards the language, not to mention that, once a considerable number of them have been learned, the student will be able to guess the meaning of new words not only in Japanese but also in the Chinese written language.
FORMATION
AND
COMPOSITION OF KANJI
When a newcomer sees a kanji for the first time he may think it is an amalgam of meaningless strokes, but to think that would be totally misleading. The origin of Chinese characters is clearly pictographic—that is, each character, in its original form, represents a particular concept in a relatively reliable visual form, so that the strokes forming that character or symbol are able to summon the represented concept on their own. The original forms of Chinese characters, from which the current characters ultimately derive, are called oracle bone script and bronze-ware script. The first one owes its name to the fact that it has been attested mostly in skeletal remains whereupon ancient oracles used to make divinations. The second type of writing, on the other hand, is most often manifested as inscriptions made on various bronze items dating back to the first millennium BC. Both among oracle bone script and bronzeware script, there are a vast number of characters that represent tangible concepts as well as characters that, although not entirely pictographic, show ideas in a symbolic way with a representative approximation of intangible but 5ふそく
(fusoku): 不足 ‘insufficient' ; 附則 ‘additional rules' ; 不測 'unexpected'
17
descriptive concepts, usually formed by association between other compositional elements. The first type of characters is known as pictograms and the second type of characters is known as ideograms.
A combination of pictograms and ideograms are shown in the above sample of characters of the bronzeware script. The first five characters are pictographic representations of the concepts of ‘person’, ‘child’, ‘eye’, ‘outstretched hand’, and ‘tree’. The last four characters are ideograms formed by association that represent the concepts ‘to protect’ (person + child), ‘to look’ (eye + person), ‘to reach’ (outstretched hand + person), and ’to rest’ (person + tree). Ideograms make up the vast majority of the compositional ground of Chinese characters, although these ideograms, as I have just pointed out, usually use pictograms for their formation. The pictograms used in the formation of other characters are called Primitive Components, and each kanji or sinogram is one of them or derives from at least one of them. There are also other graphs acting as phonetic or semantic components that are in turn formed by two or more primitive components. Most of the ideograms, in compositional terms, can also be classified as Semantic Compounds, since they have been formed by two or more primitive components based on their semantic value. Each component has a meaning assigned to it and, usually, also a sound that, in origin, would be equivalent to a phoneme used to designate the corresponding meaning in ancient Chinese. Given that the formation of new characters by a purely semantic association of components would be an arduous task requiring a high degree of imagination, a method known as rebus was quickly applied in order to greatly facilitate this formative process. The rebus method involves the use of a component to which a particular phoneme has been assigned together with another component only for its semantic dimension. In this manner, the sound of a component is borrowed in order to be associated with the meaning of another component. This type of characters are called Phonosemantic Compounds and they make up the vast majority of Chinese characters used today.
18
PRIMITIVE COMPONENT Pictogram
e.g.
⼿ (hand), ⽬ (eye), ⾜ (foot)
➡
➡ soku
⼿+⽬
⼿+⾜
➡
➡
SEMANTIC COMPOUND
PHONOSEMANTIC COMPOUND
soku
看
捉
(observation)
(to capture)
Many scholars conclude, perhaps due to the lack of rigorous etymological analysis, that in most of the phonosemantic characters the phonetic component has lost its semantic value, or in other words, that the phonetic component is used exclusively for its phonetic value while its semantic value is ignored. However, the people who, over the years, developed and standardized the Chinese writing system, took great care in choosing the components with a phonetic value so that their meaning was not only not lost, but also emphasized even more if possible the meaning of the new graphic composition. The learning system presented in The World of Kanji has been developed based on the principle, recently proven etymologically, that phonosemantic compounds also retain a semantic value in their phonetic component. It can be summarized that component graphs, whether primitive or derived, are the essential core indispensable for the categorization, comprehension and, in the end, learning of kanji, for they shape and in them is based the totality of the sinitic logographic writing system, since the majority of Chinese characters have been formed by means of semantic or phonosemantic combinations of these components. In the next section I will elaborate on the characteristics of components and how they can be used to their maximum potential when learning to read and write kanji.
19
CATEGORIZATION
OF
KANJI
As we have seen in the previous section, one can notice that the whole set of Chinese characters can be easily organized and structured in relation to their formative nature as it is shown below: • Primitive Components: Primordial characters of mainly pictographic origin that are used to form compound characters. • Secondary Components: Characters that are used as components for other characters, but which in turn derive from a particular primitive component or are formed by an association between several of them. • Semantic Compounds: Characters that do not act as components and are formed by the association between two or more primitive and/or secondary characters. • Phonosemantic Compounds: Characters formed by two or more components whereof one of them provides a phonetic value. This type of characters make up about 80% of the entire sinographic corpus. Lastly, there are two additional categories that appear in far less extent: • Derived components: A category consisting of pictographic characters derived directly from primitive components. They are primitive components with some additions or modifications. • Independent Characters: Characters that do not act as components nor are composed of other characters but have been formed either by an independent pictographic construction or by the derivation of an existing pictogram. The structural scheme that has been just described can be illustrated through the bronzeware script example shown in the previous section:
Once transformed into the current script:
人 子 目 又 木 保 見 及 休 20
They can be categorized in the following way:
• 人, 子, 目, 又 and 木 are Primitive Components with the semantic value of ‘person’, ‘child’, ‘eye’, ‘outstretched hand’ and ‘tree’.
• 保 , 見 , 及 and 休 are Semantic Compounds formed by the
combination of the character 人 with the rest of the previous components.
If we select out the character for “outstretched hand” (又) we can see how the structural system continues to develop: 又 has a pictographic derivation in the graph 支 (shi) which represents a hand grasping some kind of branch or stick and adopts the meaning of ‘to sustain’. 支 is thus a derived component that can give a phonosemantic value to new characters. From the character 支 derive, among others, the phonosemantic compounds 伎 (ki, person + to sustain = ‘skill’), 技 (gi, hand + to sustain = ‘ability’) and 枝 (shi, tree + to sustain = ‘branch’), which they all adopt a sound similar to the root sound of the component 支 (shi).
又 ➝ 支 ➝ 伎、技、枝 … As we have been saying until now, components are essential to facilitate the understanding of Chinese characters. Components are not only useful to understand the etymology and the semantic and phonetic relationships between each character, but also to sort the characters in the indexes of reference books such as dictionaries or, as we shall see later, this very book.
THE WORLD VIEW CHARACTERS
OF
THE
CREATORS
OF
CHINESE
During the second millennium B. C., in the Yellow River Valley, north of present-day China, a culture emerged that would forever mark the destiny of East Asia: the culture of the Shang dynasty. In that cultural environment, the characters that would later evolve into the current sinographs and kanji developed in a decisive way, becoming one of the writing systems that have been used for the longest time in human history. The people of the Shang dynasty lived within a social order that held together, at least symbolically, the common people with royalty, and royalty with the divine. The stabilizing base of the Shang dynasty was thus a trinity of people, king and god, under which order and continuity were maintained. But to maintain that order, it was necessary to legitimize 21
the beliefs in such religious and social system. During the Shang dynasty, these beliefs were legitimized by establishing a complicated but welldefined ritual system. The core of the rites of the Shang were a series of divinatory ceremonies through which advice was obtained for future tasks in a sort of communication with the numinous whose undertaking was reserved to the noble class, since its members were the only ones with the privilege of being able to exercise as priests. The divinatory rites were performed using the bones of animals—especially ox scapulas or turtle shells (more specifically the shell bone, called plastron). A question was inscribed on these surfaces and then heat was applied to the bone until there appeared some providential cracks upon which an interpretation was written down. At first, the symbols engraved on the bone surfaces were probably mere representative indications, but gradually they evolved into a cohesive pictographic system known as oracle bone script. The divinatory rites were subsequently Turtle plastron with followed by a cult to the ancestors and the divinatory inscriptions. corresponding veneration rites, for which a series of bronze ritual vessels were used, and was on the surface of those vessels where eventually solemn inscriptions would be engraved, thus giving shape to the so-called bronzeware script.
Sample of bronze ritual vessels on which inscriptions were made.
The sum of ritual writings in bronzeware and oracle bone scripts would form a communicative system thanks to which the Chinese culture emerged and developed and, later on, also the Japanese one. These ancient ritual scriptures, which shaped a proper communicative system, were constituted taking into account and reflecting the world view of the society that developed them. It is obvious that the society of the Shang 22
dynasty, that lasted throughout the second millennium BC, was quite different from our modern society, but we will see that its perception of the world, human at the end of the day, will not be so strange to us. The people of the Shang dynasty managed to describe the immediate physical plane with a determined set of pictographic symbols; and with the combination of these primitive symbols with each other, they ended up developing a complete semantic writing system capable of satisfying all human communicative needs. A not very high number of primitive characters gave rise to a complex system that accounts its logographs in the thousands. It is quite interesting to find out how all those thousands of characters can be reduced to a few hundred interconnected primitive components. The set of primitive characters which, as I said, reliably represents the physical plane, can be divided into four thematic sections: The Human Realm, the Natural Realm, the Material Realm and, finally, the Territorial Realm. These four divisions of the world suffice to categorize the enormous and complex conceptual frame represented by Chinese characters. Each essential component used to form any type of kanji belongs, semantically, to one of the aforementioned “realms”. In turn, these realms can be further divided, each of them into three relevant categories. The Human Realm is composed of People, the Human Body and Limbs. The Natural Realm is composed of Elements, Plants and Animals. The Material Realm is made up of Everyday Objects, Tools and Vessels, and, finally, the Territorial Realm is made up of Weapons, Spaces and Constructions. The progression of the learning system of The World of Kanji derives directly from this “world” arrangement inspired by the world view of the creators of the characters. The author of the present book believes that in order to learn kanji as naturally and logically as possible, it is necessary to have a cohesive and progressive system that is faithful to the formation and constitution of the sinographs, since in it lies the key to the rapid comprehension and consistent memorization of these characters.
23
Guidelines for Reading Kanji
OVERVIEW The complexity of Japanese writing lies not only in the existence of two different syllabaries plus kanji, but also in the possible readings of the latter. This is because, first, there are two basic ways to read a Chinese character: 1. Through an adaptation to Japanese phonetics of the original Chinese phoneme represented by the character; 2. Through a Japanese native word that alludes to the meaning represented by the character. As noted previously in the introduction, the first type of reading is called onyomi (phonetic reading) and the second type is called kunyomi (semantic reading). The realization of one reading or the other depends on the context in which the kanji appears, but it is safe to assume that, in most occasions, the sinitic vocabulary that is pronounced with the onyomi reading is mostly written by a combination of two or more kanji, and that the written words with a single kanji will be native words pronounced with the kunyomi reading. • Onyomi Reading: Phonetic reading of sinitic origin. Usually performed on words composed of two or more kanji. • Kunyomi Reading: Vernacular semantic reading. Usually performed when single kanjis that appear alone or followed by syllables written in hiragana. There are some characters that have more than one onyomi reading or more than one kunyomi reading. There are also some rare composite words in which one of the kanji has a kunyomi reading and the other kanji has an onyomi reading. Finally, there are also words with special readings (gikun) that are used only in one word. These exceptional cases can only be learned by memorizing the relevant vocabulary.
ONYOMI READINGS Onyomi readings are typically used in sinoxenic words (words of Chinese origin), which in general can be easily distinguished by being composed of two or more kanji. These types of composite words are called jukugo. In cases where a character has several on readings, it will only be possible to determine which of them should be used by learning the relevant vocabulary, but it has to be said that most kanji have only a single onyomi 24
reading, and those with several of them are usually fairly common characters, whereas one of the possible readings is often used much more frequently than the rest. A particular onyomi reading can be modified if the following kanji’s pronunciation ends in the phoneme tsu (つ), which gets assimilated through reduplication into the first sound of the following kanji’s pronunciation. This is how, for example, the word 接戦 (setsu + sen) is not pronounced *setsuen but sessen, or the word 借金 (shatsu + kin) is not pronounced *shatsukin but shakkin.
KUNYOMI READINGS Kunyomi readings are generally used when kanji is followed by syllables written in hiragana or when it represents a single noun on its own, although there are also certain jukugo with kun readings, such as most surnames and names. The syllables written in hiragana that follow a kanji read in kunyomi is called okurigana, and this okurigana may be inflected, making it variable, but the kunyomi reading will be acting as an invariable fixed lexeme.
PARADIGM By using the character 生 (to live) I am going to demonstrate how a single kanji can be read in different ways depending on how it appears within a text. I chose this character in particular because it is a character with an exceptionally high number of possible readings.
Word
Reading
Meaning
❶ 生
nama
raw
❷ 生きる
i.kiru
to live
u.mareru
to be born
sei-katsu
livelihood
jin-sei
human life
❸ 生まれる ❹ 生活 ❺ 人生
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❶ Kunyomi 1 [nama]: As a single character word without inflections, a native noun. ❷ Kunyomi 2 [i-]: As a kanji lexeme with an inflectional termination written in hiragana, a native verb. ❸ Kunyomi 3 [u-]: As another kanji lexeme with an inflectional termination written in hiragana, another native verb. ❹ & ❺ Onyomi 1 [sei]: As a sinoxenic lexeme used in composite words (jukugo).
26
Guidelines for Writing Kanji
OVERVIEW Knowing how to correctly write kanji is useful in three ways: 1. To make handwriting comprehensible and aesthetically appealing; 2. To know the first stroke and the number of strokes a character has when you want to look for it in dictionaries—or in one of the indices of this book6–; and 3. To recognize and understand other people’s handwritten calligraphy. Moreover, the learning of kanji can always be more enriching if it is done according to aesthetic rules that will integrate the student into the compendium of the sinitic calligraphic tradition. The calligraphic tradition of Chinese characters establishes three key points or laws: 1.
Law of strokes: Each character is composed of a specific number of strokes. A stroke is every brush movement that is made without lifting the pen from the paper.
2.
Law of sequence: The strokes of each character must be written in an established order following a given sequence and direction.
3.
Law of proportion: Each character has to be approximately of the same size, regardless of the number of strokes and/or components it is composed of. All characters also have to be able to be written within the boundaries inferred by an equilateral square.
Each kanji, therefore, is made up of a few strokes that must be written in a particular order so that they occupy more or less the size of a square. The existence of these rules (as opposed to the Latin script, which does not specify a specific stroke order) is mainly due to one reason: to bring some clarity and comprehensibility upon the large number of existing characters and to allow an accurate distinction between them. If writing is done slowly, the resulting characters are likely to be intelligible despite the differences in stroke order, but as soon as writing is streamlined and strokes begin to come together or mingle due to the speed of the brush, it is imperative to follow a standard sequence that allows the reader to discern what path the writing utensil has followed while tracing the character. In order for the student to achieve a correct writing and, perhaps most importantly, to be able to discern at first glance the order and the
6
2136 Character Index
27
number of strokes of a character, he or she must acknowledge and apply the three aforementioned rules, which I will explain one at a time in more detail hereafter.
LAW
OF
STROKES
The Law of Strokes states that each character has a certain number of strokes. Within the whole set of Chinese characters there is a series of repeating strokes and these can be easily sorted out. Let us see, then, what are the strokes used in the sinitic writing: 1.
Line: Horizontal and straight line, going from left to right: 一. This stroke is by itself also an independent character 一 (one). Exceptionally, the line can appear sharply inclined to the left, forming an oblique line ( ), as in the character 七 (seven).
2.
Column: Vertical and straight line written from top to bottom: ㇑. The column can curve at the bottom forming a bent column: 丿; or end in a hook, forming a column with a hook: 亅.
3.
Slash: Starts to be written from an upper position and then goes down to the left: ㇒.
4.
Dot: Stroke of short length that extends slightly from a upper starting and then points down to the right: 丶. In many characters the path of the dot can be extended further downwards forming an extended dot: ⼂丶. This drop, like the column, can also end in a hook, forming a dot with a hook: ㇂.
In addition to these four common strokes and their variants there is also a series of compound strokes. These strokes are technically the combination of two common stroke shapes, but united by a single brush stroke: 5.
Upper Corner: It consists of a line followed by a column: ㇕. This compound stroke has different variants, such as the shortened upper corner: ㇖; the extended upper corner: 乁; the upper corner with an inner hook: ㇆ or the upper corner with an outer hook: ㇈.
6.
Lower Corner: Combination of a column with a line: ㇗. This stroke usually appears slightly inclined: 𡿨, . There are also the variants of the shortened lower corner: ㇙, or the lower corner with a hook ㇟.
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7.
Zigzag: Uncommon stroke that is formed by the combination of a line and a lower corner: 乙. This stroke can have the exceptional variant (as in the characters 凹 and 凸) or 𠄎 (as in the component 乃).
8.
Reverse Zigzag: Combination of a lower corner with an upper corner: 𠃑, which have also the bent variant:
.
Below there is a table summarizing the different types of strokes: Main Stroke
Variants
Direction
Line
一
Column
㇑
Slash
㇒
Dot
丶
㇏㇂
↘︎
Upper Corner
㇕
㇖乁㇆㇈
↴
Lower Corner
㇗
Zigzag
乙
Reverse Zigzag
𠃑
→ 丿亅
↓ ↙
↓→ 𠄎
→↓→ ↓→↓
Once the student learns these eight strokes and variants he will be able to determine in which direction they are written and how many of them a character is composed of.
LAW
OF
SEQUENCE
The next aspect to take into account when writing kanji is the order in which the strokes of each character are written, that is, the Law of the Sequence, which follows the principle that the writing of characters has to be economical: so that the hand makes the fewest movements to write a greater number of strokes. This principle, applied to almost all of the sinograms, has allowed the stroke sequence to remain virtually unchanged over the years.
29
The precepts stipulated in the Law of Sequence can be applied to most characters so that, with few exceptions, the student will know in which order of strokes to write a certain character without having to consult it in a dictionary. Let us now go on to describe these sequential precepts, or in other words, the general notions applicable when establishing the order of strokes of a character: ① From left to right & from top to bottom 川 (丿丨丨)
三 (一一一)
✽ Leftmost column is written the first 門 (丨𠃍⼀⼀丨𠃌⼀⼀) 馬 (丨⼀丨⼀⼀𠃌丿丶丶丶) ② Lines before columns 十 (一丨)
上 (一丨一)
✽ But if there is a cross (十, 丅) and a line below, the cross is written first 土 (一丨一)
王 (一丨一一)
③ Central columns before symmetrical sides 木 (一丨㇒㇏)
水 (亅㇖㇒㇏)
山 (丨𠃊丨)
④ Slashes before dots 父 (㇒丶㇒㇏) ⑤ Upper corners before slashes 刀 (㇆丿)
力 (㇆丿)
✽ Except the graph 九 (丿㇈) ⑥ Upper corners before lower corners 民 (𠃍一𠄌一㇂) 艮 (𠃍⼀⼀𠄌㇒㇏) ⑦ Lines that cross several strokes are written at the end 女 (𡿨㇒一)
母 (𡿨 ㇆丶丶⼀)
⑧ Columns that cross several strokes are written at the end
30
聿 (㇕一一一一 丨) ⑨ Single dots are written at the end 玉 (王丶)
✽ Unless the dot is at the top of the character 主 (丶王) ⑩ The component 辶 is written at the end 近 (斤辶) In addition to these basic sequential precepts, there are two components whose graphic development is not easily distinguishable to the naked eye, so that it is not possible to guess, by looking at a printed typography, which are the separate strokes of such a component. Those ambiguous components are the following: Ambiguous compositions Graph
Strokes
Stroke order
Direction
口囗
column / upper corner / line
丨㇕ 一
↓↴→
氵
dot / dot / oblique line
丶丶⼀
↘︎↘︎↗
It is good to know this list of precepts before beginning the study of the kanji, but it can be also be practical to review and verify the list in parallel with that study.
LAW
OF
PROPORTION
At last I will talk about the proportions to follow when writing a character, or the Law of Proportion, a basic element, together with the laws of strokes and sequence, for the correct writing of kanji. The Law of Proportion dictates that any character, regardless of its number of strokes or components, must be written within the space delimited by an equilateral square:
31
漢 字 It is because of this quadrilateral proportion that some components have to change their size to fit in such proportions. Compound characters, thus, follow predetermined compositional structures with regard to the location of the components. Let us see, then, what structures exist within compound characters:
• ⿰⿲ Vertical Compounds: Characters in which components are placed
vertically side by side. They are the most common compounds. There are characters with components that look narrower on the left (e.g. 地), others narrower on the right (e.g. 列), or others that appear in similar proportions (e.g. 秋). There are also compounds formed of three vertical components (e.g. 徾). Vertical components are written from left to right, that is, the first component to be written as a whole is the one on the left and the last the one on the right.
• ⿱⿳ Horizontal Compounds: Characters in which components are
placed horizontally, one on top of the other. There are components that appear more squashed at the top (e.g. 宇, 宙), others more squashed at the bottom (e.g. 盈), or others in equal proportion (e.g. 雲). There are also horizontal compounds formed by three components (e.g. 尋). This type of compound is written from top to bottom, that is, the component on top is written first and the component below at last.
• ⿵ Roofed Compounds: Characters formed of a component that wraps
another component on both sides and the top (e.g. 問). This type of compound is written from top to bottom, that is, the envelope or “roof” is written first and then what is below it.
• ⿷⿶ Boxed Compounds: Compounds partially enveloped or wrapped
by another component, either to the left (e.g. 区), or underneath (e.g. 凶). This type of compound is one of the least frequent. In the left wrappings the stroke order is as follows: top line, content, lower corner. In the lower wrappings the order is: content, lower corner, column.
• ⿸⿹⿺ Cornered Compounds: Compounds that has a component that
wraps another component around only in one corner (two sides). The wrapping corner can be at the top left (e.g. 灰), the top right (e.g. 気) or the bottom left (e.g. 道). In these compounds the wrapping is written
32
first and the contents later, except in the characters with the wrapping component 辶, which is always written at the end.
• ⿴ Encircled Compounds: Those compounds in which a component encircles another component or components by all sides (e.g. 国). The writing order of this type of compound is as follows: left column, upper corner, content, bottom line. As you may have already inferred, the written order of components follows precepts similar to the stroke order of primitive characters. Compound characters should therefore be written as follows: Component 1 (stroke sequence), component 2 (stroke sequence).
33
How to Use this Book JOURNEY
THROUGH THE
WORLD OF KANJI
The system of The World of Kanji is based on the pictographic principle of Chinese character formation. When the ancient Chinese people began to develop their writing system they did so by looking at the world around them and by representing the concepts expressed by the language with a limited series of pictographic symbols—also called primitive characters— which were given a sound and a meaning. These symbols would later start to get combined with each other to form the large amount of Chinese characters that exist today (2136 of which are considered indispensable in Japanese). The World of Kanji takes the premise that the student of kanji will be able to advance much faster in his learning if he has a notion of what these primitive pictorial symbols are and how they work. These symbols are divided into four “realms” or themes that are in accordance with the represented concepts. They are the Human Realm, the Natural Realm, the Material Realm and the Territorial Realm. The Human Realm concerns people and their social functions, the parts of the human body, and the actions performed by the limbs. The Natural Realm concerns the natural elements, plants and their applications, and animals. The Material Realm concerns everyday objects, work tools and vessels. Finally, the Territorial Realm encompasses weapons used in warfare for territorial gain, physical spaces and constructions.
HUMAN REALM
NATURAL REALM
MATERIAL REALM
TERRITORIAL REALM
People
Elements
Everyday Objects
Weapons
Human Body
Plants
Tools
Spaces
Limbs
Animals
Vessels
Constructions
The thematic division of the book facilitates the cohesion of the whole system and, therefore, the natural and logical understanding of the constituent elements. In addition, the student will learn each character in a not only associative but also gradual way. Each new character the student
34
first encounters will be a primitive component, and the following characters will only have components that have appeared previously. The student of kanji, thanks to this book, will be able to acquire a new representative and a symbolic consciousness of the world around him, and he will be able to see in every new Chinese character he founds a scene that speaks directly to his mind. Once the student finishes the book, he will have acquired a new world view of his own—related to the characters—, and he will be able to maintain an unimagined conceptual dialogue with the wonderful logographic system used in Japanese writing. Having completed the journey through each “realm” of interesting graphic icons reminiscent of scenes from a distant time and culture, but at the same time exceptionally familiar and self-explanatory, the reader will have obtained a profound and permanent vision and understanding of the scope of the visual code applied to the Japanese written language. Once the student accomplishes the adventure of The World of Kanji, Chinese characters will have gone from being a threat or obstacle to being the most intimate ally.
STUDY PROCESS The student, following the order of the book, should pause at each entry, carefully reading the explanations and finally concentrating on the composition and meaning of each kanji or component in order to retain it in his memory. It is suggested that during this memorization process, the student writes down each character several times. At the end of each Realm’s section there is a list called Review on [name of the realm’s section] which contains all the characters that appear in that chapter grouped by components and compounds. When the reader has finished with those groups of characters, he or she will be able to go to that list and review the meanings from memory. The memorization of the readings of each kanji is not the main objective of this book, since they are very varied and it is advisable to learn them together with some vocabulary, but these readings are indicated in each entry in hiragana (kunyomi readings) and katakana (onyomi readings) for informative purposes. If the student does not know how to read the syllabaries, he may consult the appendix dedicated to them at the end of the book. There is also an appendix with a list of phonetic patterns that students can consult and use at their convenience.
35
APPENDICES & INDICES At the end of the book there are a series of appendices and indexes that I will proceed to explain: • Syllabaries: A list of the hiragana and katakana characters that may be consulted or used by the student who has not yet learned these syllabaries. It is necessary to know them in order to read the readings shown in the character entries. • Semantic Components: A list in order of appearance of the semantic components. It can be used as a reference or reinforcement when the student is already familiar with the book. • Phonosemantic Components: A list in order of appearance of the phonosemantic components. It can be used as a reference or reinforcement when the student is already familiar with the book. • Strong Phonetic Components: A list sorted by Latin alphabetical order with sounds that share two or more characters with the same component. Although the phono-semantic components also indicate similar phonemes, only characters with an identical phoneme appear in this list. This list may be used by the student as a guide to remember onyomi readings of several characters at the same time. • Onyomi Readings: List of transcribed onyomi readings and their corresponding characters, arranged alphabetically. • Kunyomi Readings: List of transcribed kunyomi readings and their corresponding characters, arranged alphabetically. • Radicals’ Main Meanings: Comprehensive list of the radicals used in this book’s last index and their tentative meanings. Radicals are components appearing at least once along with another component. Radicals are usually the most frequently occurring components. The list of radicals is composed of 142 semantic components and 8 graphic elements that act as radicals, forming a total list of 150 elements. • Radicals Index: List of radicals arranged by number of strokes, and within each number of strokes, by stroke type as follows: 一 (line); 丨 (column); ㇒ (diagonal);丶 (dot) 𠃍(upper corner); 𠃊 (lower corner). • 2136 Characters Index: List of all the 2136 official characters appearing in the book, arranged by radicals (sorted in turn by number and type of stroke). Within a group with the same radical characters are grouped by total number of strokes. To consult a character in this list, one should 36
identify first its radical (when there are two apparent radicals, the leftmost or uppermost shall be chosen). Once the radical has been identified, it should be counted the total number of strokes of the character and then find it within the radical group.
37
Explanation of Entries
OVERVIEW Within each realm there is a series of character entries semantically related to that realm. Within these characters, a division can be made between the primitive and component characters and the characters composed of these components—or compounds. Each of these two character types is rendered a little bit differently.
PRIMITIVES
AND
COMPONENTS
The entries for this type of characters show the primitive characters and composite primitives that act as main components for other characters. In these entries the following information appears:
❹ ❶
❺ タイ ダイ
⼤
❼ Person from the front big ❽
大 土 おお.きい ❷
❸
❻
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❾
❶ The original pictogram in oracle bone or bronzeware script. ❷ The current standard version form of the character. ❸ Other variants used as components. ❹ Handwritten calligraphic version. ❺ Onyomi reading7, written in katakana. ❻ Kunyomi reading 8, written in hiragana. ❼ Original meaning of the pictogram. ❽ Current most frequent meaning(s) of the character. ❾ Character number.
7
Only the onyomi readings recognized by the Japanese Ministry of Education are included.
Only the kunyomi readings recognized by the Japanese Ministry of Education are included, shown along their most frequent okurigana. 8
38
After the informative stripes there appears an in-depth explanation of the character etymology and its formative process. If the component is only of a semantic nature, the main glyph is depicted in a strong red color, whereas the variant used only as a component is colored in a softer red color, as shown in the previous example. If the component also adopts a phonetic value, the color of the glyph is depicted in a strong blue color and the variant only used as a component appears in a soft blue color as shown in the following example:
並
並并
Several people standing side ➀ ヘイ by side ➀ な.み ➀ line ➁ なら.ぶ ➁ to line up
42
It should be noted that there are components that are not separate characters or are not part of the jōyō kanji list. In this case, these characters appear only in light color and their reading—in the phonosemantic components—appears in gray. In some cases, these characters, although not part of the jōyō list, are used in Japan in some names. As such, they appear with the ㊔ symbol below the number.
辰
辰
13
シン
Person holding an agrarian ㊔ tool
COMPOUNDS Compounds are formed by component characters and therefore, in most cases, they will not need a detailed etymological explanation, since the component elements themselves act as guides for understanding. The meaning of the components can be either the pictograph’s original meaning or the character’s current meaning. Entries for the compounds, therefore, are somewhat simpler. This type of entries appear as follows:
39
❷
併
43
❺ ❸ ヘイ
併 あわ.せる ➍
ヘイ
❽
Person 亻 along a line of people 並 ❻
❶
to get together ❼
❶ The current standard version form of the character. ❷ Handwritten calligraphic variant. ❸ Onyomi reading. ❹ Kunyomi reading. ❺ Compositional definition showing the components. ❻ Component acting as a phonetic guide and its sound. ❼ Most frequent current meaning(s) of the character. ❽ Character number.
ADDITIONAL INFORMATION Some characters require extra information, as they have some infrequent or special readings or need additional key explanations. Extra information may be represented in the following way: • Reading in dark blue: Among several readings, this is the phoneme that compounds use. Also it indicates an occasional phonosemantic use of a character that normally acts just a semantic component. • Reading in light blue: Among several readings, this phoneme is only used in compounds and never as a reading of the character itself. • Reading in light red: Infrequent reading. • Reading in light gray: Phoneme of a component that does not appear as a separate jōyō kanji but that forms part of phonosemantic compounds.
SPECIAL READING
The reading after this note is unique to the
combination shown within.
40
PLACE NAME USAGE
The character with this label is used almost
exclusively in place names. NOTE Compound characters bearing this label require an additional etymological explanation.
NOTES
ON
ETYMOLOGY
Research on etymologies has been rigorous and well documented 9, however, there are some characters whose etymology is ambiguous or varied. In such cases, the author has chosen the etymology that most closely is related to the current form of the character and/or the one that most helps to understand that character within the semantic framework proposed in the book.
ABBREVIATIONS
AND
SYMBOLS
Ⓡ
Component also used as a radical.
㊔
Component also used as a character for names (jinmeiyō kanji).
[fig.]
Concept used in a figurative or metaphorical way.
➝
Evolution from a graphical form to another.
←
Shows that the graphical form used is a more primitive version of the most common form.
×N
Component appearing N times.
9
For reference, look the ‘Resources’ section.
41
THE HUMAN REALM
42
THE HUMAN REALM The journey through The World of Kanji begins with an introspection towards ourselves. To understand the outside world, it is necessary first to know the inner world. The ego, the person, and people's personal relationships are the existential elements at which human beings firstly and most frequently aim their consciousness. It is not surprising, then, that among the first artistic expressions made by prehistoric peoples there are, in fact, direct representations of themselves: the human being. It is notorious that these peoples established themselves as one of the primordial centers of their cosmographies. The creators of Chinese characters were no exception to that. Taking into account that the ritual inscriptions of the Shang people were developed within an activity of social functionality, it is also no coincidence that the representations of people and their actions play a key role within the whole corpus of primitive pictograms. The human being is, therefore, one of the main subjects of Chinese characters. Graphemes grouped within the Human Realm are divided into the three following groups: Characters used to represent human figures in their own right, characters used to represent different parts of the human body and their functions, and, lastly, characters that place special emphasis on the different actions performed by hands and feet.
PEOPLE 1. The Upright Man 2. The Different Postures 3. Women and Gestation 4. The Individual and Society 5. Human Measures
HUMAN BODY 1. Bones 2. Heart 3. Eyes 4. Nose, Ears and Hair 5. Mouth
43
LIMBS 1. Hands 2. Arms 3. Feet
THE HUMAN REALM AT A GLANCE PEOPLE
HUMAN BODY
44
LIMBS
PEOPLE 1 | THE UPRIGHT MAN The most basic representation of ‘man’ is a depiction of a person in a standing position, a stance that differs clearly from the standard four-legged postures of animals. A man standing upright, seen from the side, drawn with two schematic strokes, 人 symbolizes the meaning of ‘person’. The person can represent someone ‘exhaling air’ if he opens his mouth 欠. By changing the orientation of this simple iconographic image, several other primordial graphemes were created. Some of those characters are 匕, which represents a person turned to the opposite side, or 化, which represents a person ‘transforming’ while getting turned upside down.
⼈
人 亻儿
1
Ⓡ
ジン ニン
person
ひと
The person, the human being. It is the most basic character and component because it is used to represent concepts related to humankind and the activities we do as people. The current character is the outlining of a pictograph showing a standing person, seen from the side, slightly curved to the left. The left stroke (丿) depicts the arms and head, and the right stroke (㇏), the trunk and legs. 45
As a component, this glyph usually appears in the simplified form 亻, placed on the left of the compounds. The variant ⼉ also appears occasionally as a representation of the concept of ‘man’ or ‘person’ in characters that have undergone a deeper graphic transformation.
⽋
欠
Person with an open mouth exhaling air
ケツ か.ける
2
Ⓡ
to lack
A person (人) with his mouth open (⺈), supposedly exhaling air. As a standalone character it takes on the meaning of ‘to lack’, in reference to the lack of air when one has just breathed it out.
次
次
3
ジ
Breathing person
シ
sequence
つぎ
A person with an open mouth (欠) who takes again the air that he had previously exhaled (冫), a person who is breathing. The action of inhaling air after having exhaled it suggests the ‘sequence’ on which this glyph takes its meaning when it acts as a standalone character.
46
4
匕
Person from behind
匕
Ⓡ
Mirror form of the character 人 (person). A person seen from the side, looking to the right. In the modern outlining, the stroke ㇟ stands for the head, trunk, and legs, while ㇒ represents the arms.
比
比
5
ヒ
Person next to another person
くら.べる
to compare
One person on his back (匕 ➝ ) placed next to another person on his back (匕), giving way to compare between them.
化
化
カ ケ
Person from the front and person from the back
ば.ける
to be transformed
6
A standing person (人 ➝ 亻) that has turned to the other side, turned upside down (≈匕), a person that has been transformed.
北
北
Two people with their backs turned away
ホク きた
7
north
A person turning his back (匕) to another person who also has 47
turned his back (匕 ➝ opposite directions.
): two people back to back, going toward
The current meaning of the character was taken on making a relation to the movement of the sun, as it heads south at noon (in the Northern Hemisphere): going northwards understood as giving the back to the sun.
介
介
8
カイ
Person between two flanks jam
A person (人 ➝ ⼉) jammed into two flanks (
亡
亡
). 9
ボウ
Buried person
モウ
to perish
な.い
Originally 亾, a person (人 ➝ 亠) buried in a hole underground ( 𠃊).
48
2 | THE DIFFERENT POSTURES The next logical step in human representation, beyond the depiction of a mere standing man, is that very man in other postures that are better suited for suggesting specific situations, activities or states of mind. Among the different postures there is a ‘sitting person’ with his hands’
尸, that further develops into a ‘person working 丮. We also have a ‘leaning person’
‘person on his knees’
卩, or even a ‘huddling person’
勹, a 㔾.
10
⼫
Sitting person
尸
Ⓡ
A sitting person. This glyph originally was 𡰣, where ㇕ indicated the arms and trunk, and ⼚ the legs resting on an implicit stool. Over time, the graph evolved from 𡰣 to 尸 as a result of writing becoming more fluid.
尼
尼
ニ あま
Person carrying another person on her back
11
nun
A person sitting (尸) on the back of another person (匕). A person carrying another person on her back, taking care of him.
49
丸
丸
12
Person working with his hands
A sitting person (尸 ➝ ㇈) using his two big hands ( ) while crafting something. This component, most commonly appears with the simplified form 丸, whose left part has been reduced to one stroke that now pierces the upper horizontal line.
辰
辰
13
シン
Person holding an agrarian ㊔ tool
Man holding an agrarian tool with which he works the land. It may designate both the action of working as well as that of holding something. This component originally had the form 𠂮, in which you can perceive a structure similar to that of the component 丮 (person working with his hands) to the right, where the person is depicted by the stroke ㇈. The strokes of the agricultural tool were eventually merged with the strokes representing the person, thus making the form of the current character.
⼓
勹
14
Leaning person
50
Ⓡ
A bending or leaning person, looking to the left, seen from the side. The stroke ㇒ depicts the head and arms, and the stroke ㇆ shows the trunk and legs.
匂
匂
15
Person leaning 勹 over another person's 匕
にお.う
to be fragrant
A person leaning over another person, being able to closely capture his or her fragrance.
⼙
卩
16
Ⓡ
Kneeling person
A person sitting on his knees, looking to the left. ㇆ stands for the back and the head, and the vertical line 丨 depicts the union of the bent legs with the arms resting on them. In some compounds the form 卩 gets transformed into one of the variant forms of the “person” component (⼉), probably due to a semantic analogy.
卬
卬
17
Person kneeling before another person
A person kneeling (卩) before a person on his back (匕 ➝ 51
).
仰
仰
ギョウ コウ あお.ぐ
免
免
Person 亻 in front of a person kneeling before another 卯
18
to look up (at) 19
メン
Hiding person
まぬ.かれる
to avoid
A kneeling person (卩 ➝ ⼉) covering himself with a big hat or cap ( ) in order to avoid being spotted.
㔾
⺋
20
Huddling person
ハン
Person kneeling and leaning to the right (㇟), with his hands on his thighs (𠃌), suggesting a distressing situation or feeling.
巴
巴
21
ハ
Person with big hands
㊔
A kneeling person looking to the right (㇟) with big hands and fingers (𫩏), suggesting a great endowment of skill on them.
52
⾊
色
シキ ショク
Person on top of another person
22
Fornication
いろ
color
A standing person (人 ➝ ⺈) on top of a huddling person (㔾 ➝ 巴), suggesting the act of copulation and the glowing color of the skin derived from such an act.
53
3 | WOMEN AND GESTATION From the posture of a kneeling person seen in the previous section a new pictogram is developed: The figure of a ‘woman’ clasping her hands to the front, perhaps suggesting submission or pleading: 女. Women play a key role in the sinitic logical graphical representations for their own shake, and its icon diverts to a large number of secondary components and compound characters. The concept of woman also derives into the concept of ‘mother’ and other ideas related to gestation, such as childbirth or parenting. We can see how representing the aforementioned concept of motherhood is done by enhancing the nipples of the icon of ‘woman’: 母, or how the concept of ‘body’ is suggested by the depiction of a pregnant woman about to give birth, with the body of a baby visibly inside her belly: in turn, produces a ‘fetus’
了 that, once his gestation is
‘completed’, becomes a newborn baby ‘child’
身. The pregnant woman, , ad then a full grown
子.
23
ジョ
⼥
女
Ⓡ
ニョ woman
ニョウ おんな め
A woman sitting on her knees, with her hands clasped, possibly suggesting an attitude of submission. In the modern form, a visibly schematized glyph, the stroke ㇛, 54
points out the arms, the clasped hands, and the head, where the strokes 一 and ㇢ (㇇) stand for the legs, trunk, and shoulders.
妄
妄 娠
娠 姿
姿
24
モウ
Perished 亡 woman 女
モウ ボウ
delusion シン
シン
25
Woman 女 holding something 辰 inside pregnancy 26
ツ
Breathing 次 woman 女
シ すがた
母
母毋 SPECIAL READING
figure 27
ボ
Woman with exposed nipples
はは
mother
お母さん [おかあさん]: mother
A kneeling woman with her breasts and nipples exposed, evoking the maternal action of breastfeeding the offspring. The modern form of the character can be easily traced from the original character for “woman” (女), whose strokes have been elongated in order to make space for the two dots (丶丶) depicting the nipples. When acting as a component, this character adopts a simplified form: 毋, in which the two dots have been united in a vertical line. 55
毎
毎
28
Scruffy woman
マイ
every
Originally 𡴋, and later 每, a mother (母 ➝ 毋) with her hair disheveled (屮 ➝
), a mother with her external appearance
unkempt, thought to be the common looks of each and every mother who feels distressed in her new busy lifestyle.
侮
マイ
ブ
Person 亻 besides a scruffy woman 毎
侮 あなど.る 乃
乃
29
to disdain
ナイ
Newly pregnant woman
30
㊔
from
A body seen from the side in which the belly looks slightly bulky, the body of a newly pregnant woman. The stroke to the left 丿 depicts the arms, whereas the sinuous stroke to the right 𠄎 indicates the curved belly and the legs.
身
身
31
シン
Woman in full gestation
み
body
The body of a pregnant woman touching her belly, seen from the side. The meaning of ‘body’ is thus doubly reinforced with the figure of both the pregnant woman and that of the baby (a new 56
body) within her. It can be seen that the strokes of this character are quite evolved: The stroke on top ㇒ shows the head, the oblique stroke in the middle ㇢ points out the arms, the form resembling 且 on top of the latter suggests the pregnant belly with the baby inside and the vertical line that arises from these last strokes, ㇚, indicates, finally, the legs.
了
了
32
Baby about to be born
リョウ
completion
A baby who is fully formed but cannot yet outstretch his arms out, a baby that is about to be born. The stroke 乛 represents the child’s head and 亅 the body. 33
Newborn baby A baby coming out headlong from the mother’s belly, finally able to outstretch his arms, a baby that has just been born. The stroke on top丶 depicts here the baby’s legs, 厶 evokes the trunk and the head, and the horizontal line 一 indicates the outstretched arms.
57
充
充
➀➁ ジュウ
34
Baby becoming a full grown child ➀ fill
➁ あて.る
➁ to set aside
A newborn baby ( ) that progressively becomes a person (人 ➝ ⼉), a full grown child who has seen his growth process fulfilled. As an additional meaning, this character has that of ‘to set aside’, figuratively taken from the idea of a grown up child that is set aside from the younger children in order to start a new life.
⼦
子
35
シ
Ⓡ
child
ス こ
A child with a characteristic large head (㇖), an upright trunk (㇚) and outstretched arms (一). It is worth to notice that this character is the reversed form of the glyph (newborn baby). While that component evokes the image of a child upside down coming out of the mother’s womb, this character shows us the image of that same child in an upright position, already active and aware of his surroundings.
58
36
好
好
コウ この.む す.き
Woman 女 and child 子 to like
59
4 | THE INDIVIDUAL AND SOCIETY By changing the point of view of the man from the side to the front, and by stretching his arms to the sides the pictograph 大 appears. The creators of the Chinese characters saw fit to give that depiction of a man a more contextual relevance in society, turning the meaning of ‘person’ into that of ‘big’ once it is shown from the front. But even greater than the physical dimensions of man is the transcendence obtained by the spiritual endeavors. That is why an already “big man” who has seen his head enlarged through mystical gnosis or heavenly connection, 天, receives the meaning of ‘heaven’. Position-wise, the man seen from the front can be also placed on top of the ground
立, representing a person who is
‘standing’, a person with his feet under the ground
亢, or even a
person levitating over the ground 太, which represents something that is considered ‘great’. Other possible positions and stances are that of a person with his legs crossed represents an ‘exchange’, a ‘wiggling person’
交, which
夭, or a person
turned upside down 𢆉. The big man who in old Chinese society reached the time when he could be considered ‘adult’ began to wear a distinctive hair attire made of a bun tied together with a hair-stick
夫. If
the person grew older he used to let his hair particularly ‘long’ 長, graphically emphasizing the passage of time and experience. One last pictogram referring to men and their function within society is 文, which represents a tattooed man or a person with some patterns drawn in his body that indicated some kind of societal role, an image that is now utilized to represent ‘writing’.
60
37
⼤
タイ ダイ
Person from the front big
大 土 おお.きい SPECIAL READING
Ⓡ
大人 [おとな]: adult
A person seen from the front, with his arms and legs extended to the sides, suggesting amplitude. The central part 人 stands here for the full body and two legs, while the crossing line 一 represents the outstretched arms. When acting as a component, the form 大 may sometimes be contracted to 土.
夹
夹
38
キョウ
Person in the middle of two other people
Originally 夾, a person seen from the front (大) trapped between two people (人×2 ➝ 䒑).
天
天
39
テン
Enlightened person
あま-
heaven
あめ
A person seen from the front with his head enlarged, indicating that he has attained cognition or gnosis towards the divine. A man who is aware of heaven.
61
In many of the characters in which there was originally a thick line or a stain, there is now a thin horizontal line, due to the simplification attained while using brushes as a means of writing. From such process it turns out that the original character 㕦, where ⼞ depicts an oversized head, has evolved into its current form: 天. 40
立
立
リツ
Standing person
リュウ た.つ
Ⓡ
to stand (up)
Alteration of the character 大 (person from the front), to which a line underneath (一) has been added to indicate the situation of being standing on the ground. The original form of this glyph was 𡗓, but over time the strokes have been transformed into the current character: 立, where the legs have changed their orientation from outwards ( ) to inwards (丷).
位
位
41
イ くらい
並
Person 亻 standing 立 somewhere position
➀ ヘイ
Several people standing side
42
by side
➀ な.み
並 并 ➁ なら.ぶ
➀ line ➁ to line up
Originally 竝, two people standing on the ground (立×2 ➝ 竝 ➝ 並), one next to the other. 62
Over time the strokes of both components were combined forming the current glyph 並, where the interior oblique strokes representing the legs of the original components became vertical lines, and the upper and lower horizontal lines got united into single lines. As a component, this character usually takes a further simplified form: 并, in which the exterior oblique strokes 丷have transformed into a single straight line and the other line depicting the ground has disappeared.
併
ヘイ
ヘイ
Person 亻 along a line of people 并
併 あわ.せる 亢
亢
43
to get together 44
コウ
Person with his feet under the ground
A person with his feet under the ground, stuck in it. The upper strokes 亠 stand for the head and arms, the horizontal line crossing them 一 represents the ground, and the strokes ⼉ depict the legs under it.
太
太
Person over the ground
➀タ ➀ タイ ➁ ふと.い
45
➀ great ➁ to be fat
A person (大) placed over ground (一 ➝ 丶), with his feet being untouched by it, as if they were levitating. 63
This character contrasts with the character 立 (standing person), in which the person directly ‘touches’ the ground line—or the character 亢 (person with his feet under the ground), in which the feet ‘cross’ that line. The composition of the glyph suggests, therefore, the highness or superiority of those who are “above” everybody else. Eventually the character adopted the broad meaning of ‘great’, ’bigger than big’, and, in a more mundane and perhaps unintended approach, also that of ‘to be fat’.
交
交
➀ ➁ コウ
Person with crossed legs
➀ まじ.える
➀ to mingle
➁ か.わす
➁ to interchange
46
A person seen from the front (大 ➝ 六) with his legs crossed (乂). The notion of ‘crossing one leg with the other’ has resulted in a semantic association to the broader meaning of ‘mingling’ or ‘interchanging’.
夭
夭
47
Wiggling person
A person wiggling or swaggering while moving his hands and head. Originally 𫯛, the slanted stroke ( ) on top of the element 大 (person seen from the front) suggests the leaning movement of that person.
64
妖
48
ヨウ
Woman 女 who wiggles 夭
妖 あや.しい
bewitching
NOTE It is likely that the image evoked by this character is referring to the shamanistic role that women took in the ancient Chinese folk tradition (that role is still maintained to some degree in Korea and Japan), in which they acted as spiritual guides while moving sinuously and mysteriously, presumably possessed by the spirits. The meaning of ‘bewitching’ is most probably derived from such a scene.
屰
𢆉
49
Person turned upside down
A person turned upside down. This glyph is simply the character 大 (person seen from the front) reversed, where the strokes 䒑 stand for the prone legs, and the two crossing strokes 十 depict the trunk and the outstretched arms.
Person standing upright さいわ.い and person turned upside down しあわ.せ コウ
幸
幸
50
Ⓡ
fortune
さち
Originally 㚔, a person standing upright (大 ➝ 土) and a person turned upside down (𢆉) This character suggests, therefore, the unpredictability of the fate or one’s fortune, since sometimes one can turn out to be face-up, and other times face-down. 65
執
執
シツ シュウ
Person working out the fortune
と.る
to take command
51
Originally 𡙕, a person working (丮 ➝ 丸) with a conceptualized fortune (㚔 ➝ 幸), a person who decides his own destiny or that of the others, someone who becomes aware of his actions and takes command upon them.
爽
爽
ソウ さわ.やか
Person holding two heavy objets
52
invigorating
A big person (大) lifting two heavy objects (爻×2)—probably representing some kind of full vessels–, boasting his strength and vigor.
夫
夫
フ フウ
Person with his hair tied in a topknot
53
Adult person
おっと
husband
A big person (大) with a hair attire (一), most probably a bun tied with a hair-stick, that was used by grown up married men. The topknot worn by men is indeed extensively documented as a common and outspread hairstyle in ancient China, where it was known as ji (髻). 66
This character, as a component, takes on the original meaning of ‘grown up man’ or ‘adult person’, but when acting as a standalone, it adopts the meaning of ‘married person’ or ‘husband’.
Man wearing a topknot
長
長
54
チョウ
Person with long hair
なが.い
long
Originally 𠑿, a person (人 ➝ ⼉ ➝
) with loose, long hair ( ). 55
老
➀ ロウ
Person with long hair Ⓡ leaning on a walking stick Old man
➀ お.い
老 耂 ➁ ふ.ける
➀ old age ➁ to grow old
A man with long hair leaning on a cane, suggesting the meaning of ‘old age’. This character has suffered a steep transformation process. The upper part represents a man’s head with a long, loose hair (長 ➝ ➝ 土), hairstyle typically worn by old sages of ancient China that 67
didn’t feel it was necessary anymore to tie their hair in a bun—like the ones married man used to wear, as indicated by the character 夫 (adult person). The central stroke ㇒ depicts an arm holding a cane, and the element 匕 stands for the cane itself (㇟) and a very simplified version of the man’s body (㇒). This glyph, when used as a component, omits the lower part 匕, appearing just as 耂, and it is placed on top in the compounds.
孝
孝
56
Old man over a child
コウ
filial piety
An old man (老 ➝ 耂) above a child (子), or the latter below the former, a graphical representation of one of the key concepts of the Ancient China’s Confucian morals, termed as ‘filial piety’, which refers to the subordination that in nuclear families children owe to their parents and, extrapolated to society in general, the subordination that young people owe to those above their age.
⽽
而
57
ジ
Person wearing a raincoat ㊔ and
A person (人 ➝ ) wearing a kind of hat (一) and a cloak or raincoat (冂) to protect himself from the rain. 58
⽂
文
ブン
Tattooed person
モン
writings
ふみ
68
Ⓡ
A person seen from the front with a kind of design on his highlighted chest, probably some sort of symbolic tattoo. The strokes 亠 represent the head and arms, and the strokes represent the legs and trunk, given a space for the tattoo pattern. In the modern form of the character, however, only the outline remains, and the design of the tattoo itself has disappeared from the graph. Over time, due to the communicative nature of tribal tattoos or patterns, this glyph’s meaning came to be that of ‘message’, ‘letters’ and, ultimately, anything related to writing.
69
5 | HUMAN MEASURES One of the last conceptual derivations that we can draw from the human figure is the proportion and measures obtained from it. It is notorious that prior to the international standardization of measures of length, most human groups used the human body as a reference. Chinese characters reflect this fact in two primitive characters. One stands for the span that goes from the head to the feet of a person in an upright position
久, and the other
represents the ‘length’ of the calf of a sitting person
久
久
尺.
ク
Upright person being measured
ひさ.しい
long time
キュウ
59
Originally 𫝄, the span (㇒) covering the distance that goes from the head to the feet of an upright person (人 ➝ 入), the longest length within the human scale. Over time this character expanded the meaning related to the spatial length to indicate also long temporal distances, being this meaning of ‘long time’ the only one that this character preserves today.
尺
尺
Calf of a person being measured
シャク
Measure unit of length [~30 cm] 70
60
Ⓡ
The span (㇏) of the lower part of the bent leg of a sitting person (尸): the length of a calf. When this character acts as a component it may take on the meaning of ‘measure’ or ‘being measured’.
71
REVIEW ON PEOPLE
1
2
⼈⽋次⼔⽐化北介亡 ⼫尼丮⾠勹匂卩卬 免㔾 巴⾊ 仰
3
⼥母毎乃⾝了
充⼦
妄娠姿侮好
4
⼤夹天⽴並亢太交夭屰幸執 爽夫⾧⽼孝⽽⽂ 位併妖
5
久尺
72
HUMAN BODY 1 | BONES In the previous chapter we have seen how people form an essential part of the semantic and graphic set of sinitic components and characters. We have seen how people can be divided by age, sex, activity or social position, among other things. Another thing in regard to people that has to be taken into account is their material nature. A person is inconceivable without his physical body. The physical body can be analyzed from different levels, but it is reasonable to begin with what sustains the body, the core structure without which the rest of the body would not stand up and could not be articulated: the ‘bones’ of various types, such as the ribs body parts in general—the ‘skull’
冎, which are
肉—representing ‘meat’ or 田, or the vertebrae
呂.
61
冎
Pile of bones
冎𠮠
A pile of bones on top of each other (冂×3). In some compounds this glyph may adopt the simplified form 𠮠 or its variant 叧.
73
62
⾁
肉
Ⓡ 肉
meat
ニク
Body part
月⺝
A slice of meat, probably the ribs of an animal, where 冂 represents the outline and 仌 the visible bones. As a component, the glyph evolved from 肉 into ⺼, and ultimately into 月 or ⺝. When forming part of other characters, this graph expands the meaning of ‘meat’ into that of ‘body part’ and even ‘physical matter’. Most of the characters that use 肉 (月) as a component usually have, then, a meaning related to the body.
Body part ⺝ shown by two people that
背
背
➀ ハイ ➀せ ➁ せい ➂ そむ.く
63
turn their backs away 北 ➀ back ➁ stature ➂ to turn one’s back
肥
肥
ハ
ヒ
Body part 月 as big as some big hands 巴
こ.える
to get fat
74
64
65
育
育
イク そだ.てる はぐく.む
Body part ⺝ becoming a newborn baby
to bring up
NOTE The body part component symbolizes the woman’s pregnant belly that generates a new being, a newborn baby who has to be raised and brought up henceforth.
脊
脊
66
spine
セキ
Body part (肉 ➝ ⺝) made up of a set of bones that pile up one on top of another in an ascending manner ( ), the spine.
骨
骨
67
Skeleton
コツ ほね
Ⓡ
bone
Body part (肉 ➝ ⺝) that constitute a pile of bones (冎), the skeleton, the bones per se.
⽍
歹
68
Bone remains
Ⓡ
Originally 歺, bones (⺊ ➝ 一) that have been left on top of a piece of decaying meat (肉 ➝ 月 ➝ 夕).
75
死
死
69
シ
Remnant bones of a person
し.ぬ
to die
The bone remains (⽍) of a person (人 ➝ 匕), the body of a person decomposed by the passage of time, the image of death. The top line of the component ⽍ (bone remains) has been extended to cover also the component 匕 (person from behind). 70
囟
Skull
田
The upper part of the skull, seen from above (⼞), with visible separations (㐅 ➝ 十) between the frontal and parietal bones. This component may appear simplified form 田.
A human skull seen from top
異
異
イ こと
Person putting on a skull mask difference
76
71
Ⓡ
Originally 𠔱, a person seen from the front (大 ➝ ) putting on, with two raised hands (艸 ➝ 艹), a mask with the appearance of a skull (囟 ➝ 田), which makes him look like a different being from the ordinary man.
Jade masks from the Neolithic Liangzhu (良渚) culture
禺
禺
72
グ
Person dancing with a skull mask on
A person who wears a mask with the appearance of a skull and wiggles his trunk and arms, a person of a strange and peculiar appearance. The upper part of the component, 田, shows the skull mask (囟 ➝ 田), whereas the lower part 禸 shows the open arms (冂) and the body making a serpentine movement (厶). グ
偶
偶
Person 亻 resembling a masked dancer 禺 グウ
73
doll unexpectedly
NOTE This character originally referred, most probably, to funerary effigies or masks that were put on the deceased. Later on, this meaning began to be associated with any kind of human representation and, eventually, earthen and wooden dolls. The meaning of ‘unexpected’ comes from the unpredictability of death 77
that is associated with the custom of putting masks on the deceased.
畏
畏
イ おそ.れる
Person wearing a skull mask and holding a stick
74
to fear
A person (人 ➝ ⼉ ➝ ) wearing a mask with the appearance of a skull (囟 ➝ 田) and holding a club (一) while making threatening gestures. In a similar fashion to the character 辰 (person holding a tool), the strokes standing for the stick and the strokes representing the arms and legs of the person have merged into the form .
凶
凶
75
Open skull
キョウ
disaster
A skull lacking its upper cover (囟 ➝ 凶), a broken skull, a disaster.
Body part 月 leaning 勹 towards the
胸
胸
キョウ むね むな-
organs that otherwise would be キョウ
unprotected as an open skull 凶 bosom
78
76
77
Top of the head
ノウ Originally
[巛囟], a skull seen from above (囟 ➝ 凶) with some
hair (巛 ➝ ⺍) coming out of it, thus highlighting that upper part of the head. The modern version of the character, which depicts an open skull (凶) also alludes to what is inside the skull rather than the skull itself.
脳
脳
ノウ
呂
呂
Body part 月 located inside the skull
78 ノウ
brain 79
backbones [fig.]
ロ
Two linked vertebrae (口㇒口), a graphical simplification of the backbone. The meaning of this character is mostly used in a figurative sense, in contrast to the character 脊 (spine) which withholds a literal sense.
79
侶
侶
Person 亻 connected to other person like
80
ロ
linked backbones 呂
リョ
companion
咼
咼 A pile of bones (冎 ➝
予
予
81
カ
Pile of bones and backbones
) next to a single backbone (呂 ➝ 口). 82
Joined vertebrae
ヨ
beforehand
Two vertebrae graphically joined by a line, referring to the meaning of ‘union’ or ‘connection’. The composition of this character is very similar to that of 呂 (backbones), but that and this character have evolved differently, perhaps as a result of a need to differentiate the assigned meanings. In the present glyph, the graphic elements depicting the vertebrae (口×2), have been simplified into the glyphs and 乛, and the link between them has been more accentuated with the long stroke 亅. As a standalone character, this graph takes on the meaning of ‘beforehand’, perhaps due to a phonetic loan. Nevertheless, this meaning may be associated with the concept of the beforehand need for the existence of a marrow and a connected spinal column in order to make the movement of vertebrate animals possible.
80
2 | HEART Protected by the thoracic bones, there is one of the most important organs, the heart 心, which conceptually is almost universally associated with feelings, and in the particular case of East Asia, and therefore in the context of Chinese characters, also with the mind.
83
⼼
心忄
heart
シン こころ
Ⓡ
Mind Feelings
Schematic representation of a heart, with the outline shown by the stroke ㇟ and the aortas, extending outwards, by the strokes ㇒, ㇔ and ㇔. When placed on the left of a new compound, the glyph gets simplified into 忄. As a component, this character usually takes meanings related to ‘feelings’, ’emotions’.
忘
ボウ
ボウ
Perished 亡 feelings 心
忘 わす.れる
to forget
81
84
忙
Feelings 忄 perishing 亡
ボウ
忙 いそが.しい 恣
恣 悔
悔 愚
愚
85
ボウ
busy 86
ツ
シ
カイ く.いる くや.しい
グ おろ.か
悩
ノウ
悩
なや.む
思
思
Sequence 次 dictated by feelings 心 arbitrary マイ
87
Feelings 忄 of a scruffy woman 毎 regrettable Feelings 心 evoked by the sight of
88
グ
person dancing with a mask on 禺 foolish Feelings 忄 emanating from inside the head
89
ノウ
to be worried 90
シ
Skull and heart
おも.う
to think
Originally 恖 [囟⼼], the action achieved by the connection established between the mental power of the head, represented by the skull (囟 ➝ 田), and the consciousness, expressed through the 82
feelings and perceptions symbolized by the heart (心).
83
3 | EYES Another fundamental organ of the human body, needed for engaging in the visual nature of kanji, is the eye 目. Eyes are also the focal point around which individual faces arise, for the ‘face’ is what surrounds the eye
面. If the face gets a wider
contour on which hair can rest, then we get the head
首.
91
目
罒目
Ⓡ
モク ボク め
eye
ま-
An eye, with its pupil in the center, turned vertically (罒 ➝ 目). As a component it may sometimes appear in its horizontal, original form: 罒.
盲
盲
モウ
Perished 亡 eye 目
モウ
見
見
92
blind
ケン
Person with an open eye
93
Ⓡ
to see
み.る
to look
A person (人 ➝ ⼉) with a big eye (目) that allows him to look 84
around and see things.
規
規
94
キ
艮
艮
Adult person夫 who is looking 見 regulation 95
Looking person
コン
Still person
The original form of this glyph was 𥃩, the reverse form of 見 (to look). It represents a person turning his back (匕 ➝ ) and looking (目 ➝ 日) at something, suggesting the meaning of a person who is still (while looking at something), not moving.
恨
恨
96
コン
Feelings 心 kept still 艮
コン うら.む
to resent 97
眼
眼
ガン ゲン まなこ
コン
Eye 目 of a looking person 艮 eyeball 98
眉
眉
ミ ビ まゆ
eyebrow
Bushy eyebrows (𠃜) over an eye (目). 85
99
面
面
メン おもて
face [fig.]
おもつら
mask
The contour (𫩑) surrounding the eyes (目), the face. The upper part of the contour (丆) appears to be the remainder of a variant of the pictogram where hair could be seen ( ). The upper and lower strokes of the eye (目, 二) overlap with the adjacent strokes of the contour. The meaning of this character and component is usually taken figuratively, in most cases it refers to surfaces, contours or actions such as facing something. When the character appears alone as a single word, it can also take on the meaning of ‘mask’.
臣
臣
100
Eye looking down
シン ジン
vassal
An eye looking downwards. This graph is a derivation of the character 目 (eye), leaning down and slightly deformed. The people who lower their eyes in front of other people are understood here as ‘vassals’ or subjects of other people.
86
姫
姫
101
ひめ
Woman 女 looking down 臣 young lady 102
臥
Person looking down
Originally 臥, a person (人 ➝
) looking downwards with his eye
(臣).
首
首
103
➀ head [fig.]
➀ シュ ➁ くび
➁ neck
This character originally was the pictographic representation of a detailed head shown in profile. Over time, the shape of the glyph was reduced to an eye (目) crowned by a schematic representation of hair (䒑). This sinogram originally had the exclusive meaning of a physical ‘head’, however, at the present time, such meaning is mostly used figuratively. On the other hand, when the character appears alone as a word, it gets the derived meaning of ‘neck’.
頁
頁
104
Head
ケツ
Ⓡ ㊔
Originally 𩑋, the body of a kneeling person (卩 ➝ ⼉ ➝ ハ) on which a big head (首 ➝ 𦣻) is resting. 87
This component emerges as a semantic substitute for 首 (head). Both 首 and 頁 take on the meaning of ‘head’, but the former does it in figurative way and the latter in a literal way. In any case, it is important to note that the present graph never acts as a standalone character, but only as a primitive component for other compound characters.
頃
頃 傾
105
ころ
What is on the back 匕 of the head 頁 around カ
ケイ
Transformed 化 head 頁
傾 かたむ.く 頬
頬 預
106
to lean 107
ほお
What is in the middle 夹 of the head 頁
cheeks ヨ
ヨ
預 あず.ける
Joined vertebra 予 under the head 頁 to deposit
88
108
4 | NOSE, EARS AND HAIR Besides the eyes, other facial organs related to the senses, such as the nose 自 or the ear 耳, appear within the compositional frame of sinitic characters. In addition, there is the outer element that covers the head, namely the hair
彡, or, in the case of
animals, the element that covers the whole body, the fur
自
109
シ ジ
自
毛.
Nose oneself
みずか.ら
A large nose and its nostrils (𦣹 ➝ 自). This character only takes on the meaning of ‘nose’ when acts as a component. As a standalone character it has the meaning of ‘self ’, probably as an allusion to the characteristic gesture of touching the nose people from East Asian cultural environments make when they point to themselves.
息
息
110
ソク いき
SPECIAL READING
Feeling 心 felt through the nose 自 breath 息子 [むすこ]: son
89
耳
耳
111
Ⓡ
ジ みみ
ear
An ear seen from the side, with the outline represented by the encircling strokes 㔿; and the inner folds by the straight strokes 二. 112
恥
➀チ ➀ はじ ➁
Ear 耳 listening to inner feelings 心 ➀ shame
恥 は.ずかしい
➁ ashamed 113
彡
Hair
Ⓡ
A simple depiction of a bush of hair represented by three slanted lines (㇒×3).
須
須
114
ス
⽑
毛
Hair 彡 over the head 頁 required 115
モウ け
fur
Abundant hair (彡) coming out from what it appears to be the tail
90
of an animal (乚).
尾
尾
ビ お
㐱
㐱 A person (人 ➝
Fur 毛 coming out from the behinds of a sitting animal 尸
116
tail 117
Person with long hair
チン
Aged person
) with long and abundant hair (彡), making an
allusion to the idea of an aged person, since, as seen in the character for “old man” (老), long loose hair was associated in ancient China with the elderly.
91
5 | MOUTH In this chapter we have so far reviewed the bones, heart, eyes, nose, ears and hair, but to finish, we still have to talk about a facial organ of utmost importance in relation to language (and by extension, to thought): the mouth 口, an element that within the sinitic compounds set alludes directly to the notion of ‘words’. We will see, then, that within kanji, the element for ‘mouth’ is more closely related to the meaning of ‘speech’ than that of ‘eating’. Everything related to speech, a primordial element of human social life, can be seen through many analytical spectra, therefore, sometimes, different connotational specifications are required. For example, words in general (represented by the ‘mouth’ icon shown before) are not the same as specific words pronounced by a moving ‘tongue’ 舌. Chinese characters can get even more specific and, to express that someone ‘says’ something, it will be either shown as words coming out of a moving tongue: 言; or as words within the mouth itself: 曰. Finally, when the meanings of certain Chinese characters are supposed to specify that what is said is being addressed to someone in particular, it is done by turning upside down the mouth and the words coming out of it:
亼.
118
⼝
口
ク コウ くち
mouth
Ⓡ
Words
A big open mouth. As a component, this character very often takes on the meaning of 92
things related to speech or ‘words’.
吹
吹
119
スイ
Mouth 口 exhaling air 欠
ふ.く
to blow 120
シン
唇
シン
What holds 辰 the mouth 口 together
唇
くちびる
lips
如
如
121
Women 女 and words 口
ジョ ニョ
司
司
likeness 122
シ
Person depositing words to govern
A person (人 ➝ ) who puts words (口) down on the rest of the people, someone who governs over others. シ
伺
伺
シ
Person depositing words 司 on another person 亻
うかが.う
to implore
93
123
后
コウ
后
Person depositing words from the other side
124
empress
Akin to the character 司 (to govern), this glyph depicts a person depositing words or rules on people. In this case, the person (匕 ➝ 𠂋) is placed on a different side than the aforementioned character. This glyph refers, hence, to an ally of the governor, as a first lady or ‘empress’ can be. 125
キョウ
兄
ケイ
兄
Person pronouncing words elder brother
あに
SPECIAL READING
お兄さん [おにいさん]: elder brother
A person (人 ➝ ⼉) with his mouth visibly open (口), pronouncing some words. A person with the authority to speak with transcendence, someone with the powers to take care of family matters: the firstborn, the elder brother.
呪
呪
キョウ
ジュ
Words 口 spoken by an elder brother 兄
のろ.う
to curse
呉
呉
126
127
ゴ
Person subjugated to words Wu [place name]
94
A person bowing his head ( ) before the words (口) pronounced by a leader or governor. This character, thus refers to an obedient people and a stable kingdom. This glyph is mainly used to designate different kingdoms that have existed in the central zone of the Chinese coast, in particular the Wu State of the Spring and Autumn period and the Eastern Wu State of the Three Kingdoms period within Chinese history. This graphically resounding character is also currently used in various Japanese and Chinese place names.
娯
娯
ゴ
ゴ
128
Woman 女 subjugated to one's words 呉
amusement 129
舌
舌
ゼツ した
Tongue moving outside the Ⓡ mouth tongue
A tongue (千) coming out of a mouth (口). The tongue looks forked as that of a snake and has two dots in the middle (evolved later into a single straight, crossing line), just to evoke the idea of the movement the tongue makes while talking. 130
憩
ケイ
Tongue talking 舌 and nose breathing 息
憩
いこ.い
relaxation
95
⾔
言
➀ ➁ ゲン ➀ ➁ ゴン ➀➁ い.う ➂ こと
Words coming out of a moving tongue
131
Ⓡ
➀ to say ➁ to tell ➂ speech
This character, in origin, is an evolution of the character 舌 (tongue), to which a line at the top was added to suggest words coming out from it. Over time, the strokes representing the moving tongue (千) and the stroke representing the pronounced words (一) merged into four horizontal lines: 亖. The meaning of this character encompasses what has to do with ‘speech’: saying and telling things.
信
信 訳
訳
132
シン
Person 亻 believing in a speech 言 faith 133
シャク
ヤク わけ
Speech 言 being measured 尺 interpretation チン
診
シン
Something said 言 to an aged person 㐱
診
み.る
to diagnose
96
134
諮
諮 詞
詞 誤
誤 話
話
シ はか.る
Saying 言 words 口 with an open mouth 欠 to consult with
136
シ
シ
135
Speech 言 that is deposited 司 words ゴ
ゴ
Speech 言 of a subjugated person 呉
あやま.る
to make a mistake
137
138
ワ
Speech 言 of the tongue 舌
はな.す
to talk 139
曰
Spoken words
曰
to speak
An open mouth (口) with spoken words inside (一). This glyph has an ideogrammatic composition similar to the character 言 (to say), but the words appear retained inside the mouth instead of coming out of it, for the present character focuses more on the act of the pronunciation of words rather than on the speech that emerges from them.
97
旨
旨
140
Person over his words
シ むね
principle
A person (匕) standing upright on his spoken words (曰), reaffirming them. Someone consistent with his principles.
脂
脂 詣
詣
シ
シ あぶら
ケイ もう.でる
曷
曷
141
Meat’s 月 core principle 旨 fat Following the principles 旨 of a
142
religious speech 言 to make a pilgrimage 143
カツ
Words leaning over a person
Threatening words
Spoken words (曰) leaning (勹) over somebody threatened to be perished (亾 ← 亡). This glyph appears in an alternative version in some compounds, where the lower part 匃 is replaced by the component 匂 (person leaning over another person).
98
喝
喝 謁
謁
Mouth 口 pronouncing threatening words
カツ
144
カツ
to exclaim 145
エツ
替
替
To be told 言 threatening words
カツ
to have an audience with
タイ か.える
Two adults speaking to each other
146
to exchange
Two adults (夫×2 ➝ 㚘) exchanging spoken words (曰).
音
音
オン イン おと ね
Sound emerging from the words that come out of a moving tongue
147
Ⓡ
sound
This character is a derivation of the character 言 (to say), to which a line has been added on top of the “words coming out” (亖 + 一 ➝ 立) to emphasize the sound that comes from a speaking mouth (曰).
99
意
意
148
Sound of the feelings
イ オク
idea
This character shows a very clear metaphorical description of the represented concept, ‘idea’: the sound (音) of the heart (心), that what is told by the heart (or mind, for that matter).
億
億 臆
臆 憶
憶
149
オク
オク
One person's 亻 ideas 意 hundred million Bare body part 月 conceptualized as an
150
オク
idea 意
オク
timidity オク
オク
151
Feelings 忄 coming from ideas 意 recollection 152
甘
甘曰
Mouth tasting a piece of food カン あま.い sweet
A mouth (廿) with a piece of food inside (一) which has an intense or sweet flavor. This glyph, of an appearance quite similar to the character 曰 100
(spoken words), keeps its outlining more faithful to the original pictogram (廿 instead of 口) in order be differentiated from the said character, although in some compounds the simpler form 曰 is also currently used to represent the meaning of 甘 (mouth tasting a piece of food). The stroke in the middle (一) always represents, however, a piece of food rather than words being spoken. 153
由
由
ユ ユウ ユイ よし
Piece of food entering into the mouth cause
Originally 𠙹, a piece of food (◇ ➝ 十) entering the mouth (𠙵 ← 口). Food, nourishment, is represented here ideographically as the source of vital energy, the ‘cause’ of our actions, because without food life and action would not be conceivable.
届
届
Sitting person 尸 bringing food to the
154
mouth 由
とど.ける
to deliver
牙
牙
155
ゲ ガ きば
fangs
Schematic representation of two large, crisscrossed fangs (匸,
101
).
亼
156
Ⓡ
Mouth talking to someone
An open mouth looking downwards, as the reverse version of the primitive version of the character for “mouth” (𠙵 ➝ ➝ ). A reversed mouth represents somebody speaking words from top to bottom, someone who speaks to another person from a higher position, denoting a sense of power or control.
令
令
レイ
Mouth talking to a kneeling person
157
command
Words spoken to (亼) a kneeling person (卩 ➝ ). Put it another way, ‘commands’ being told to a subject that is in a position of submission.
領
領
158
レイ
リョウ
Commands 令 made by the head 頁 dominion 159
命
➀ ➁
メイ
ミョウ 命 ➁➁ いのち
レイ
Words 口 that imply commands 令 ➀ orders ➁ fate
102
160
合
合
カツ ガツ ゴウ あ.う
Two open mouths talking to each other to come together
A mouth speaking to (亼) another mouth that pronounces words (口), two mouths speaking in unison, two people speaking with one voice, people coming together. 161
今
今
コン キン いま
Retained words now
This character is an ideographic derivation of the component 亼 (mouth talking to someone), in which the words represented with a line (一) have got another line added below, which in turn represents a blockade (一 ➝ フ): words retained in an instant, now. The graphic form of this glyph can be thought as a reverse version of the component 曰 (speaking mouth).
吟
吟 含
含
キン
ギン
ガン ふく.む
162
Mouth 口 retaining words 今 recital 今
Words retained 今 in the mouth 口 to contain
103
163
念
念
164
Retained feelings
ネン
sense
Feelings retained (今) in the heart (心): senses or sentiments.
㑒
㑒
ケン
Mouth talking to people pronouncing words
165
Authority
Originally 僉, a mouth talking to (亼) several other people who talked before (兄×2 ➝ 㒭 ➝ ➝ ), evoking a sense of an authority greater than the rest.
倹
倹
ケン
ケン
Person 亻 listening to authority 㑒 thrift
104
166
REVIEW ON HUMAN BODY
冎⾁脊⾻⽍死囟異禺畏凶 呂 1 咼予 背肥育偶胸脳侶 2
3
4
5
⼼思 忘忙恣悔愚悩
⽬⾒⾉眉⾯⾂臥⾸⾴ 盲規恨眼姫頃傾頬預
⾃⽿彡⽑㐱 息恥須尾
⼝司后兄呉⾆⾔⽈旨曷替⾳ 意⽢由⽛亼令合今念㑒 吹唇如伺呪娯憩信訳診諮詞誤話脂 詣喝謁億臆憶届領命吟含倹
105
LIMBS 1 | HANDS So far we have seen how different parts of the body are useful to describe a broad range of human activities. Nevertheless, we still have to analyze a primordial element of the human being, without which it could not perform most of the daily activities. That is the hand
手. So often is the concept of hand used within Chinese characters compositions that different types of hand positions have also become primordial components on their own. Among these types of hands there is, for example, the outstretched hand 又, which appears ‘again’ and again holding several kinds of objects, such as a simple stick
丈̶which symbolizes an extra ‘length’ of
the reach of a hand–; a stone
父—which symbolizes the
craftsmanship of the ‘father’ of a family–; a writing brush several weapons such a club
, a sledgehammer
聿;
⽎, or a flail
攵. Other postures of the hand are, for example, the hand grasping something tightly
丑 or the hand grabbing something
爪, that evokes the shape of some claws or ‘nails’.
167
⼿
手扌
Ⓡ
シュ hand
て た-
The palm of the hand with outstretched fingers. 106
The vertical stroke 亅 represents the wrist and the palm proper. The horizontal strokes 三 are a very schematic depiction of five extended fingers. When the character acts as a component it usually gets simplified to the form 扌 and is placed to the left.
批
批
ヒ
ヒ
振
シン
振
ふ.る
抑
抑 把
把
ヨク おさ.える
Hand 扌 comparing 比 things crticism Hand 扌 working with an agrarian
169
シン
tool 辰 to swing Hand 扌 forcing a person to bow to
170
another person 卬 to suppress 171
ハ
ハ
168
Hand 扌 big 巴 enough to grasp things
grasp
107
挟
挟 拉
拉
キョウ はさ.む
Hand 扌 putting something in the キョウ
middle of other things 夹 to insert
リュウ
ラ
172
173
Hand 扌helping a person to stand up 立
abduction
NOTE This character originally had the connotation of someone stretching his or her hand to help someone—probably a child—to stand and walk. Within the Japanese language, the meaning of this character later came to refer to ‘attraction’ (the outstretched hand that attracts the child), and afterwards it derived to the negative sense of ‘forced attraction’ or ‘abduction’, which is the only meaning of the character that is currently used in modern Japanese.
抗
抗 摯
扶
扶
Hand 扌 making a defense while コウ
174
コウ
moving towards the ground 亢 resistance 175
シ
Hand 手 taking command 執 earnest フ
フ
Hand 扌 of a husband 夫 aid
108
176
択
択 拐
拐 看
看 括
括
177
シャク
タク
Hand 扌 measuring 尺 something selection 178
カイ
Hand 扌 taking a pile of bones 叧 kidnapping 179
カン
Hand 手 ➝ over the eye observation 180
ゼツ
カツ
Hand 扌 covering the tongue 舌 constriction シ
指
指 掲
➀➁シ ➀ ゆび ➁ さ.す
ケイ
掲 かか.げる
Hand's 扌 functional principle 旨
181
➀ finger ➁ to point Hand 扌 hanging threatening words
to put up a notice
109
182 カツ
抽
抽 拾
拾 捻
捻
Hand 扌 taking out food from the
183
ユウ
mouth 由
チュウ
extraction シュウ ジュウ
Hand 扌 extracting words from a conversation between two mouths 合
ひろ.う
to pick up 185
ネン
ネン
184
Hand's 扌senses 念 being intensified wrench 186
失
シツ
Hand dropping something
失
うしな.う
to lose something
Originally 𢩥, a hand (手 ➝ ➝ 夫) dropping an object (乙 ➝ ㇒) that ends up being lost. 187
又
又
Ⓡ
Outstretched hand
また
again
𠂇⺕
An outstretched hand with open fingers in position to grasp, touch or manipulate something.
110
This schematic character, whose strokes represent an upwardly inclined hand with three simplified fingers, gets sometimes even more schematic when it adopts the form 𠂇 while acting as a component and is placed at the top. Additionally, in a few compound characters, the original tilted form 又 becomes horizontal: ⺕ or . This glyph appears most frequently acting as a component with the meaning of ‘outstretched hand’, however, it also takes a place in the list of jōyō kanji as a standalone character with the meaning of ‘again’. This latter meaning may be related to the figurative idea of an added aiding outstretched hand that can be used again and again.
右
右
ウ ユウ みぎ
Hand outstretched 𠂇 to the
188
mouth 口 right hand side
An outstretched hand (又 ➝ 𠂇) reaching the mouth (口), indicating the action of taking food to the mouth while eating, an action that most people perform with their right hand.
及
刍及
Outstretched hand touching キュウ a person
およ.ぶ
189
to reach out
An outstretched hand (又) reaching a person (人 ➝ ⺈). The original form of this character is 刍, in which the outstretched hand is shown horizontally ( ). When the character acts as a standalone, however, it takes the form 及, in which the hand is shown tilted (又). 111
吸
吸 扱
扱
キュウ
キュウ
Mouth 口 reaching out 及 to something
す.う
to suck
190
191
あつか.う
Hand 扌 that has reached a person 及 to handle
急
ギュウ
急
いそ.ぐ
Feelings reaching out to a person
192
to hurry チュウ
A feeling (心) that quickly reaches (刍) a person and urges him to take action. 193
Kneeling person held by an outstretched hand A kneeling person (卩) being captured and held by an outstretched hand (又).
報
➀ ホウ
➁
報 むく.いる
Fortune 幸 taken upon a held person
➀ to report ➁ to recompense
112
194
Body parts 月 held by an outstretched
服
服
195
hand
フク
subjugation clothing
NOTE Clothing understood as an object that touches the body and is held by it.
奴
奴
Woman held by an outstretched hand
ド
196
servant
A woman (女) being controlled by an outstretched hand (又), referring to a maid or female servant.
怒
怒
ド いか.る おこ.る
妻
妻
197 ド
Feelings 心 of a servant 奴 to get angry
サイ つま
Woman controlled by an outstretched hand
198
wife
Graphic composition that represents, literally, a woman (女) held by the hair (十) with an outstretched hand (⺕ = 又), in a figurative representation of a woman under control, a wife of the old times.
113
The conceptual graphic composition of this character is similar to that of the character 每 (scruffy woman).
有
有
ウ
Outstretched hand holding a piece of meat
あ.る
to have
ユウ
199
An outstretched hand (又 ➝ 𠂇) holding tight a piece of meat (肉 ➝ 月 ➝ ⺝), taking possession of it, having it.
臤
Eye touched by an outstretched hand
ケン
200
Delicate An eye looking down (臣) that is being touched by an outstretched hand (又). This ideogram suggests the idea of something very delicate or fragile.
腎
腎
ジン
Delicate
ケン
201
body part ⺝
kidney
取
シュ
取
と.る
Ear being held by an outstretched hand
202
to take
An outstretched hand (又) grabbing an ear (耳). This ideogram evokes the idea of a child being taken by the ear while being 114
scolded.
丈
丈
ジョウ たけ
Outstretched hand holding a stick
203
length
An outstretched hand (又 ➝ 㐅) holding a stick (一) that extends the length of the reach of the said hand.
吏
吏
リ
Words and sticks acting together
204
government official
A person that symbolically holds with his outstretched hand a stick (丈) and words (口), a person with the power of speech— represented by the mouth—and the power of force—represented by the stick. A person with great power, like a government official.
使
使
シ
Person 亻 acting as a government official 吏
つか.う
君
君
205
to utilize
➀ クン ➀➁ きみ
Guiding with words and a stick ➀ mister ➁ you 115
206
A hand holding a stick ((⺕ + 丿) ➝ 尹 ≈ 丈)), and a mouth pronouncing words (口). Ideogram with a graphical formation similar to the character 吏 (government official). This glyph also suggests the idea of a man or ‘minister’ who leads with the power of speech—represented by the mouth—and the power of strength —represented by the stick.
史
史
207
Outstretched words
シ
history
An outstretched hand (又 ➝ 㐅) holding words (口), or put it another way, the words that are chosen to be spread or outstretched: the official chronicles, history.
⽗
父 SPECIAL READING
208
フ ちち
Hand holding a stone father
お父さん [おとおさん]: father
An outstretched hand (又 ➝ ) holding a stone used as a tool(㇒), a representation of the hand of a man with responsibilities like the father of a family.
⾀
聿
209
Hand holding a brush
An outstretched hand (⺕) holding a brush in vertical position, depicted by its handle (丨) and its bristles (二).
116
書
書
210
ショ
A hand making a brush talk
か.く
to write
A hand holding a brush (聿 ➝ (曰), words written with a brush.
) that generates spoken words
211
事
事
ジ ズ こと
What can be written and told
affair
Something worthy of being written by a hand holding a brush (聿 ➝ ➝ ) or spoken through words (口). The graphical composition of this character is very similar to that of the character 吏 (government official), but in this case, the hand, instead of holding a stick that reaches out longer distances, holds a writing brush. This subtle difference can be distinguished in the original script by a small stroke added in the upper part that symbolizes a brush, analogous to the strokes of the component 聿 (a hand holding a brush), but turned around (聿 ➝ ). In the modern version of the character, such difference disappears (because the two bristles of the brush have merged into one). On the other hand, two different compositional glyphs are kept for the hand element (⺕, 又) in order to differentiate the meanings. 212
Hands holding a club
シン
This pictogram originally depicts an outstretched hand (又) grabbing a kind of club with several spikes ( ) by its handle (冖). 117
The element , however, is very similar to the component for “outstretched hand” (⺕), hence letting the character being interpreted as the image of two hands (⺕, 又) holding a club (冖). Be it as it may, the concept represented by this character is that of a weapon used in attack.
侵
侵
シン
シン
Person 亻 using a club 𠬶
おか.す
to invade
213
214
殳
Hand holding a sledgehammer
殳
Hand hitting something with a weapon
Ⓡ
An outstretched hand (又) gripping a hammer (⼏) that can be either used as a tool or as a weapon. This component can also imply the action of hitting something with an object.
股
股 設
設
コ また
セツ もう.ける
Body part 月 that usually gets hit by a
215
weapon ⽎ in petty punishments. thigh Saying 言 something before using a
216
hammer ⽎ to prepare ahead of time
NOTE The meaning of this character most probably derives from the formal need of saying some words—making a declaration— before proceeding to start building something, which is pointed 118
out by the figurative use of a hammer.
投
投
217
トウ
Hand 扌 throwing a hammer ⽎
な.げる
to throw 218
攵
Hand holding a weapon
攵
Blow (sudden impact)
Ⓡ
Originally 攴, an outstretched hand (又) holding some kind of weapon, probably a rudimentary flail (⺊ ➝ ㇒), which is used to make a blow or sudden impact. This glyph eventually became simplified into 攵 by joining the upper strokes. This component's structure is analogous to that of ⽎ (hand holding a sledgehammer). The meaning of this glyph usually refers to the action of hitting or blowing something. 219
教
➀➁ キョウ
➀
教 おし.える ➁ おそ.わる
Blows 攵 used to pass knowledge from コウ
elder men to children 孝 ➀ to teach ➁ to be taught
119
敏
敏
ビン
Scruffy woman being hit with a weapon
220
sensibility
A hand hitting (攵) a scruffy woman (毎), wounding her sensibility. 221
テツ
Child brought up by blows
A child that is being brought up (育) by blows (攵).
撤
撤
テツ
Hand 扌 that takes a child off from being brought up by blows テツ
222
removal
双
双
223
ソウ ふた
Two outstretched hands pair
A pair of outstretched hands (又×2) showcasing their similarity. 224
友
友
ハツ ユウ とも
Two hands acting together friend
Two outstretched hands ((又 ➝ 𠂇), 又)) that act in the same way, 120
two cooperating hands: friendly hands. The composition of this character is the same as the character 双 (pair).
髪
髪 抜
抜
Long 長 ➝ 镸 hair 彡 stroked by two
225
ハツ
ハツ かみ
hands 友
hair of the head
バツ
Hand 扌 held by two other friendly ハツ
hands 友
ぬ.く
摂
摂
226
to pull out
セツ
Hand placed behind the ear to capture the sound
227
vicarious
Originally 摄, a hand (扌) placed behind the ear (耳) in order to capture the sound of a conversation that is vicariously listened to. The action of capturing the sound is reinforced by the addition of a simplified version of the component for a “pair of hands” (双 ➝ ).
丑
丑
228
チュウ
Hand gripping something tightly
㊔
An outstretched hand (⺕) with its fingers slightly bent, pointing 121
downwards (丨), exerting an additional force on an object that is implicitly grasped.
⼨
寸
Wrist
229
Ⓡ
Working hand
スン
unit of length [~ 3 cm]
An outstretched hand (𠂇 ➝ by a dot (丶).
) with its wrist visibly pointed out
When this character works as a component, its meaning gets amplified to the scope of actions that imply hand movements made by the wrist, so to speak, any kind of manual work: the activities made by a ‘working hand’. On the other hand, when acts as a standalone it adopts the connotation of a unit of length (3 cm) that approximately matches the average length of a human wrist.
辱
辱
ジョク はずかし. める
耐
タイ
耐
た.える
Hand working 寸 with an agrarian
230
tool 辰 to disgrace Person wearing a raincoat 而 while working with his hands 寸 to withstand
122
231
対
対 肘
肘
232
タイ ツイ
Writings 文 versus manual work 寸 opposite 233
ひじ
Body part 月 that follows the wrist 寸 elbow 234
討
トウ
To be told 言 to work with the hands 寸
討
う.つ
to chastise
付
付
フ つ.く
A person and his working hands
235
to be attached
The ordinary person (亻) attached to manual work (寸) as a livelihood.
射
シャ
射
い.る
Working hand causing pregnancy
236
to emit
A hand working (寸) so that a woman can become ready for gestation (身) and emitting offspring, alluding most probably to some kind of shamanic ritual of fertility.
123
謝
シャ
シャ
謝 あやま.る
237
Speech 言 being formally emitted 射 to apologize
NOTE Referring to the issuance of some kind of official note of gratitude or apology. 238
Ⓡ ⼶
⼶
廾 ハ⺽
Two raised hands
Originally 𠬞, both an outstretched left hand (𠂈) and right hand (又) looking upwards, as in the stance of holding or raising something. Over time, the strokes of this component got simplified and adopted the form ⼶ in most compounds. This simplification can go even further into just two strokes with the form ハ that is found in several characters. This component also has a primitive variant with the hands placed in an horizontal position analogue to the form ⺕ of the component 又 (outstretched hand). This form is 𦥑, which is attested in the original versions of many characters but does not remain with the same strokes in most contemporary compounds.
⼶
臾
239
Two raised hands holding a person
Two raised hands (𦥑 ← ⼶) holding a person (人).
124
This character, in the compounds, takes the simplified form
共
共
. 240
キョウ とも
Four hands working together
together
Originally 𦱹, four outstretched and intertwined hands (又 ≈ 屮×4 ➝ 艸×2 ➝ + ハ) working in conjunction. If this component appears in the upper part of a compound, it takes the compressed form . 241
➀ キョウ
供
供
➁ク
Person 亻 that goes together 共
➀ とも ➁
➀ follower
そな.える
恭
恭
キョウ
キョウ うやうや. しい
关
➁ to provide 242
Feelings 心 ➝ ⺗ together
キョウ
shared
respectful 243
Two hands grabbing a knob Opening
A schematic depiction of two raised hands (⼶ ➝ 大) grasping the knob (䒑) of a door.
125
The meanings related to this component usually suggest some kind of opening or new start. 244
咲
さ.く
Words 口 describing a new opening 关 to bloom 245
保
ホ
Person carrying a child
保
たも.つ
to protect
A person (亻) holding a child ( protecting him.
← 子) with two hands(⼶ ➝ ハ),
246
承
承
ショウ うけたまわ.
Two hands holding a baby to accept
る
Two hands raising a baby ((𠬞 ← ⼶ ➝ the acceptance of his birth.
) + 子) ➝ 承), showing
The form 氶 here is analogous to the element 呆 of the character 保 (person carrying a child).
爪
爪爫
247
つめ
Grabbing hand
つま-
nail
Ⓡ
A hand with three stylized stretched fingers pointing downwards, suggesting the action of grabbing something. 126
As a component this character usually gets simplified into 爫. As a standalone this character takes on the meaning of ‘nail’. The idea of grabbing something, thanks to the form the fingers take, can be easily associated to an animal’s claw or, by extension, the nails.
妥
妥
248
ダ
Hand grabbing 爫 a woman 女 gentle 249
孚
Hand grabbing a child
孚
Pictograph of a hand grabbing (爪) a small child (子).
爰
爰
250
エン
Two hands caressing a person
Caress
A hand grabbing (爪) a person who is being enlightened (天 ➝ by the caresses of another outstretched hand (又).
媛
媛
エン
エン
Woman 女 being caressed 爰 beautiful woman
127
)
251
援
援
エン
252
Hand 扌 that caress 爰
エン
assistance 253
ケイ
Hand grabbing an adult man
A hand grabbing (爪 ➝ 爫) an adult person (夫). 254
𢚩
オン
Heart held by two hands
Two hands ((爪 ➝ 爫) + (⺕ ➝ ) ➝ ) holding a heart (心), probably figuratively referring to a state of restlessness or fear that makes the individual intuitively take his hands to the heart.
印
印
イン しるし
Hand grabbing a kneeling person
255
mark
A hand grabbing (爪 ➝ ) a kneeling person (卩) in order to leave a mark on him.
128
256
争
争
ソウ あらそ.う
Two hands fighting over a Ⓡ stick to fight
Originally 爭, two hands (爪 ➝ ⺈) + ⺕) fighting over a rope or stick (亅), like in a contending game of thug of war.
129
2 | ARMS A complementary element to the hands is their prolongation, the arms, that can appear both in a bent position
九—which
highlights muscular ‘strength’; or in an outstretched position 九, which highlights its reach.
257
⼒
力
リキ リョク ちから
Ⓡ
Arm strength
A bent arm with an outstretched hand at its end. The left part of the character is visibly a deformation of the “outstretched hand” component (又 ➝ 𠂇 ➝ ), while the right part shows a slightly bent arm (𠃌). This arm stance seems to evoke the image of a biceps increasing its volume as the arm bents, making an allusion to physical strength.
勉
勉
258
メン
ベン
Avoided 免 physical strength 力 studious ド
努
ド
Strength 力 of a servant 奴
努
つと.める
to strive
130
259
効
効
260
コウ
コウ
Mingling 交 strengths 力
き.く
to be effective 261
加
カ
Strength and words
加
くわ.える
to add
The physical power of the arms (力), complemented by the power of words (口), the ‘addition’ of two different but complementary forces.
劦
劦
262
Several arms
キョウ
Several arms (力×3) working together. 263
脅
脅 脇
脇
キョウ おど.す おびや. かす
Body parts ⺝ approached by several キョウ
arms 劦 to threaten Body part 月 placed next to the arms 劦
beside
わき
armpit
131
264
265
キュウ
九
九
Outstretched arm
ク
nine
ここの.つ
In this character, which is the counterpart of the character 力 (arm), the arm gets unbent (𠃌 ➝ ㇈) while the muscle force gets weakened, indicating its extension and outstretching. As a standalone character the meaning of ‘nine’ is taken, most probably due to a phonetic borrowing. It’s not hard to imagine, however, the outstretched arm as a metaphor to represent the odd number that is “about to reach” the “round” number that is ten.
尻
尻
しり
Outstretched arm 九 pointing underneath a sitting person 尸
266
buttocks
SPECIAL READING
喪
喪
尻尾 [しっぽ]: tail
ソウ も
Words caught by a buried person’s outstretched hand
267
mourning
Several mourning words (口×2) reached by the outstretched arm (九 ➝ 十) of a buried person (亡 ➝ ).
132
尤
尤
ユウ
Person raising his arm superb
A person (人 ➝ ⼉) rising his arm and hand ( ).
133
268
Ⓡ ㊔
3 | FEET Feet, as expected, complete the section dedicated to the limbs, and they appear in several forms and shapes. A foot stepping over the ground 止 tells us about both the ideas of making footsteps or standing up still, making a ‘stop’. If the stepping ‘foot is turned upside down’ 夂, it reinforces the notion of immobility. Conversely, movement is represented by two feet working together, 癶 or ‘two feet going
be it as ‘two feet going upwards’ downwards’
舛, and also by a ‘foot emerging from the ground’
㞢 and a ‘foot entering into the ground’
⽌
止龰
帀.
269
シ
Footstep
と.まる
to stop
Ⓡ
Stylized image of the print of a footstep in the ground. The lower stroke 一 represents the mark of the sole of the feet, whereas the upper strokes 丨 and ⺊ represent the mark of the fingers. As a component this glyph can take the simplified form 龰. The current standalone meaning of ‘to stop’ is directly related to the concept of footstep: a step that stops still on the ground for a moment.
134
270
企
キ
Person
企 くわだ.てる 肯
肯
making footsteps 止 to undertake 271
コウ
此
此
Footsteps 止 over matter⺝ affirmation
シ
Footsteps left behind
272
㊔
this
Footsteps (止) left behind by a person who walks away turning his back (匕).
先
先
セン さき
Person walking on another one’s footsteps
273
previous
A person (人 ➝ ⼉) walking in the footsteps (止 ➝ ⺧) previously left by another person.
⾛
走
274
ソウ
Person wiggling over his feet Ⓡ
はし.る
to run
Originally 𧺆, a person wiggling (夭 ➝ 土) over his own feet (止 ➝ 龰) as he runs. 135
趣
趣
シュ
Running 走 after something in order to
275
シュ
take it 取
おもむき
tendency 276
⾜
足⻊
➀ ➁ ソク ➀ あし ➁ た.す
➀ foot and leg
Ⓡ
➁ to add up
A foot (止 ➝ 龰) and a leg extending upwards to the knee, which is stylized as ⼞. This character means both foot and leg, as so does the Japanese word あし. The additional meanings ‘to add up’ comes from the image of the leg ‘added’ to the foot. When this component is placed on the left, it takes the following narrowed form: ⻊.
促
ソク
促 うなが.す 捉
捉
ソク とら.える
Person 亻 pressing hard with his foot
277
ソク
and leg 足 to press [fig.] Hand 扌 grabbing an ankle placed ソク
between the foot and the leg 足 to capture
136
278
279
⼡
Foot turned upside down
夂
Ⓡ
Still foot
A foot looking downwards. This is the character 止 (footstep) turned upside down, suggesting immobility in contrast to the movement evoked by the footprint of the foot looking upwards. In many instances this component is used to indicate standing, still feet. 280
夏
夏
カ ゲ なつ
Head 頁 ➝ 𦣻 still 夂 due to the heat
⽨
癶 The left and right feet ((
summer 281
Two feet going upwards
Ⓡ
+ 止) ➝ 𣥠 ➝ 癶) looking upwards: two
feet moving in an upward direction.
舛
舛
282
Two feet going downwards
The right foot (夂 ➝ 夕) and the left foot ( down: two feet moving downwards.
Ⓡ 舛
➝ 㐄) turned upside
In a few compounds this component appears arranged vertically in the following form: 夅. 137
283
㞢
㞢 士之
シ
Foot coming out and moving forward
㊔ 之
of
A foot (止 ← 屮) coming out from the ground (一) in order to start a path forward. The original form 㞢 gets simplified in the compounds into 士 or further into 之. 284
志
シ
志
こころざ.す
Feelings coming out to intend
Originally 𢗍, the feelings (心) that come out like an emerging foot シ
(㞢 ➝ 士).
誌
誌
シ
シ
寺
寺
285
Speech 言 with intentions 志 records
ジ てら
Hand working and foot moving forward
286
temple
A place where manual work (寸) is carried out in a constant and 138
シ
advancing (㞢 ➝ 土) way. In origin this character probably was making reference to some kind of administrative institution, but over time it was taken to designate religious temples, and more concretely Buddhist temples—where, in any case, manual work is constantly required. 287
Person 亻 moving forward and
侍
ジ
ジ
working with his hands 寺
侍 さむらい
warrior samurai
詩
詩 持
持
288
ジ
シ
ジ も.つ
Speech 言 made in temples 寺 poem 289
Hand 扌 of someone who moves ジ
forward and works with his hands 寺 to hold
乏
乏
290
ボウ
Blocked foot
とぼ.しい
limited
A moving foot (㞢 ➝ 之) being blocked by an obstacle ( limits its movement.
139
) that
291
帀
Foot going backward
帀
An emerging foot turned upside down (㞢 ➝ 帀), suggesting a return movement. 292
Footprint
スイ
Ⓡ
Trace
Schematic representation of a footprint left on the ground, where only the more prominent parts of the foot’s plant (㠯) and toes (㇀) remain visible. 293
師
師
シ
Traces
スイ
to which one goes back 帀 teacher
140
REVIEW ON LIMBS
⼿失⼜右及急 奴妻有臤取丈 吏君史⽗⾀事𠬶⽎攵敏双友摂 丑⼨付射⼶臾共关保承⽖孚 爰 𢚩印争 1 批振抑把挟拉抗摯扶択拐看括指掲 抽拾捻吸扱報服怒腎使書侵股設投 教撤髪抜辱耐対肘討謝供恭咲妥媛 援 2
⼒加劦九喪尤 勉努効脅脇尻
3
⽌此先⾛⾜夂癶⾇㞢志寺乏 帀 企肯趣促捉夏誌侍詩持師 141
THE NATURAL REALM
142
THE NATURAL REALM Once we have dealt with the self, people and the human body, it is necessary to look at the surroundings, the most immediate thing encompassing the life of man: Nature. Ancient people divided nature into the intangible and the tangible. The intangible is essential to maintain the spiritual and divine order and the tangible is essential to maintain the material and economic order. Both aspects were considered indispensable for keeping social stability. Within the intangible aspect there are not only gods and divine power, but also time, meteorology, astronomy and what is related to divination, a fundamental part of life at the time when Chinese characters were created. As a matter of fact, Chinese characters owe their development to divination, since Chinese writing emerged and spread thanks to being a fundamental part of divinatory rites. The tangible aspect includes everything related to plants and animals, elements that are paramount for the survival of any society. Elements of nature—earth, water, fire, air (or energy)—stars, plants and trees, oviparous animals and mammals, all of them are extensively present within the corpus of Chinese characters. All these glyphs are grouped, within the natural realm, into the following three groups: Characters used to represent the active elements of nature, characters used to represent plants and trees, and lastly, characters used to represent animals and some of their by-products.
ELEMENTS OF NATURE
1. Energy 2.Stars 3. Water 4. Fire 5. Earth 6. Heaven
PLANTS 1. Small Plants 2. Trees 3. Grains
143
ANIMALS 1. Oviparous 2. Mammals 3. Animal Manipulation 4. Silk Production
THE NATURAL REALM AT A GLANCE ELEMENTS
PLANTS
144
ANIMALS
ELEMENTS OF NATURE 1 | ENERGY Energy or ether was understood by ancient people, at least by the ancient people that created the Chinese characters, as the essential intangible element endowing cognitive beings and natural phenomena with spiritual substance and physical force. Energy, therefore, can be understood as a conceptualization of the spirit or anima, a spirit that is invisible and intangible. But how can one represent what cannot be seen nor touched? Chinese characters give an answer by representing energy as a flow of movement, depicted by abstract lines. The movement of energy is thus represented by continuous lines of different paths, and different types of energy movements are used to represent different ideas. Among those movements there is the flowing ‘energy revolving around itself ’
厶, or the
primeval energy; ‘energy being unfolded’ 乚, alluding to something that can be easily reached; energy spread into two different directions
八, which represents the something that is
‘distributed’; ' energy circulating on a fixed path
己, which
represents the conscious ‘self ’; or energy making a rotation 回, which depicts a ‘revolving’ movement; or even ‘intertwined energies’
丩, which represents confluence.
⼛
厶
294
Flowing energy
145
Symbolic representation of energy flowing freely while revolving around itself.
仏
仏 勾
勾
295
ブツ
Person 亻filled with flowing energy 厶
ほとけ
Buddha 296
コウ
Leaning person’s 勹 flowing energy 厶 incline 297
払
フツ
Hand 扌making energy flow 厶
払
はら.う
to pay
弁
弁
ベン
Two hands ⼶ handing out flowing energy 厶
298
delivery
以
以
イ
Flowing energy linked to a person
299
by means of
Flowing energy (厶 ➝ ) next to a person (人 ➝ ), implying that the former revolves through the latter. This character makes reference, therefore, to the intangible energy that makes men move and act. The representation of energy along a man is thus used here to indicate the meaning of ‘means’ or ‘by means of ’. 146
似
似
ジ
Person 亻linked to another person by
300
イ
the same energy 以
に.る
to resemble
鬼
鬼
301
キ おに
Bare skull and flowing energy Ⓡ
ghost
Flowing energy (厶) of a person (人 ➝ ⼉) whose skull (囟 ➝ 甶) is visibly exposed. The bare skull implies here a deceased person. A deceased person who still has energy flowing through is understood, therefore, as a ‘ghost’.
台
台
Energy in the mouth
タイ ダイ
302
Contained energy podium
Flowing energy (厶) contained within the mouth (口), possibly referring in origin to breath: the physical representation of numinous energy. This graph, when used as a standalone character, is taken by its phonetic value for the meaning of ‘platform’ or ‘podium’, which, however, can easily be associated with the original representational meaning by thinking of podiums as places that enhance, thanks to their elevated place, the voice—which can be understood in turn as energy contained in the mouth.
147
始
シ
A woman 女 containing energy 台 inside
始 はじ.まる 胎
胎
303
タイ
to start タイ
タイ
304
Body part 月 containing new energy 台 womb
305
怠
怠
タイ おこた.る なま.ける
⼄
乚乙
タイ
Energy contained 台 in the heart 心 to neglect 306
Unfolded energy
オツ
Ⓡ
2nd
Current of energy that appears in an unfolded form: 乚; in contrast to the representation of primeval flowing energy that appears revolving on itself: 厶. The original grapheme 乚 is transformed into the more complex form 乙 when the character acts as a standalone, perhaps to make it fit more aesthetically into the compositional balance of other components within a compound. The meaning of the character when it appears as a standalone is that of ‘second in rank’, meaning that originates from the Sinitic ordinal system known as Heavenly Stems (天干), in which ten concrete primitive characters are used to designate different ordinal positions, among which 乙 takes the second one, after 甲 (コウ) and before 丙 (ヘイ). The adoption of this graph to mean ‘second’ 148
may be due to the fact that unfolded energy can be understood as the second step of creation after the energy revolving on itself (厶).
孔
孔
307
コウ
Child 子 unfolding energy 乚 Confucius 308
乱
ラン
Tongue 舌 unfolding energy 乚
乱
みだ.す
to throw out of order Hand grabbing a child 孚 in order to
乳
乳
ニュウ ちち ち
309
unfold energy 乚 to him milk
breast
也
也
Mouth unfolding energy
他
タ ほか
㊔
Spread energy
チ
to be
Originally 𠃟, a mouth (廿 ← 口) → through the breath, spreading it out.
他
310
) unfolding energy (乚)
Another person's 亻 spread and チ
reachable energy 也 other(s) 149
311
⼋
八 ハ丷
312
ハチ
Distributed energy
や.つ よう
Ⓡ
eight
Two streams of energy spreading into diverging paths (㇒, ㇏), therefore being distributed into different parts. When this character acts as a component, it is usually simplified in ハ or 丷, which is just a reduction in length of the strokes of the original graph. This sinogram, when used as standalone, takes on the meaning of ‘eight’, probably due to a phonetic loan, however the number eight can be easily associated with the notion of distribution thanks to its high divisibility.
亦
亦
Person distributing energy
313
㊔
Shared energy
エキ
also
Originally 𡗕, a person seen from the front (大 ➝ ) distributing energy into diverging paths (八 ➝ ハ), alluding to the idea of deliberate sharing through distribution.
恋
恋
314
レン こい
Shared 亦 feelings 心 endearment
150
跡
跡
ソク
セキ あと
エキ
315
Foot and leg 足 distributing energy 亦 tracks 316
変
ヘン
Shared energy 亦 becoming still 夂
変
か.える
to change
兑
兑
エツ
Energy distributed through words pronounced by a person
317
Exposure
Energy distributed (八 ➝ 丷) through the words pronounced by a person (兄), a person who exposes his thoughts through words. エツ
脱
脱 悦
悦
➁ ダツ ➀ ぬ.ぐ
Body parts 月 being exposed 兑
318
➀ to undress
➁ to get rid of エツ
エツ
Feelings 忄 prone to be exposed 兑 joy
151
319
320
説
説
セツ ゼイ
Speech 言 being exposed 兑
と.く
to explain
エツ
321
夋
Energy distributed on the feet
夋
Flowing energy (厶) that is distributed (八 ➝ ⼉) into still feet (夂) in order to make them move.
俊
俊
322
Person’s 亻 feet filled with energy 夋
シュン
swift 323
唆
Words 口 that make feet move 夋
サ
唆 そそのか.す
to instigate 324
公
公
コウ
Portion of distributed energy
おおやけ
public
Distributed energy (八 ➝ ハ) that becomes a new portion of flowing energy (厶). This character suggests the notion of a part extracted from the 152
whole, which translates to the meaning of ‘public’, since something public can be understood as something that belongs to all—the whole—but at the same time can be enjoyed by the parts.
訟
訟
コウ
ショウ
忩
忩
325
Speech 言 made in public 公 litigation 326
Public feelings
ソウ コウ
Portion of distributed energy (公) that is transformed into feelings (心), so to say, public feelings or common awareness.
⽓
气
327
Floating energy
キ
Several streams of energy moving upward, evoking the image of a kind of ether floating in the air. Over time, what used to be three representative lines of unfolded energy currents (乚×3) slightly inclined upward, became stylized into three distinct graphical parts ( , 一, ㇈).
乞
乞
328
こ.う
Unfolded floating energy to beg
153
A part of floating energy (⽓ ➝
) that is meant to be unfolded
(乙) again, something obtained from the air, something that has to be begged or asked for.
⼰
己
329
コ キ おのれ
Circulating energy self
A stream of unfolded energy that turns back and revolves around itself to later unfold again, thus creating a continuous cycle of energetic movement. This circular conception of energy expressed by this glyph lets it, when acting as a standalone, take on the meaning of ‘self ’, referring to the fact that energy, even after being unfolded, ultimately returns to its original state, to itself as it is.
妃
妃 忌
Woman 女 making a royal family ヒ
記
キ
circulate 己 princess 331
キ
キ
忌 い.まわしい 記
330
Circulating 己 feelings 心 sorrowful キ
キ
Sayings 言 that circulate 己
しる.す
to write down
154
332
改
333
キ
カイ
Circulating energy 己 blown away 攵
改 あらた.める
to reform キ
起
キ
Energy that runs 走 into circulation 己
起
お.きる
to get up
包
ホウ
包
つつ.む
Person leaning 勹 over
334
335
something and encircling 己 it
to wrap
A person or some other entity that leans (勹) over some object and encircles it, like circulating energy (己), in order to wrap it.
胞
胞
ホウ
ホウ
Body part 月 wrapping 包 another body
placenta ホウ
抱
抱
336
➀ ホウ ➀ いだ.く ➀ だ.く ➁
Hand 扌 wrapping 包 something or
かか.える
➁ to hold in the arms
someone ➀ to embrace
155
337
回
回
カイ エ
Rotating energy
まわ.る
times
338
to revolve
Originally , a stream of flowing energy that makes a further revolution around itself, forming a sort of spiral of moving energy, graphically emphasizing the notion of rotation or revolution. This character that was originally represented with a continuous line, over time began to be depicted with a square inside another square in order to make its writing faster and easier. The meaning of ‘revolving’ also derives into the notion of ‘times’, as the number of times an action is repeated, as an analogy to the repetitive nature of rotations.
申
电申
339
シン
Expanded energy
もう.す
to expound
A stream of circulating energy that starts revolving at its ends in order to expand itself as it moves into new directions. The current graphical depiction of the character is the result of a convergence between the connotatively similar components of “unfolded energy” (乚) and “rotating energy” ( ➝ 回 ➝ 曰). In some compounds and as a standalone character this component gets simplified to the form 申. As a standalone character the meaning of ‘expounding’ is expressed as a more concretized semantic derivation of the concept of ‘expansion’.
156
伸
伸 俺
俺
シン
Person 亻 expanding energy 申
の.ばす
to expand Person 亻 expanded 电 into a bigger me 342
Intertwined energies
キュウ
Two streams of unfolded energy ((乚 ➝ 𠄌) + ( intertwining with each other.
叫 収
341
person 大
おれ
丩
叫
340
シン
キョウ さけ.ぶ
シュウ
収 おさ.める
➝ 丨))
Mouth 口 exhaling intertwined
343
キュウ
energies to shout Intertwined energies
キュウ
held by an
outstretched hand 又 to yield
157
344
345
句
Intertwined words
ク
句
sentence キュウ
A series of words (口) being intertwined (
➝ 勹), referring to
constructed sentences. ク
局
局 拘
拘
Sitting person 尸 making sentences 句 キャク
346
➝ bureau ク
コウ
Hand 扌 used to extract sentences 句 arrest
158
347
2 | STARS After the invisible and untouchable energies, the natural elements following the rank of metaphysical importance under the world view of the ancients were those things that cannot be touched, but yet can be seen, that is, the elements of the sky. The elements of the sky govern the passing of time, the days and the nights, the hours and the months. The most important star in the sky is undoubtedly the luminous ‘sun’ 日, ruler of the day. At night is the moon who governs, and it can appear the dim light of the ‘crescent moon’ 夕 or with a bright ‘moonlight’ brightens the night sky.
月 that
348
日
日
➀ ➁ ニチ ➁ ジツ ➀➁ひ ➁ -か
Sunlight ➀ sun ➁ day
Ⓡ
SPECIAL READINGS ❶ 今日 [きょう]: today / ❷ 八日 [よう か]: eighth day of the month A solar halo with a spot in its center depicting the sunlight. This character was originally written with circular strokes, but later, as in many other characters, the strokes became straightened, converting the solar circle into a square (⼞) and the central luminous spot into a horizontal line (一). The meanings of this character are ‘sun’, ‘sunlight’ and, ultimately, ‘day’.
159
晩
晩
バン
唱
ショウ
唱
とな.える
暗
暗 暖
暖 時
時
349
メン
アン くら.い
Sunlight 日 being avoided 免 dusk Mouth 口 beaming sunlight 日 while
350
speaking 曰 to chant Sunlight 日 indistinguishable as a loud
351
オン
sound 音 dark
ダン あたた. かい
ジ とき
352 エン
Sunlight 日 as warm as a caress 爰 warm Sun 日 moving forward and making
353
ジ
things work 寺 time
昆
昆
354
コン
Several people under the sun
swarm
Sunlight (日) shining over several people (比), referring to a large group of people being out in the open. 160
Over time, by analogy, this character went on to designate a large number not only of people in the open, but also a large number of animals and, ultimately, a large number of insects or a swarm, which is the current main meaning of the character when it appears as a standalone.
普
普
355
Lined up days
フ
ordinary
A string of days (日), lined up (並) one after the other, alluding to the daily life routine of what normally happens as the days go by: the common or the ordinary.
フ
譜
フ
譜 旧
旧
356
Sayings 言 that are ordinary 普 notation 357
The span of the sun
キュウ
old times
An abstract mark (丨) that encompasses the whole span of the sun (日), understood here as an entity that conditions time since very long ago.
旦
旦
358
タン ダン
Sun rising over the ground daybreak
161
The sun (日) rising above the horizon (一) at dawn or daybreak.
但
但 昼
昼
359
ただ.し
チュウ ひる
Person 亻 caught outside at daybreak 旦
but Span 尺 of time that the sun is over the ground 旦 daytime Body part 月 making people rise over
胆
胆
360
361
タン
タン
the ground 旦 gallbladder courage
NOTE In countries within the Chinese sphere of cultural influence the gallbladder is associated with courage, as guts are in English speaking countries.
担
担
タン かつ.ぐ にな.う
Hand 扌 making something rise over タン
the ground 旦 to carry on one’s shoulder
162
362
昜
昜
ヨウ
Rising sun emitting rays of light
363
Sun rays
The sun rising above the ground (旦) and emitting its rays of light (勿) over it.
腸
腸
Body part 月 spreading like rays of
364
ヨウ
light 昜
チョウ
intestines
揚
ヨウ
揚
あ.げる
旬
旬
Hand 扌 lifting something as high as
365
ヨウ
the rays emitted by a rising sun 昜 to lift 366
Encircled days
シュン ジュン
ten-day period
Days (日) surrounded by an encircling arm (勹), ideographically evoking the idea of a cycle of days that is concretized in ten. The component representing the surrounding arm (勹) is a derivation of the primitive component 力 (arm), in which the size of the hand has been reduced. It is unrelated to the graphically identical component 勹 with the meaning of “leaning person”.
163
殉
殉
ジュン
ジュン
晶
晶
367
Bone remains ⽍ left in a cyclic 旬 fashion
martyrdom 368
Several stars
ショウ
crystal
Several luminous suns or stars radiating light (日×3), allegorically suggesting great brightness and, consequently, clarity. Over time, the meaning of ‘clarity’ went on to refer more specifically to ‘crystal’, by means of association between clarity and the translucency provided by a crystal, as exemplified by the English expression “crystal clear”.
参
参
➀ サン ➀➁ まい.る
Aged person looking at the stars
369
➀ to participate ➁ to be nonplussed チン
Originally 曑 [晶㐱], an aged person (㐱)—suggesting a person of great knowledge—looking, astonished, at a constellation of several luminous stars (晶 ➝ ). Two meanings derive from this ideogram: The first is ‘to participate’, drawn from the idea of a man explaining the constellations to a group of pupils participating in a lesson. The second meaning is that of ‘being nonplussed’, which is derived from the idea of astonishment produced by the sight of luminous stars in the sky.
164
370
惨
惨
サン ザン
Feelings 忄 that are nonplussing 参
まじ.め
wretched
⼣
夕
サン
371
Crescent moon
セキ ゆう
Ⓡ
evening
A crescent moon that also represents the moment of the day in which it appears: the evening.
多
多
372
Several evenings
タ おお.い
many
Several consecutive evenings (夕×2), ideogram chosen to represent the idea of ‘(too) much’ or ‘many’, probably due to the implication of weariness that is suggested by the idea of spending several evenings in a row without sleep.
夗
夗
373
エン
Person huddling alongside the moon
ハン
A person huddling (⺋) under the moon in the evening (夕).
165
怨
怨
オン エン
Feelings 心 of a person huddling
374
エン
alongside the moon 夗 grudge
名
名
ミョウ メイ な
Words pronounced in the evening
375
name
Words (口) pronounced to catch the attention of someone who is called out because he cannot be seen in the darkness of the evening (夕). 376
夜
夜
ヤ よ よる
Person alongside the moon night
Originally 𡖍 (亦 + 夕), a person distributing energy (亦) in the evening (夕), an allegorical image alluding to an anthropomorphised divinity that makes the night fall. This glyph has undergone a great graphical transformation over time. The strokes of the components 亦 and 夕 have been intermingled to form a new composition that blurs the original elements.
166
377
月
月
Moonlight ➀ moon ➁ month
➀ ➁ ゲツ ➁ ガツ ➀ ➁ つき
Ⓡ
A crescent moon (夕) with a spot inside (一) indicating light— moonlight—in a similar way to the character for “sunlight” (日). This character means both ‘moon’ and ‘month’, in reference to the lunar cycles on which the months are based.
朔
朔
Moon turned upside down
378
㊔
New moon
ソ
first day of the month
Ideogram representing a moon (月) that is turned upside down (屰), a metaphorical representation of the start of a new lunar cycle, a new moon. 379
➀➁➂ ミョウ
明
明
➀➁➂
Sun and moon
メイ ➀
➀ bright
あか.るい
➁ clear
➁
➂ illumination
あき.らか
➂ あ.かり
167
SPECIAL READING 明日 [あした]: tomorrow Sunlight (日) and moonlight (月), indicating a great brightness, clarity and illumination.
168
3 | WATER The first of the visible and touchable natural elements to be addressed is water, an element without which human life would not be possible. The main way of representing ‘water’ within the kanji corpus is by means of its movement or flow through the bed of a river:
水. If the water of the river freezes it could break
away in fragments of ‘ice’:
氷. If the flow of that ‘river’ speeds
up it will turn out to be a fast moving stream of water: 川. Rivers are very important to obtain potable water, but so is the water of the ‘rain’ that falls from clouds: 雨; which will also be useful for designating and understanding various types of atmospheric phenomena.
380
⽔
水
Flowing water
スイ みず
Ⓡ
Fluid water
氵
A stream of water flowing through what appears to be the bed of a river. The central stroke 亅 represents the riverbed, while フ and ㇛ depict the running water. The meaning of ‘water’ can be expanded to that of any kind of ‘fluid’ in some compounds. As a component it mostly appears in the simplified form 氵 and occasionally as 氺. 169
381
尿
尿 泥
泥 氾
氾
ニョウ
デイ どる
Sitting person 尸 excreting fluids 水 urine Water 氵 that can be carried on one’s ニ
back 尼 mud ハン
ハン
海 泣
泣 汰
汰
カイ うみ
383
Water 氵 making people huddle ⺋ overflowing マイ
海
382
Water 氵 reaching every 毎 coast and
384
river sea
キュウ
Water 氵 “standing” 立 vertically on the face
な.く
to cry タ
タ
385
Water 氵 used in great 太 amounts cleansing
170
386
沢
沢
シャク
タク さわ
387
Water 氵 covering up to the calves 尺 marsh 388
滑
滑
➀ ➁ カツ ➀ コツ ➀ すべ.る ➁ なめ.らか
渦
渦
カ うず
コツ
Water 氵 sliding down on a bone 骨 ➀ to slide ➁ smooth
Water 氵 turning someone into piles of カ
bones and vertebrae 咼 whirlpool キョウ
況
況
389
Person pronouncing some words 兄 キョウ
390
about matters related to water 氵 situation
NOTE This character is probably referring to some situation of agricultural dispute regarding irrigation or distribution of waters (水 ➝ 氵), where a person with power of speech (兄) has to intermediate.
活
活
ゼツ
カツ
Water 氵 tasted by the tongue 舌 living 171
391
渇
渇 潜
カツ かわ.く
Lacking water 氵 that can threaten カツ
death
to be thirsty
➀ セン Water 氵 covering exchanged words 替 ➀ to be submerged ➀ ひそ.む
潜 ➁ もぐ.る
392
393
➁ to get under 394
混
混 油
油 津
津
コン こ.む ま.ざる
ユ あぶら
コン
Water 氵 full of insect swarms 昆 to be mixed
Fluid 氵 that can enter into the mouth
395
ユ
as a piece of food 由 oil
シン つ
Water 氵 crossed over like a paper crossed by a brush 聿 to cross the water
172
396
浸
浸 没
没 洪
洪 港
港
397
Water 氵 being spread by the
シン
シン
movement of a wet club 𠬶
ひた.す
to soak Abundant water 氵 coming out of a rock
ボツ
398
that has been hit with a sledgehammer ⽎
to sink キョウ
コウ
Lots of water 氵 coming together 共 flood
Water 氵 where people meet together コウ みなと
SPECIAL READING
浮
フ
浮
う.く
399
400
コ
キョウ
and energy circulates 己 harbor
香港 [ホンコン]: Hong Kong Water 氵 from which a child can be drawn out by a hand 孚 to float
173
401
渓
渓 浄
浄
Water 氵 from which an adult man can ケイ
be drawn out by a hand
402
ケイ
mountain stream ソウ
ジョウ
403
Water 氵 thrown by fighting hands 争 to purify
NOTE The original meaning of this character was ‘to purge’ or ‘to exorcise’, an act in which a shaman has to fight with purifying water against the possessed person. ‘To exorcise’ in turn means ‘to purify the soul’, sense whereupon the current meaning is taken. セン
洗
洗
セン あら.う
トウ
踏
ふ.む
治
404
some action or ceremony to wash
踏
治
Water 氵 poured previously 先 to doing
➀➁ジ ➀➁チ ➀ なお.す ➁ おさ.める
Spoken words 曰 talking about a tale
405
of feet 足 treading the water 水 to step on 406 タイ
Water 氵 with contained energy 台 ➀ to heal ➁ to govern
174
NOTE This character alludes, once again, to a religious act of purification with sacred water. On this occasion the sacred water (水 ➝ 氵) that has been stored or contained (台) for some time can be used to heal others. From this sense of healing the second meaning of the character derives, that of ‘governing’, for in the time of ancient China, those who enjoyed a healing religious power also enjoyed a political power, since the priests or shamans were the elite of that society. The sense of ‘governing’ can also be understood in a more pragmatic way by making a semantic association between the idea of governing and that of healing people by solving their problems.
池
池 汽
汽
チ
チ いけ
Water drops 氵 that have been spread 也
pond キ
キ
泡 湯
湯
408
Water 氵 floating in the air 气 steam ホウ
泡
407
ホウ あわ
Water 氵 wrapped 包 by a foaming
409
substance froth
トウ ゆ
Water 氵 warmed up by the rays of the ヨウ
rising sun 昜 hot water
175
410
液
液
411
エキ
Fluid 氵 seen at night 夜 liquid
NOTE This composition most probably referred originally to alcohol, because it is a liquid that looks similar to water and is usually drunk at night. 412
㳄
Spitting person
㳄
A person with an open mouth (欠) spitting out a watery fluid (水 ➝ 氵).
沃
沃
413
ヨク
Water flowing wiggly fertile
Abundant water (水 ➝ 氵) that flows rapidly and wiggly (夭) making the land fertile.
添
添
414
テン
Feelings 㣺 flowing wiggly 沃
そ.える
to accompany
渋
渋
415
ジュウ
Water stopping its flow
しぶ.い
astringent 176
Water (水 ➝ 氵) that stops (止) flowing, making the moisture of its surrounding disappear. The original glyph of this character was 澁, with three “standing feet” (止×3 ➝ 歮) enhancing the idea of “stopping”. Later on the lower part of the component (歮) was simplified into the graph , that can be thought as a mark alluding to the disappearance of the water.
永
永
エイ なが.い
Person going along the flowing water
416
perpetual
A person going along the flow of water, being carried away by the current, figuratively following the course of perpetuity. The modern graphic composition of this character has been made by associating the component of “water” (水) with that of “person” (人 ➝ 亻), which flows within the former. The center stroke of “water” (亅) has merged with the vertical stroke of “person” (丨), while the upper stroke of the latter component appears as a dot (丶) at the top of the compound.
詠
詠
エイ
エイ
Speech 言 made along the flow 永
よ.む
to recite
177
417
泳
泳
エイ およ.ぐ
Person splashing water 氵 while going
418
エイ
along its flow 永 to swim
419
Person going against the flow This is the reverse version of the character 永 (person going along the flowing water), evoking the idea of a person going against the current, in the opposite direction of the flow of water. The modern version of this character has undergone a great evolution, but it is still possible to point out the reversed “water” component at the bottom (水 ➝ ➝ ) and the reversed and simplified form of the “person” component at the top (丶 ➝ ㇀).
脈
脈
Body part 月 transporting fluids up ミャク
and down without a fixed current vein Person breaking off a current of water
派
派
420
ハ
氵 in order to go against it dispatch faction
178
421
攸
攸
422
Person being purged with water
ユウ
Person (人 ➝ 亻) who is being metaphorically hit (攵) with water (氵 ➝ 丨) in order to be purified from evil.
悠
悠
423
ユウ
ユウ
Purged 攸 feelings 心 composure ユウ
修
シュウ シュ
修 おさ.める
Person being purged with water 攸 by
424
an aged person 㐱 ➝ 彡 to master 425
氷
氷冫
ヒョウ こおり ひ
Solidified water
Ⓡ
ice
Originally 冰, water (水) from which fragments of solid matter (冫 ➝ 丶) are breaking away. As a component this character most usually appears in the original incomplete form 冫.
179
尽
尽
426
ジン
Calves 尺 hardened like ice 冫
つ.くす
to exhaust 427
冷
➀ レイ ➀ つめ.たい
Pieces of ice 冫 falling over a kneeling person like a command from Heaven
冷 ➀ ひ.える
➀ cool ➁ to cool down
➁ さ.める
凄
凄 冶
冶
サイ
Ice cold 冫 wife 妻
セイ
uncanny Fluid 冫 coming from an object that
ヤ
428
429
had contained thermal energy 台 melting
冬
冬
430
トウ
Foot standing on the ice
ふゆ
winter
Still foot (夂) on top of ice (氷 ➝ 冫), an image characteristic of winter time.
180
川
川 巛
431
Stream of water
セン かわ
river
This glyph has a composition similar to that of the character 水 (water), but unlike it, this one shows its continuous lines of water following the same direction, suggesting an uninterrupted and fast movement like that of a river flowing down a mountain. As a component it sometimes appears in the variant 巛. When the component is placed at the bottom, it takes the form .
順
順 訓
訓
Stream 川 of ordered ideas inside the head 頁
ジュン
sequential order Speech 言 flowing as a stream 川 クン
拶
433
instruction semantic reading Hand 扌 approaching a stream of
拶
432
サツ
water 巛 that gets closer thanks to the tidal power of the crescent moon 夕 to draw close
181
434
㐬
435
リュウ
Newborn baby pushed out by a stream of amniotic fluid
Originally 𡿮, a newborn baby ( ) expelled by a current (川 ➝ 巛 ➝
流
) of the amniotic fluid of a mother giving birth.
リュウ
Water 氵 that pushes a newborn baby out
ル
流 なが.れる 州
州
リュウ
436
in its birth
to flow
シュウ す
Pieces of land surrounded by rivers
437
province
Pieces of land (丶×3) surrounded by rivers (川), a suitable territory for establishing a governmental province.
昔
昔
シャク セキ むかし
The days of the flooding streams of water
438
older times
Originally 㫺 [𠈌⽇], an allegorical allusion to the ancient days (日) in which great streams of water (川 ➝ 巛 ➝ 𠈌 ➝ ) flooded the earth, in reference to a legendary deluge that supposedly took place in time immemorial.
182
The myth of a flood occurring in a very ancient time, which is well known within Christianity, is interestingly shared by many other cultures, including the Chinese, where the legend is known as the flood of Gun-Yu (鯀禹治⽔).
借
借
シャク
シャク
Person 亻 from older times 昔
か.りる
to borrow
439
NOTE This character refers to the scholarly practice of borrowing knowledge from people of older times to apply it to their studies and dissertations.
惜
惜 措
措
セキ
セキ
Feelings 忄 about older times 昔
お.しい
pitiful シャク
ソ
雨
雨⻗
440
441
Hand 扌 acting like in older times 昔 demeanor ウ あめ
Water drops falling from clouds
あま-
rain
442
Ⓡ
Raindrops (丶×4) falling from clouds in the sky ( ). As component this sinogram is placed in the upper part of the compounds compressed in the following graph: ⻗.
183
震
震 霊
霊
シン ふる.える
Rain ⻗ falling over a person holding
443
シン
an agrarian tool 辰 to shake
レイ リョウ たま
Rain ⻗ invoked by several people
444
ヘイ
standing side by side 並 ➝ soul
NOTE The meaning of ‘soul’ is derived from the spirits that shamans invoked through collective rituals to ask for rain.
零
零
Rain ⻗ falling like a command from
445
レイ
レイ
Heaven 令 zero
NOTE The original meaning of this character alluded to the act of falling down, but, over time, such a concept of physical falling derived into that of a fall or drop in quantity, and finally it started denoting the concept of ‘nothing’ or ‘zero’.
雪
雪
セツ ゆき
SPECIAL READING
Rain ⻗ that can be held by an outstretched hand ⺕ snow 吹雪 [ふぶき]: blizzard
184
446
電
電 漏
漏
Expanded energy 电 that can be seen
447
under the rain ⻗
デン
electricity
ロウ も.れる
需
需
Fluid 氵 leaking out of the buttocks of
448
a sitting person 尸 like rain 雨 to leak out
ジュ
Person wearing a coat under the rain
449
demand
Person wearing a raincoat (而) when it rains (雨 ➝ ⻗), being the raincoat something that is prone to be in demanded on rainy days.
儒
儒
ジュ
ジュ
Person 亻 in demand 需 Confucian
185
450
4 | FIRE
In contrast to water there is ‘fire’, with its flaring flames 火, an essential natural element for humans, because it can be used for lighting, heating and cooking and therefore becomes a representative element of the home and families.
451
⽕
火灬
カ ひ
Fire flames
Ⓡ
fire
ほ-
A flame of fire (人) and its surrounding sparks (㇀×2). When this glyph acts as a component and it is located at the bottom usually adopts a simplified version: 灬.
炊
炊
スイ た.く
Fire 火 making people open their
452
mouths 欠 to cook 453
煩
ハン ボン
煩 わずら.う
Fire 火 in the head 頁 to worry (about)
186
災
454
サイ
Flood of water streams 巛 and fire 火
災 わざわ.い 炎
炎
disaster 455
Several fire flames
エン ほのお
flames
Several fire flames and their surrounding sparks (火×2).
談
談 淡
淡
エン
ダン
Sayings 言 spreading like flames 炎 discussion エン
タン
Water 氵 extinguishing flames 炎
あわ.い
faint
灰
灰
456
457
458
カイ はい
Fire grasped by a hand ash
Originally 𤆆, and later 灰, fire (火) that can be touched by an outstretched hand (又 ➝ 𠂇 ➝ ⼚), something that comes from fire but does not burn like it: ash.
187
黒
黒
コク くろ.い
Person with a mask painted in black with the ashes of a fire
459
black
A person seen from the front (大 ➝ 土) wearing a skull mask (囟 ➝ 田) that has been painted black with ashes coming from a fire (火 ➝ 灬).
光
光
460
Person lit with fire
コウ ひかり
Ⓡ
light
Originally 灮, a person (人 ➝ ⼉) with a flame of fire (火 ➝ with which he lights things up.
)
461
赤
赤
セキ シャク あか.い
Person burnt in a fire red
Originally 𤆍, and later 灻, a man seen from the front (大 → 土) on top of the flames (火 ➝ ), evoking the red color of burns on the skin.
嚇
嚇
Words 口 made by several people on fire 赤×2
カク
menacing
188
462
赦
赦
Person burning on fire 赤 being blown
463
away 攵
シャ
pardon
叟
464
ソウ
Outstretched hand grabbing a torch
Originally 叟 [𦥔又], an outstretched hand (又) carrying a torch (𦥔 ➝ 申), in which the stroke 丨 represents the torch handle and the element 𦥑 depicts the flames of a flaring fire. The current element 申 might have been developed as an analogy to the character 申 (expanded energy), since fire can be understood as a visibly expanding energy.
捜
捜
ソウ Hand 扌 holding a torch さが.す to search
189
465 ソウ
in the dark
5 | EARTH Once we have dealt with water and fire, we have to analyze the most representative element of the material and tangible natural world: ‘earth’; represented within the Chinese characters by the depiction of clay being molded on top of a potter's wheel 土, since clay is a material taken directly from the ground. But earth should not be understood just as a means of obtaining construction material, but also as the soil and ground on top of which people live. The ground may be flat, or elevated in the form of small ‘hills’ 丘. If the hills are taller and bigger they may form ‘mountain’ ranges
山. Mountains can also appear in the shape of a ‘cliff ’
⼚, from where pieces of ‘stone’ 石 can break off. Stone, closing the cycle, becomes a construction material harder as it is clay.
⼟
土
Potter's wheel
ト ド つち
466
Ⓡ
earth soil
A potter's wheel (一) with a piece of clay (▲ ➝ 十) being molded on top. This character, which originally meant what it represents, a potter's wheel, soon came to denote, instead, the element which clay comes from: ‘earth’, and derived from the concept of ‘earth’ there is also the meaning of ‘soil’.
190
Two hands working on a potter's wheel
塀
塀 坑
坑 塑
塑 堅
堅 吐
吐
Earth 土 on which there is sitting 尸 a ヘイ
467
ヘイ
line of several people 并 fence
Earth 土 that has been pushed down
468
コウ
コウ
below the ground 亢 pit 469
ソ
ソ
New 朔 chunk of earth 土 molding 470
ケン
ケン
Eye touched
かた.い
with earth 土
tough ト
ト
Mouth 口 with earth 土 inside
は.く
to vomit
191
471
塊
カイ
Earth 土 filling the ghosts 鬼
塊 かたまり 地
地 場
場 均
均 墨
墨
472
キ
mass 473
チ
ジ チ
Soil 土 that is extended 也 ground ヨウ
ジョウ ば
474
Soil 土 that can be lit by sun rays 昜 place Earth 土 being leveled (二) by a
475
leaning person 勹
キン
leveling 476
コク
Black 黒 earth 土
ボク すみ
圭
圭
black ink 477
Earth over earth
ケイ
Mound
Several mounds of earth (土×2).
192
㊔
佳
佳 封
封
Person 亻 owing several mounds of
478
earth 圭
カ
excellent
フウ ホウ
Several mounds of earth 圭
479
manipulated by working hands 寸 enclosure 480
坐
坐
Several people working on ㊔ a potter's wheel
ザ
to sit
Several people (人×2) working on a piece of clay that is spinning on a potter's wheel.
A hand 扌 twisted like a piece of clay
挫
挫
ザ
481
on a potter's wheel on which several ザ
people are working 坐 sprain
尭
尭
482
ギョウ
Person carrying several pieces of clay on his head
㊔
A person (人 ➝ ⼉) carrying several pieces of clay (土×3 ➝ 垚 ➝ ) over his head. 193
暁
暁 焼
焼
ギョウ あかつき
Sun 日 rising as pieces of clay carried
483
ギョウ
over someone’s head 尭 (at) dawn
ショウ や.く
圣
圣
Fire 火 heating several pieces of clay
484
ギョウ
尭 used to make pottery to heat 485
ケイ
Outstretched hand working on a potter's wheel
An outstretched hand (又) working on a piece of clay on top of a potter's wheel (土).
Feelings 忄 produced by an unfinished
怪
カイ
object that is being made on a potter's
怪
あや.しい
wheel 圣
486
ケイ
weird
丘
丘业
487
Two hillocks
キュウ おか
hill
Originally 𠀌, two adjacent hillocks ( ground (一), forming a group of hills. 194
➝
) rising above the
As a component, this glyph can take the form 业, which is a simplification of the already original glyph 𠀌.
⼭
山
488
Three hillocks
サン やま
Ⓡ
mountain
Several hillocks (丨×3) rising above the ground (一), forming a mountain range.
仙
仙 峡
峡 炭
炭 岳
岳
サン
セン
Person 亻 in a mountain 山 hermit キョウ
キョウ
490
A mountain's 山 middle space 夹
gorge サン
タン すみ
489
491
Mountain 山 ash 灰 coal 492
ガク たけ
Hill 丘 on top of a mountain 山 peak
195
493
⾩
mountain range
フ
阜阝 PLACE NAME USAGE
Originally 𨸏, and later
Ⓡ
Mountains
岐阜 [ぎふ]: Gifu , a mountain range turned vertically to
highlight the verticality of the mountain walls. The contemporary form of the character (阜) is an evolution of the variant 峊 ( + 山), in which the component 山 (mountain) was added to the original primitive component
to differentiate it
from the primitive glyph with the meaning of “footprint”, that has exactly the same graphical appearance ( ). When this character acts as a component it always does it with the simplified version 阝 that is placed, without exception, on the left side of the compounds.
Mountains阝 providing a seclusion place
隅
隅
494
グ
グウ すみ
for a person dancing with a mask on 禺
nook corner
限
ゲン
限
かぎ.る
Mountains阝 making a person stay コン
still 艮 to limit
196
495
険
ケン
険 けわ.しい 附
附 隠
隠
Mountains 阝 that make someone with ケン
authority 㑒 give a warning precipitous フ
フ
降
affixed
イン かく.す
Mountains 阝 hiding a heart that is
陽
498
オン
held by two hands 𢚩 to hide
➀ ➁ コウ ➀ お.りる ➁ ふ.る
➀ to descend ➁ to precipitate
ヨウ
ヨウ
499
feet descend 夅
Mountains 阝 on which the rays of the
陽
497
Mountains阝 that are attached 付
Mountain range 阝 through which two
降
496
sun 昜 are reflected sunshine yang (positive principle)
197
500
Mountains 阝 that figuratively serve
501
ヒ
陛
陛
as the stairs upon which people 比 on ヘイ
top of the earth 土 climb steps of a throne majesty 502
厂
Cliff
厂
Ⓡ
A steep cliff, with its wall (丿) and its top (一).
圧
圧
503
Cliff ⼚ over the soil 土
アツ
丸
丸
pressure 504
ガン まる
Originally 𠁽, a person (人 ➝
Person rolling down a cliff round ➝
) rolling down a cliff (⼚ ➝ 乁
➝ ㇈). Over time the notion of ‘rolling’ derived into the sense of ‘round’ in general. This character should not be confused with the simplified version of the component 丮 (丮 ➝ 丸) (person working with hands), since 198
they have a totally different etymology.
厄
厄
505
ヤク
Person huddling under a cliff
misfortune
A person huddling (㔾) under a cliff (⼚), either because he has fallen from the top or because he has come across it with the inability to continue his way. In either case the scene undoubtedly represents a sign of misfortune.
危
Person leaning 勹 ➝ ⺈ over the edge キ of a cliff ⼚ while he looks at a person あぶ.ない who is huddling 㔾 below
危 あや.うい 产
产
506
dangerous 507
Writings on a cliff Visible
Originally , a writing (文 ➝ 立) engraved on the wall of a cliff (⼚), indicating high visibility.
顔
顔
ガン
かお
Visible 产 part of the head 頁 surrounded by hair 彡 face
199
508
反
反
➁ ハン ➁ タン ➁ ホン ➀ そ.る
Outstretched hand against the wall of a cliff
509
➀ to arch ➁ opposition
An outstretched hand (又) arching to grab the ledges of a cliff, a scene representing both the bending movement of the fingers of the hand and the position of the hand against the cliff wall, in ‘opposition’ to it.
仮
仮 坂
坂
カ ケ かり
Person 亻 against the wall of a cliff 反
510
temporary sham 511
ハン
Soil 土 that is arched 反
ハン さか
slope 512
阪
阪
ハン
ハン
Mountain range's 阝 arched parts 反
PLACE NAME USAGE
heights 大阪 [おおさか]: Osaka
200
厓
厓
Cliff formed by mounds of earth
ガイ
513
Crag
A cliff (⼚) formed by mounds of earth (圭), a crag. ガイ
涯
涯
Water 氵 reaching mountain crags 厓 ガイ
514
shore horizon [fig.]
NOTE A shore refers to the limits of water, and hence comes the figurative meaning of ‘horizon’ that this character conveys, since the limit marked by the line of the water is one of the most common representations of the horizon.
崖
崖
515
ガイ
ガイ がけ
段
叚段
Crag 厓 formed by a mountain 山 cliff
ダン
Hand breaking the rocks of a cliff with a sledgehammer
516
steps [fig.]
Originally 𠪅 [⼚叚], a hand hitting with a sledgehammer (
≈ ⽎),
step by step, the wall of a cliff (⼚) until several rocks break off from it ( ). The notion conveyed by this character is always that of gradual steps done in a given action and never that of literal steps done with the feet. 201
The current form of the character gets rid of the “cliff ” component (⼚) and stylizes the strokes of the rest of the compound ( ➝ ). As a component this character sometimes preserves the primitive variant 叚.
暇
暇
Part of the day 日 in which action steps カ ひま 叚 can be taken いとま spare time
517
518
⽯
石
シャク セキ コク いし
Ⓡ
Rock detached from a cliff stone
A piece of rock (口) detached from a cliff (⼚ ➝ 丆).
妬
妬 硫
硫
519
ト Woman's 女 seeing a precious stone 石 ねた.む jealous Stone 石 coming out from the soil
リュウ
リュウ
abruptly like a baby being born sulphur
202
520
拓
拓
521
タク
Hand 扌 clearing out stones 石 cleared land ホウ
砲
砲 岩
岩
A tube wrapping 包 a stone 石 that is ホウ
522
about to be fired cannon 523
Mountain 山 stone 石
ガン いわ
rock 524
声
声
セイ ショウ こえ
Hand hitting a stone musical instrument voice
こわ-
Originally 殸 [声⽎], a hand hitting (⽎) a primitive percussion instrument made of stones, or lithophone—called in Chinese bianqing (編磬)—made of hanging stone chimes (𠃜), to which the シ
component for “foot coming out” (㞢 ➝ 士) has been added in order to highlight the notion of sound coming from the stone. The meaning of this character is therefore focused on the sound produced by the percussive hit rather than the instrument itself, and that connotation of sound derived later into the concept of ‘voice’. The modern version of the character is a simplification made by the
203
removal of the “hitting hand” component (⽎).
Person hitting the chimes of a ‘bianqing'
204
6 | HEAVEN After exploring the earthly elements, we are going to study that casuistry that derives from heavenly providence, something that marked the daily lives of the people of the ancient world. Heavenly Designs were communicated through omens and prophecies which, in the case of ancient China, were interpreted through of ‘providential’ cracks made on turtle shells
⼘
卜
フ
卜.
Providential crack formed in oracle bones
525
㊔
Providence divination
Two adjacent cracks on the surface of a turtle's bone appearing after having applied heat onto it. In ancient China divinatory rituals were an essential part of the spiritual and political life, and in order to perform such rituals turtle shell bones or scapulae of other animals were heated to make appear cracks that were to be interpreted so prophecies and divinations could be made upon them. Over time such divinations began to be written on the surface of the bones besides the formed cracks, leaving for posterity the first examples of writing in Chinese characters.
205
Turtle shell with cracks
訃
訃 赴
フ
フ
Speech 言 marked by providence 卜 obituary フ
フ
赴 おもむ.く
526
527
Running 走 providence 卜 to proceed toward 528
外
外
➀ ガイ Providence 卜 interpreted by the help of ➀ゲ the moon 夕 ➀ そと ➀ outside ➀ ほか ➁ to take off ➁ はず.す Hand 扌 taking a mound 圭 of bones
掛
掛
か.ける
529
with providential cracks 卜 to take (time or money) to hang
NOTE This character depicts the scene of a person who takes the reins of his destiny, an idea represented by a hand (手 ➝ 扌)taking a mound (圭) of bones with providential cracks (卜) on it. The second meaning of ‘to hang’ comes from the fact that the word denoting ‘to take’ and the word denoting ‘to hang’ are homonyms in Japanese: か け る.
206
530
占
占
Words interpreting ➀ ➁ セン providential cracks formed ➀ うらな.う in oracle bones ➁ ➀ to divine し.める ➁ to take up
Words (口) pronounced while interpreting providential cracks (卜). ‘To take up’ is an additional meaning that this character takes from the notion of accepting divine providence. セン
点
点
Divinations 占 set in a fixed point by テン
531
burning divination cracks with fire 灬 point 532
兆
兆
Several providential cracks ➀ omen ➀ きざ.し ➁ trillion ➀➁ チョウ
A large number of providential cracks ( , ⼉) appearing on the bone of a turtle shell, indicating an important omen.
眺
チョウ
チョウ
Eye 目 looking at an omen 兆
眺 なが.める
to gaze
207
533
挑
534
チョウ
チョウ
Hand 扌 grabbing an omen 兆
挑
いど.む
to challenge
跳
チョウ
535
跳
と.ぶ は.ねる
万
万
チョウ
Feet and legs 足 following an omen 兆 to jump
536
マン バン
Symbol of the cycle of life ten thousand
A late simplification of the Buddhist symbol 卍, which represents the cycle of life and expands to the notion of eternity. This symbol is used within Chinese characters to figuratively designate, at first, a large, indefinite quantity. Over time the connotation of large quantity became concretized in the number ‘ten thousand’.
A Buddha with the symbol of the cycle of life on his chest
208
厉
厉
537
Cliff rock rolling as the cycle of life
This component denotes a rotatory movement, represented figuratively by the symbol of the cycle of life (卍 ➝ 万) rolling as if it were falling down a cliff.
励
レイ
励
はげ.む
An arm 力 trying to roll a rock through a cliff 厉 to make an effort
209
538
REVIEW ON ELEMENTS
厶以⿁台⼄也⼋亦兑夋公⽓ 乞⼰包回申丩句 1
2
仏勾払弁似始胎怠孔乱乳他恋跡変 脱悦説俊唆訟忩妃忌記改起胞抱伸 俺叫収局拘
⽇昆普旧旦昜旬晶参⼣多夗 名夜⽉朔明 晩唱暗暖時譜但昼胆担腸揚殉晶惨 怨
⽔㳄沃渋永 攸氷冬川㐬州 昔⾬需 3
尿泥氾海泣汰沢滑渦況活渇潜混油 津浸没洪港浮渓浄洗踏治池汽泡湯 液添詠泳脈派悠修尽冷凄冶順訓拶 流借惜措震霊零雪電漏儒 210
4
⽕炎灰黒光⾚叟 炊煩災談淡嚇赦捜
⼟圭坐尭圣丘⼭⾩⼚丸厄产 反厓段⽯声 5
6
塀坑塑堅吐塊地場均墨佳封挫暁焼 怪仙峡炭岳隅限険附隠降陽陛圧危 顔仮坂阪涯崖暇妬硫拓砲岩
⼘占兆万厉 訃赴外掛点眺挑跳励
211
PLANTS 1 | SMALL PLANTS Within the things encompassed by the domain of nature, perhaps the most relevant to our world view is the existence of life, because it is thanks to life that the universe—nature—can be understood, for without life there is no apparent consciousness. Be it as it may, one of the most basic visible forms of life are ‘small plants’ 屮, which are an indispensable source of oxygen and food, so it is better if they appear in great numbers
艹, or with ‘lush’ leaves
丰. The germination process of the plants is also represented. In such process first a ‘sprout’
乇 appears, then a bud with leaves
屯—which represents an ‘accumulation’—and, finally, several buds with leaves 世—which represents a whole ‘generation’ of plants. The world of kanji also has in particular consideration the ‘bamboo’ plant 竹, since in ancient Chinese cultures that plant was used to make a great variety of objects.
⼬
屮十
539
Small plant
A small plant with its stem standing straight and leaves coming out of it. This graph is usually represented under simplified strokes such as 十 or other variants. 212
端
端
Plant growing while absorbing rain water
タン はし は
540
edge
Originally 耑, this glyph is an ideogram representing a plant (屮 ➝ 山) absorbing rain as a raincoat (而), probably referring to the germination of plants made possible thanks to rain water. The original meaning of the character was that of ‘germination’ or ‘start’, and eventually it became to denote the notion of an extreme or ‘edge’—in the sense that a beginning is related to an end. The component 立 (to stand) was added later to reinforce the idea of the upright position of the plant, that is, to clarify that the plant has grown and that the germination has been indeed produced.
余
余
ヨ あま.る
Sayings that are distributed and grow
541
to remain
Mouth saying to people (亼) words that grow like small plants (屮 ➝ 十 ➝ ) and are distributed (八 ➝ ハ) among the people: Words that spread among people and penetrate, words that remain.
Sayings that are distributed and
叙
叙
ヨ
ジョ
growing 余 and led by a figurative outstretched hand 又 narration 213
542
塗
塗
ト
Water 氵 remaining along 余 with ト
earth 土
ぬ.る
to smear ヨ
除
除
ジョ ジ
Mountain 阝 rocks remaining 余 on
早
544
the ground
のぞ.く
早
543
to remove ソウ サッ
Plant lit by the rising sun
はや.い
fast
545
early
The sun (日) rising above the grass (屮 ➝ 十), indicating the first light of the morning, the early hours.
カン
Person waking up along the early sun
546
Sunrise Originally 㔬, this component is a modification of the character 早 (early), to which the component for “person on his back” (匕 ➝ 十) has been added at the top to highlight the idea of human activity at the time of dawn, reinforcing the connotation of ‘sunrise’.
214
乾
乾
カン
Sunrise
カン
かわ.く
547
unfolding floating energy 乞
to get dry
NOTE In reference to the strength of the sun rays, able to dry what is wet.
朝
朝 SPECIAL READING
➀➁ チョウ ➀ あさ
Sun rising and moon hiding
548
➀ morning ➁ dynasty
今朝 [けさ]: this morning
Dawn when the sun rises above the grass ( ) and the moon (月) hides behind it, scene that indicates the beginning of a new morning.
嘲
チョウ
チョウ
549
Words 口 heard in the morning 朝
嘲 あざけ.る
to sneer
NOTE This character originally referred to the morning song of the birds. That characteristic chirping sound would later be associated with the humorous, sharp tone that is commonly used when mocking someone.
潮
潮
チョウ
チョウ しお
Water 氵 drifting in the morning 朝 tide 215
550
551
➀➁➂ ショウ
➀➁➂ セイ
⽣
生
Plant coming out of the earth
➀
➀ to be born
う.まれる
➁ to live
➁ い.きる ➂ to grow (something) ➂ は.える ➃ raw ➂ お.う ➃ なま ➃き
Originally 𤯓, a plant (屮 ➝
) born from the earth (土). This
image suggests, initially, the idea of ‘birth’—the main meaning of the character–, but it also extends to what birth entails: ‘life’. Within a broader semantic field, there is also found in this character the more literary notions of ‘growing something’—giving birth to a plant—and ‘raw’—something taken or presented as it was born.
姓
姓
ショウ
ショウ セイ
Woman 女 giving birth 生 family name ショウ
性
性
➀ ➁ セイ ➀ ショウ
552
Heart and mind 心 of a living 生 being
➀ disposition ➁ gender
216
553
隆
隆
Mountains 阝 where feet stand 夂 and
554
plants live 生
リュウ
elevation 555
産
産
サン う.まれる
Plants visibly 产 cultivated 生 to be produced
うぶ-
SPECIAL READING
告
告
土産 [みやげ]: gift
コク
Words being born
つ.げる
to announce
556
Originally 𠰛, words (口) that are born (𤯓 ➝ 生 ➝ ⺧) to communicate or announce something. 557
星
星
セイ ショウ ほし
Living sun star
ショウ
A celestial body that lives (生) in the sky as the sun (日).
217
不
不
558
フ ブ
Plant turned upside down no
A plant turned upside down (屮 ➝ 𣎴 ➝ 不), life becoming nonlife: a symbol of negation.
否
否
559
フ
ヒ いな
艹
艹
Mouth 口 saying no 不 denial 560
Several plants
Ⓡ
Plant
Several plants together (屮×2 ➝ 艸 ➝ 艹). This component symbolizes the overall concept of all types of plants rather than the notion of multiple plants.
花
花 茨
カ
カ はな
Plant 艹 that has been transformed 化
flower Part of a plant 艹 that make people
いばら
561
breath 次 faster thorn
218
562
芯
芯 葛
563
シン
シン
Heart 心 of a plant 艹 pith 564
カツ
カツ くず
Plant 艹 that threatens 曷 kudzu (Pueraria lobata)
NOTE Kudzu is a perennial plant very common in East Asia that is characterized by its invasive nature. Since it grows very fast, spreading in all directions, it can end up being threatening to the environment.
芽
芽 葬
葬 芝
芝
ガ め
ソウ ほうむ.る
Plant 艹 in the shape of a tusk
ガ
565
bud Two hands ⼶ placing a dead person 死
566
beneath some Plants 艹 to bury Plants 艹 being stepped on by moving feet 之
しば
lawn
219
567
茎
茎 草
草 荼
荼
ケイ くき
Part of a plant 艹 that is malleable like
568
ケイ
clay molded on a potter's wheel 圣 stalk
569
ソウ
ソウ くさ
Plants 艹 in an early 早 stage of growth
grass 570
Plant 艹 remains 余
チャ サ
荅
荅
tea 571
トウ
Several plants put together Provision ゴウ
Several plants (艹) assembled in one place, put together (合) in order to be used as food supply in the future.
搭
搭 塔
塔
トウ
トウ
Hand 扌 loading provisions 荅 on board
freight Earth 土 mounds and several plants
トウ
572
トウ
put together 荅 tower 220
573
若
若
ジャク ニャク
Hand feeding plants to a mouth
わか.い
young
574
An outstretched hand (又 ➝ 𠂇) taking a handful of edible plants (艹) to the mouth (口), showing an acquisition of vigor and energy through food. The notion of vigorousness later was associated with the connotation of ‘youth’ that currently this character takes. The lower part of this sinogram is graphically identical to the component for “right hand” (右).
諾
諾
575
ジャク
ダク
荒
荒
Speech 言 of a young man 若 assent
576
コウ あら.す
Plants carried by the current
to devastate
A stream of water (川 ➝ ) sweeping plants (艹) away, causing them to perish (亡) as the environment gets devastated.
慌
コウ
コウ
慌 あわ.てる
Feelings 忄 caused by devastation 荒 disconcerted
221
577
蒸
蒸
578
ジョウ
Plants being heated
む.す
to steam
A kneeling person (卩 ➝ 了) grabbed by two hands (𠬞 ← ⼶ ➝ ), put inside a pot (一) over fire (灬), representing the action of burning a person as a death penalty. Over time, this depiction of capital punishment became metaphorical and started to allude to the burning of food or cooking. From that point on the component for “plants” (艹) was added to the character in order to reinforce these latter connotations. 579
卉
Abundant plants
卉
Originally 芔, a lot of plants (屮×3 ➝ 十×3 ➝ 卉) growing together.
奔
奔
ホン
Person running through plants
580
hustle
Originally 𢍃 [夭卉], a person running (夭 ➝ 大) quickly through a field full of plants (卉).
222
莫
莫
バク ボ
Sun behind the plants
581
㊔
Hidden be not
Originally 𦶛 [茻⽇], and then 𦱤, the sun (日) hiding behind a horizon full of plants (艸×4 ➝ 茻 ➝ 𦬇 ➝ 芖).
膜
膜 慕
慕
582
バク
マク
ボ した.う
Body part 月 hiding 莫 another parts membrane Feeling ⺗ caused by something that is ボ
hidden 莫 to yearn (for)
ボ
Sun 日 hiding out 莫
暮
く.れる
to get dark
募 漠
漠
584
ボ
暮
募
ボ
ボ
Strength 力 that is yet hidden 莫
つの.る
to recruit バク
バク
583
Water 氵 hidden 莫 below the surface obscure 223
585
586
墓
墓
ボ
ボ はか
丰
丰
587
Earth 土 that hides 莫 something tomb 588
Lush plant
Ⓡ
Originally , a plant (屮) taller and with more leaves than usual, a lush plant. The original form eventually got simplified into 𡴀, and later into its current form 丰. When this component is placed on top of the compounds it adopts a flattened form .
毒
毒
Lush plant acting as the mother 毋 ドク
589
of other plants poison
NOTE This character originally referred to some type of medicinal plant cultivated domestically, hence the occurrence of the component for “mother” (母 ➝ 毋), which alludes to the maternal care usually linked to healing processes. Over time the meaning of ‘medicinal plant’ ended up drifting, ironically, into that of ‘poison’, possibly due to an association between the bitter taste and poisonous nature (taken in large quantities) of some medicinal plants.
224
590
麦
麦
バク むぎ
Foot stepping on a lush plant Ⓡ
barley wheat
A lush plant (丰 ➝ ) extensively cultivated in open fields, making it easy for the feet (夂) to tread on it.
麺
麺
591
メン
メン
夆
Wheat's 麦 visible face 面 noodles 592
ホウ
Foot standing on lush plants
A foot standing still (夂) on top of a lush plant (丰). This component, conceptually similar to the character for “barley” (麦), differs from it because that one designates a passive action—a plant stumbling upon feet–, whereas this one designates an active action: feet standing on top of the plant.
峰
峰
ホウ みね
Part of a mountain 山 where there are ホウ
lush plants that can be stepped on peak
225
593
勃
勃
ボツ
Lush plant growing like a child
594
erection
Originally 孛, a lush plant (丰 ➝
) growing up high quickly as a
child (子). Over time the component 力 (strength) was added to the character to emphasize the idea of a sudden growth in size and, consequently, in strength.
寿
寿
ジュ ことぶき
Working hand holding a lush plant
595
longevity
A working hand (寸) with a lush plant (丰 ➝
), implying the idea
of a cultivation made over time long enough for the plant to grow a thick, lush foliage. The long cultivation time happens to be symbolically associated, therefore, with longevity.
拝
ハイ
拝
おが.む
Hand holding a long lush plant
596
to pay homage
A hand (手 ➝ 扌) grasping the lushest and leafiest of the plants (丰 ➝
) to be delivered as a sign of homage.
226
奉
奉
ブ ホウ
Two hands holding a lush plant
たてまつ.る
597
Ⓡ
to offer
Originally 𠬻 [丰𠬞], two hands (𠬞 ← ⼶) holding a lush plant (丰) to be offered in a religious service. Over time this character underwent a visible graphical transformation. The “two hands” component got intermingled with the “lush plant” component, giving rise to the upper set of strokes , which shows a part of the two hands next to the leaves of the lush plant; and the lower set of strokes , which shows the stem of the lush plant also mixed with some strokes of the two hands. When this character is placed as a component at the top of compounds it adopts the following reduced form: .
俸
俸 奏
奏
ホウ
ホウ
ソウ かな.でる
598
Person 亻receiving an offering 奉 salary Two hands offering a lush plant
to
599
heaven 天 to play music
NOTE This ideogram refers to religious offering ceremonies, that presumably were accompanied by musical instrumentation.
227
泰
泰
600
タイ
坴 Originally
Offering of lush plants
and water 氺
peaceable 601
Lush plant cultivated in the soil
, lush plants (丰 ➝
➝ 土) distributed (八 ➝ ハ ➝
⼉) in the soil (土) thanks to extensive cultivation.
睦
睦 陸
陸
Eye 目 looking closely at the ボク
602
cultivation of lush plants 坴 intimate Mountains 阝 protecting cultivated
603
plants 坴
リク
land
埶
埶
604
Person cultivating lush plants in the soil
Originally 𡎐 [坴丮], a person working with his hands (丮 ➝ 丸) in the cultivation of lush plants (坴).
228
勢
勢 熱
熱
セイ
Arm 力 used in the cultivation of lush plants 坴
いきお.い
ネツ
605
force Person putting cultivated lush plants
606
埶 on fire 灬
あつ.い
hot (thing)
陵
リョウ
陵
みささぎ
Person placing lush plants on top of a mountain range
607
imperial tomb
A person (人 ➝ ⼉) standing with his feet (夂) on top of a mountain range (阜 ➝ 阝) on which he deposits some lush plants (丰 ➝ ➝ 土) as an offering. Tombs in East Asia were traditionally built by erecting mounds on the ground—also known as tumuli—under which the deceased were buried, hence the presence of the component for “mountain range” (阜 ➝ 阝).
舞
舞
ブ ま.う
Person moving with his feet while holding lush plants
608
to dance
Originally 𡘲 [大 ], a person seen from the front (大) grasping with each hand some lush plants (丰×2 ➝ 廿×2). This character 229
has an ideographic composition similar to the character 奏 (to play music), which depicts a person moving or dancing while holding some kind of lush plants that fulfill a decorative function. The present character also shows the use of lush plants as a decorative element and refers to a kind of ceremonial dance, probably shamanistic. The notion of dance and movement was reinforced later with the addition of the component 舛 (two feet) that appears in the graph when it acts as a standalone character. The current form of the glyph is a visibly evolved version, and the strokes that formerly made apparent the different formative components in the original form 𡘲 have mingled together forming the ambiguous set of strokes , wherein the upper part is a vestige of the head and arms of the man seen from the front (亠 ➝ ); the bottom line 一 is the evolution of the lower part of that same component (
➝ 一); and the four vertical lines crossed by a
horizontal line (卌) is a simplification of the old components that depicted the lush plants (丰 2 ➝ 廿×2 ➝
➝ 卌). 609
無
無
ブ ム
Person putting lush plants
on fire 灬
to not be
な.い
乇
ブ
610
Sprout
タク
The budding germ of a plant, a sprout. The small stem of the incipient plant is indicated by the stroke 乚, while the nascent leaves are indicated by the upper stroke ㇒. The 230
central horizontal stroke 一 is the linearization of the thickness of the stem originally shown by an ink stain.
託
託
タク
屯
屯
Speech 言 that makes something sprout
タク
611
consignment Sprout growing up
612
accumulation
トン
military camp
A sprout with grown leaves or flowers (乇 ➝ 屯), suggesting an accumulation of leaves. The original meaning of ‘accumulation’ later became relegated to a figurative nuance that eventually gave rise, probably due to a semantic association, to the meaning of ‘military camp’, a place where troops accumulate.
頓
頓
613
トン
トン
春
春
Military camp 屯 with a leading head 頁
orderliness
シュン はる
Accumulation of plants under the sun
614
springtime
Originally 萅 [艹屯日], several plants (艹) growing and accumulating (屯) under the sun (日), depicting a distinctive 231
spring-like scene. Over time the top component 芚 got simplified into the form
,
which is graphically identical to the reduced version of component 奉 (two hands holding a lush plant).
世
世
Several sprouts
セ セイ よ
615
generation world
Several consecutive plant sprouts of different size, figuratively showing germinations from the past, the present and the future, alluding thus to different generations. The meaning of ‘generation’ is also sometimes expanded to that of ‘world’, understood as a psychological rather than a physical place, a space that can house all generations. The stems of the sprouts are represented by the strokes 𠃊, 𠃊 and 丨, while the thickness mark of the leaves have been joined in a horizontal line 一.
⽵
竹⺮
616
bamboo plant (Bambuseae)
チク たけ
Ⓡ
Several bamboo plants with long stems (丨亅) and their leaves ( ×2) hanging down. As component this glyph appears with the flattened form ⺮, which is placed in the upper part of the compounds. The semantics of this character, when acting as a component, 232
points in some occasions to the wobbly movement and elasticity shown by bamboo plants.
Hanging bamboo leaves
笑
➀➁ ショウ
笑 ➀➁わら.う え.む
Person wiggling 夭 like a bamboo plant
617
⺮ ➀ to laugh ➁ to smile
NOTE This character is a metaphorical, almost poetic, association of the wiggly and graceful movement (夭) of bamboo plants (竹 ➝ ⺮) with the idea of a smile shown on the face, which becomes flexible and light as bamboo.
笛
笛
618
チク
テキ ふえ
Bamboo stem ⺮ entering the mouth 由 flute ゴウ
答
トウ
答
こた.える
Shared talk between two mouths 合 going back and forth like bamboo plants ⺮
to answer 233
619
符
符 筆
筆 筋
筋 等
620
フ
フ
Attached 付 pieces of bamboo ⺮
token 621
ヒツ ふで
キン すじ
Brush 聿 made of bamboo ⺮ (writing or painting) brush Body part 月 that is strong 力 and
622
pliant like a bamboo plant ⺮ sinew 623
トウ
等 ひと.しい
Bamboo tablets ⺮ arranged at temples 寺
equivalent (to)
NOTE The etymological understanding of this character requires a bit of historical background, since it is pertinent to know that in ancient China, primitive books or administrative writings were made of thin sliced bamboo slabs joined together in a vertical position by threads. Ancient religious temples and monasteries, as in the West, were distinguished as places where books and documents where guarded and elaborated, hence the relation of ‘equivalence’ between books—or bamboo slats—and religious temples.
234
算
算
サン
Two hands handling an abacus made of bamboo
624
calculation
Two hands (⼶) handling a bamboo object (竹 ➝ ⺮) with a rectangular shape with grilles (目), which represents a computational abacus or suanpan (算盤), called soraban in Japanese.
Common abacus or ‘suanpan'
散
散
サン ち.らかす
Hand hitting plants under the moonlight
625
to disperse
A hand hitting (攵) bamboo plants (竹 ➝ ) at night under the moonlight (月 ➝ ⺝), alluding, plausibly, to a scene depicting a party of hunters or warriors dispersing across.
瓜
瓜
Gourd plant
コ
gourd
235
626
㊔
A gourd, squash, melon or any other of the plants from the cucurbit family, which are characterized by their fruits growing hanging from the branches.
A hanging gourd
孤
孤
Child 子 born in solitude like a gourd コ
コ
in a gourd plant 瓜 solitary
236
627
2 | TREES
Large plants with sturdy trunks are known as ‘trees’ 木, and like plants they take great prominence within the compositional elements of Chinese characters, since trees also serve to refer to wood and objects made of it. From the morphology of the tree some other concepts derive, such as that of ‘root’
本, which
denotes an origin or principle, or that of the top of a tree 末, which denotes an ‘end’. Thanks to the wood obtained from trees one can make a ‘bundle’ to transport things
束, and from this bundle a
‘backpack’ 東 can be also made. But trees are not only used to get wood and create objects with, since they also bear fruit, and a tree with fruits 禾 is distinctly used as a symbol of ‘prosperity’. There are also trees that bear fruits so heavy they they ‘droop’ in the branches
垂.
628
⽊
木
Ⓡ
ボク モク き こ-
tree wood
Originally 𣎵, a tree with a trunk (丨) from which branches appear extending upwards (凵 ➝ 一) and roots extending downwards ( ). As a component, this glyph gets the meaning not only of ‘tree’ but also of ‘wood’ and, by extension, objects made with it.
237
休
休 校
校
629
キュウ
Person 亻 leaning on a tree 木
やす.む
to rest コウ
コウ
Wooden tablets 木 being interchanged 交
school マイ
梅
梅
Tree 木 fertile as a new mother 毎
バイ うめ
根 杉
杉 検
検
631
plum tree (Prunus mume) plum
SPECIAL READING
根
630
コン ね
梅雨 [つゆ]: rainy season
Part of the tree 木 that makes it stand
632
コン
still 艮 root Tree 木 that looks like it had hair 彡
633
on its top
すぎ
cedar (Cryptomeria japonica) ケン
ケン
Wooden tablets 木 under authority 㑒 examination 238
634
枚
枚
Tree 木 being hit 攵 to obtain wooden sheets
マイ
flat object スン
村
村
ソン むら
Hands working 寸 on wood 木 to
架 条
条
636
make a settlement village カ
架
635
カ か.かる
Tree trunks 木 being added 加 one
637
after the other to bridge 638
ジョウ
Still foot 夂 over a wooden log 木 clause
NOTE This character refers to each of the tree trunks (木) or logs that were used to make primitive bridges on streams over which feet (夂) could tread. Each of those logs was altogether essential for the stability of the bridge. It is this focus on the importance of singularity from which the meaning of ‘clause’ derives, since a ‘clause’ can be understood as an indispensable article or part within a whole.
239
傑
傑
Person 亻 with two feet 舛 on top of a tree 木
ケツ
greatness Wooden tablet 木 able to unfold new
札
札
➀➁➂ サツ ➀➁ ふだ
松
640
energy 乚 ➀ tag ➁ ticket ➂ banknote Evergreen tree 木 with leaves always
松
639
641
コウ
ショウ まつ
shown to the public 公 pine tree (Pinus) pine
染
セン
染
そ.める
Arm 九 pouring water 氵 mixed with tree 木 leaves to dye ハン
板
板
ハン バン いた
642
Wooden tablet 木 against 反 which one can lean board
240
643
朴
朴 桃
桃
644
ボク
ボク
Wood 木 with cracks 卜 simple Product of a tree 木 that brings good
トウ もも
645
チョウ
omen 兆 peach (Prunus persica)
NOTE Peaches were considered in ancient China as a symbol of longevity—the result of a good omen–, reflected in Chinese mythology through the Peaches of Immortality (仙桃), which was considered food eaten by the immortals.
Tree 木 fruit that can easily roll down
栃
栃
とち
646
a cliff 厉 horse chestnut (Aesculus turbinata)
杯
➀➁ ハイ ➁
杯 さかずき
Wooden object 木 that spills like a フ
plant upside down 不 ➀ cup ➁ sake cup
241
647
模
模 棒
棒 葉
葉
ボ モ
Wooden object 木 whose origin is
648
ボ
hidden 莫 imitation Piece of wood 木 that can be held in
649
ホウ
ボウ
two hands as in an offering 奉 stick
ヨウ は
林
林
Plant-like 艹 sprouts 世 that come out
650
of a tree 木 leaf 651
Several trees
リン はやし
grove
Several trees placed together (木×2) forming a grove.
𠩵
レキ
Wooded pass on the top of a cliff
652
Passage Several trees (林) above a cliff (⼚), representing a mountain pass, a geographic feature figuratively adapted to reflect the passage of time.
242
レキ
歴
歴
Mountain pass 𠩵 with footprints 止 レキ
on its surface passage of time レキ
暦
暦
653
レキ こよみ
Passage (of time) 𠩵 dictated by the
654
sun 日 calendar
森
森
655
Many trees
シン もり
forest
A big amount of trees placed together (木×3), a forest.
乗
乗
656
ジョウ
Person on top of a tree
の.る
to ride
Originally 椉 [亠舛⽊], and then 乘, a person seen from the front (大 ➝ 亠 ➝ ㇒) with both feet (舛 ➝ 北) on top of a tree (木), a scene that shows a man climbing a tree or, literally, ‘riding’ on it. This character eventually underwent a further simplification process with the transformation of the glyph 乘 into 乗, where the central strokes got intertwined.
243
采
采
Hand grabbing a wooden object
サイ
657
baton
A hand grabbing (爪 ➝ 爫) an elongated object made of wood (木), namely a stick, cane or ‘baton’. サイ
彩
サイ
彩 いろど.る
Hand grabbing a wooden object 采
658
with hair 彡 at its tip to color
NOTE This is an ideogram that makes a clear reference to a painting brush with animal hair bristles at its tip.
採
採 菜
菜
サイ
サイ
Hand 扌 used to grab a wooden object 采
と.る
to pick
サイ な
Plants 艹 that a hand extracts out of a
659
660
サイ
wooden trunk 采 vegetables 661
相
相
ソウ ショウ あい
Eye watching from a tree mutual
244
An eye (目) looking from the top of a tree (木) at other eyes in the distance, referring to a mutual gaze. This ideogram probably denotes a primitive tribal hunting or fighting scene in which hunters or warriors had to survey the terrain from above before starting an ambush.
想
想 霜
霜 箱
箱
ソウ ソ
Feeling 心 arisen while watching
662
ソウ
someone from the top of a tree 相 idea
ソウ しも
Rain ⻗ remainings that can be
663
ソウ
observed from the top of a tree 相 frost Bamboo ⺮ framework over which one
664
can observe others 相
はこ
box
某
某
665
Sweet fruit of a tree
ボウ
(a) certain
A tree (木) fruit with a particular sweet taste (甘), standing out from the rest of the fruits.
245
媒
媒 謀
謀
ボウ
バイ
666
Woman 女 delivering a sweet fruit 某 mediator
ボウ ム はか.る
桼
ボウ
667
Speech 言 that becomes certain 某 to scheme 668
Fluid coming out of a tree Sap
Originally 𣏶 [木水], a fluid (水 ➝ 氺) coming out of a tree (木) in the form of drops ( ): the sap from the trees.
膝
膝 漆
漆
669
ひざ
シツ うるし
者
者
Body part 月 soft as sap 桼 knee Fluid 氵 that covers surfaces as it were
670
sap 桼 lacquer 671
シャ もの
Mouth eating cooked food person doing an action
246
This glyph shows some branches of a tree emitting sparks of fire (术 ➝ 𡗜 ➝ 耂) and a mouth with food inside (甘 ➝ 曰) or, in other words, a mouth eating food that has been cooked on the embers, scene depicting one of the most basic actions that a human being can do: eating.
暑
暑 諸
諸 煮
煮
672
シャ
ショ
Sun 日 acting 者
あつ.い
hot (weather) Speech 言 done while eating cooked
673
シャ
food 者
ショウ
various 674
シャ
シャ
Fire 灬 acting 者
に.る
to boil 675
著
著
➀ ➁ チョ ➀ いちじる. しい
Plants 艹 used to fan a bonfire over シャ
which food is cooked 者
➁
➀ remarkable
あらわ.す
➁ to author
247
箸
箸
Bamboo sticks ⺮ used to eat food
676
cooked on a bonfire 者
はし
chopsticks
尞
尞
リョウ
Wood burnt on a fire over which people talk
677
Bonfire
Originally 㶫 [𡗜火], branches of a tree emitting sparks (𡗜) of fire (火 ➝ 小), a depiction of a bonfire. Later on the component 曰 (speaking mouth) was added to reflect the idea of a bonfire around which people talk and converse.
僚
僚 瞭
瞭
リョウ
リョウ
678
Person 亻 by a bonfire 尞 colleague Eye 目 seeing things that are lit by the
679
リョウ
light of a bonfire 尞
リョウ
clearness
桑
桑
ソウ くわ
Tree with hanging bunches of mulberries mulberry tree (Morus)
248
680
A tree (木) top from which several bunches of mulberries (叒) hang.
耒
耒
681
Ⓡ
Heavily branched tree
A tree (木) with many lush branches (丰).
耗
耗
モウ コウ
Heavily branched tree 耒 becoming モウ
thin as hair 毛 to decrease Bamboo tablets ⺮ on which there are
籍
籍
682
683
セキ
セキ
written histories of older times 昔 in dense ramifications 耒 register Root of a tree
本
本
➀➁➂ ホン
684
➀ foundation ➁ book
➀ もと
➂ long thing The roots of a tree (木) represented by a line (一) in the lower part of the trunk. The meaning of ‘root’ derived from this character is interpreted 249
figuratively, rendering ‘root’ as the origin or cause of something. When the character appears as a single word, it also adopts the meaning of ‘book’, probably due to a phonetic loan, although books can be understood as the ‘root’ of knowledge.
体
体
タイ テイ からだ
朱
朱
685
A person’s 亻 foundation 本 body 686
Cut tree branches
シュ
scarlet
A tree (木) with branches (一) that have been cut (㇒), leaving their inner part exposed, which usually has a reddish or scarlet color.
殊
殊 株
株
シュ こと
Bone remains ⽍ stained with scarlet
687
シュ
朱 scraps of blood peculiar 688
かぶ
Trees 木 turned into cut branches 朱 stock
250
末
末
689
マツ バツ すえ
Top of a tree end
The top of a tree (木) pointed out by a long horizontal line (一) on the upper part of the component. The top of the tree figuratively marks the ‘end’ of it.
抹
抹
690
マツ
マツ
Hand 扌 putting an end 末 erasure
未
未
691
ミ
Leafy tree not yet fruitful not yet
A tree (木) with small leaves (-) but no fruit yet, a tree that is about to bloom.
妹
ミ
マイ
妹 いもうと 味
味
ミ あじ
692
Woman 女 that has not grown up yet 未
younger sister Food in the mouth 口 that has not been ミ
swallowed yet 未 taste
251
693
魅
魅 昧
昧
Presence of a ghost 鬼 whose figure has
694
ミ
yet 未 to appear
ミ
fascination ミ
マイ
695
Sun 日 that has not appeared yet 未 unclear
来
来
696
ライ
Fruits sprouting from a tree
く.る
to come
Originally 來, a tree (木) with branches from which fruits in bloom (从 ➝ 丷) are hanging, a tree that attracts people and animals and makes them come for the fruits. This glyph also suggests the idea of people who come home with fruits in their hands after having collected them.
束
束
697
Bundle of wood
ソク たば
Ⓡ
bundle
A bundle of wood (木) tied together with a rope (⼞).
勅
勅
ソク
チョク
Bundle 束 of strength 力 imperial decree
252
698
699
頼
頼
ライ
Tied head
たの.む たよ.る
to rely (on)
A tied (束) head (頁), a head attached to an external entity on which it depends and on which consequently needs to rely.
瀬
瀬
700
せ
東
東
Water 氵 that can be relied on 頼 shallows 701
Backpack
トウ ひがし
east
Originally 柬, a bundle (束) with contents inside (丷 ➝ 一), a bag or backpack. Although the meaning of ‘east’ is taken from a phonetic association, this glyph metaphorically evokes the scene of a backpack stuck in the ground breaking the horizon, making a contrast point between the sky and the earth like a sun rising from the east at dawn. 702
凍
トウ こお.る
凍 こご.える
トウ
Ice 冫 heavy as a backpack 東 to freeze
253
陳
陳 棟
棟
Backpacks visible 東 on the climbing of
703
a mountain range 阝
チン
display トウ むね
Wooden stick 木 sustaining a backpack 東
むな-
ridgepole
トウ
704
NOTE Metaphorical ideogram in which the idea of a wooden branch holding a backpack standing upright is extrapolated to the idea a wooden beam holding the roof of a house.
曹
曹
ソウ
Two people with backpacks speaking to each other
705
fellow
Originally 𣍘 [㯥曰], two full backpacks (東×2 ➝ 㯥 ➝ ) and a speaking mouth (曰), ideogram that refers to two traveling companions or fellows carrying their respective backpacks and talking to each other.
槽
槽
ソウ
ソウ
Wooden object 木 shared by fellows 曹 tub
254
706
707
重
重
➀ ジュウ Person carrying a backpack ➀ チョウ loaded with earth ➀ ➀ heavy おも.い ➁
➁ to pile up
かさ.ねる
This is a highly evolved character that originally had very distinguishable parts, which are: a person on top (人 ➝ ㇒), a bag in the middle (東), and earth at the bottom (土); forming the glyph 𡍺, which represents the idea of a bag loaded with earth-like heavy contents carried by a person. Eventually the form 𡍺 evolved into the current glyph 重 as the strokes in the middle (个) were absorbed by the lower component (土).
腫
腫 薫
薫
シュ は.れる
ジュウ
708
Body part 月 becoming heavy 重 to swell 709
クン かおる
動
動
Plants 艹 piled up 重 on a fire 灬 smoky scent Strength used by a person ドウ carrying a backpack loaded with earth うご.く to move
255
710
The strength (力) that a person uses in order to move while carrying a heavy backpack (重).
働
ドウ
Person 亻 moving 動
ドウ
働 はたら.く 勲
勲
711
to work 712
クン
Movement 動 like that of fire 灬 merit
NOTE This graph seems to allude to the merit derived from physical effort, represented by a vigorous movement that generates heat or a burn of energy similar to those produced by fire.
量
量
Mouth speaking about the weight of the backpack a ➁ リョウ person is carrying ➀ はか.る ➀ to weigh
713
➁ quantity Mouth speaking (曰) about the weight of a heavy backpack (重 ➝ 𫟯), which is directly related to the quantity of material that the backpack contains.
⽲
禾
Tree bearing fruit
カ
Prosperity
256
714
Ⓡ ㊔
A fruit (㇒) hanging from the top of a tree (木), a tree bearing fruit, symbol of ‘prosperity’.
季
季
Times in which is prosperous 禾 to キ
715
have children 子 season 716
和
和
➀➁ワ ➀オ ➀ なご.む ➀
Prosperous 禾 words 口 ➀ peaceful ➁ Japan
やわ.らぐ SPECIAL READING
香
香 秩
秩
➀ コウ ➁ キョウ ➀か ➀ かお.り
大和 [やまと]: Ancient Japan Tree fruits 禾 inside the mouth 曰 ➀ aroma ➁ incense シツ
チツ
717
Prosperity 禾 being lost 失 regularity
257
718
オン
穏
オン
穏 おだ.やか
Two hands holding the heart 𢚩 while contemplating prosperity 禾 tranquil Person from behind 匕 speaking 曰
稽
稽
ケイ
719
720
about raising the arm 尤 in order to obtain tree fruits 禾 training
私
私 税
税
➀シ ➁ わたくし ➁ わたし
Prosperity 禾 flowing around itself 厶
721
➀ private ➁I 722
ゼイ
Prosperity 禾 being exposed 兑 tax 723
移
イ
Prosperity 禾 in many quantities 多
移
うつ.る
to relocate
258
ジュウ
Tree fruit 禾 that is heavy 重 and
種
種
シュ たね
724
falls dawn seed (a) kind
委
委
725
イ
Prosperous woman
ゆだ.ねる
to assign (to)
A prosperous (禾) woman (女) whom anything can be entrusted or assigned.
萎
萎
イ
Plants 艹 in the hands of a prosperous
726
イ
woman 委
な.える
to shrivel
NOTE It can be interpreted as meaning that a prosperous woman is so busy that she cannot or do not want to care for the plants in a garden.
秀
秀
727
シュウ
Prosperous pregnant woman
ひい.でる
to excel
A pregnant woman (乃) who is prosperous (禾) and promises to prolong her prosperity by bringing a child into the world, a woman who is excellent for the family.
259
誘
誘
ユウ
Speech 言 that excels 秀
さそ.う
to entice
兼
兼
728
シュウ
729
ケン Hand holding two saplings か.ねる to work simultaneously
An outstretched hand (⺕ ≈ 又) grasping two kinds of small fruits (禾×2). 730
嫌
嫌 謙
謙
ケン ゲン いや
ケン
Woman 女 holding only saplings 兼 to dislike
きら.う
ケン
ケン
731
Speech 言 small as saplings 兼 humble
秋
秋
732
Fruit trees on fire
シュウ あき
autumn
A tree whose fruits and leaves (禾) turn into the color of fire (火) during the fall. This ideogram could also refer, in origin, to the stubble burning that was traditionally done in autumn in ancient agricultural 260
societies.
愁
愁
シュウ
Feeling 心 arising while seeing fruit
733
シュウ
trees on fire 秋
うれ.い
to be distressed 734
垂
スイ
Big fruits hanging from a tree
垂
た.れる
to droop
Originally 𠦬, and then 𠂹, a fruit tree (禾 ➝ 千 ➝ 亻), from which many fruits (𠈌) hang. The sense of ‘hanging’ that emanates from the character was eventually reinforced with the addition of the “earth” component (土)—to highlight the downward direction, pointing to the ground, of hanging fruits—thus giving rise to the form 𡍮, which would then got simplified into the current glyph: 垂.
唾
唾 睡
睡
ダ つば
Something drooping 垂 from the mouth 口 saliva スイ
スイ
735
Drooping 垂 eyes目 drowsiness
261
736
737
華
華
カ ケ はな
Exuberant lush plant splendor
Originally 蕐 [艹 𠦬], a plant (艹) as splendorous as a tree that bears many fruits (𠦬 ➝ 𠦒).
262
3 | GRAINS In addition to plants, there are some other vegetal elements held in high esteem because they are also a key source of food. Those elements are the ‘small’ grains 小 that can be obtained from some plants. Within the Asian diet the most important kind of grain is undoubtedly the one that comes off the ‘rice plant’ from which ‘white’ rice grains
米,
白 can be extracted.
738
小
ショウ こ
Small cereal grains
お小 ⺌ ちい.さい
small
Small grains of some kind of cereal. This component also can take the simplified form ⺌ in some compounds.
肖
肖
739
Cereals and meat
ショウ
similar
Cereals (小 ➝ ⺌) and meat (月 ➝ ⺝), two of the basic food types ingested by humans, two elements with a similar nutritional function.
263
740
消
消 硝
硝
➀➁ ショウ ➀ け.す ➁ き.える
ショウ
Water 氵 over cereals and meat 肖 ➀ to make disappear ➁ to disappear Stone powder 石 covering cereals and
741
ショウ
meat 肖
ショウ
saltpeter
NOTE This character can be better understood if it is taken into account that saltpeter was used as a canning element in some traditional cuisines.
当
当
742
トウ
Hand aiming at something
あ.てる
to hit a target
Originally 𢑐, an outstretched hand (⺕ ➝ ) aiming at a small (小 ➝ ⺌) object, in order to hit it precisely. The literal meaning of the character, ‘to hit a target’ oftentimes adopts more figurative nuances, such as that of facing or confronting something.
隙
ゲキ すき
Small sun rays penetrating through the mountains
gap
264
743
Small (小×2) sun (日) rays penetrating through the gaps of a mountain ridge (阜 ➝ 阝).
少
少
ショウ
Several small cereal grains
すく.ない
little
すこ.し
few
744
Extended form of the glyph 小 (small cereal grains), it shows a handful of small cereal grains, which, however, is not large enough to be considered as a meal, i.e. a small amount of cereals, ‘few’ cereal grains. This character also represents the derived concept of ‘little’.
妙
妙
745
ショウ
ミョウ
Woman 女 that is little 少 exquisite
ショウ
省
省 抄
抄
➀ セイ ➁➂ ショウ ➂ はぶ.く
Eye 目 looking at little things 少
➀ focus ➁ ministry ➂ to leave out ショウ
ショウ
746
Hand 扌 picking small cereal grains 少
extraction
265
747
劣
劣 沙
沙 砂
砂 秒
秒
748
レツ
Little 少 strength 力
おと.る
to be inferior (to) ショウ
サ
サ シャ すな
Water 氵 next to small grains 少 sand [fig.] ショウ
750
Small grains 少 of stone 石 sand 751
ショウ
ビョウ
749
Small grains 少 of a tree fruit 禾 second (time unit)
NOTE This glyph originally represented a few small grainshaped elements (少) placed inside tree fruits (禾), that is, the seeds or pips of fruits. Over time, the character began to denote anything the size of a seed, or put it another way, something tiny. This sense of ‘smallness’ was finally extrapolated to the more concrete meaning of ‘second (as a time unit)’ to which the character refers today.
歩
歩
Few footsteps
➀➁ホ ➂フ ➀ ある.く ➀ あゆ.む
➀ to walk ➁ step ➂ pawn 266
752
A few (少) footsteps (止), enough to start walking.
頻
頻 捗
捗 渉
渉
753
ヒン
Head 頁 making thinking steps 歩 constantly 754
チョク
Hand 扌 making steps 歩 progress 755
ショウ
Water 氵 on which one can walk 歩 ford 756
米
米
ベイ
Rice plant
マイ こめ
Ⓡ
rice
Several grains of rice coming off a rice plant (一) with its ears (⺌, 个), from which rice grains are extracted.
A rice plant
267
粒
粒 隣
隣
Rice grains 米 that make people stand
リュウ つぶ
リン とな.る
粘
ネン
粘
ねば.る
リュウ
upright 立
grain Mountains 阝 through which someone
菊
キク
758
comes down 舛 carrying rice grains 米
to neighbor Rice grains 米 that can be easily taken
759
セン
up 占
sticky Plant 艹 whose leaves lean 勹 over its
菊
757
760
seed grains 米 chrysanthemum (Chrysanthemum morifolium) 761
糧
糧
リョウ ロウ かて
リョウ
Some quantity 量 of rice grains 米 food
268
娄
娄
762
Woman picking grains of rice
A woman (女) picking small grains of rice (米). 763
数
数
➀ ➁ スウ Woman picking grains of rice 娄 under ➀➁ス the threat of a weapon 攵 ➀ かず ➀ number ➁ かぞ.える ➁ to count
NOTE Reference to forced or bonded labour that requires a numbered amount of production.
楼
楼
Wooden structure 木 where picked
764
grains of rice 娄 are stored
ロウ
high building 765
歯
歯
Bones of the mouth used to Ⓡ chew rice grains
シ は
tooth
Originally , this graph represented, pictographically, a mouth (⼞) with its two rows of teeth inside (𠈌). シ
Over time the component 止 (footsteps) was added to the pictogram 269
as a phonetic element, giving rise to the form 齒. Finally the form 齒 was transformed into the current glyph 歯, where the pictographic component representing the teeth (𠈌) has been replaced with the semantic component 米 (rice), giving rise to a new ideogrammatic reinterpretation of the character, which now shows the element of the mouth (口 ➝ ⼞) that stands (止) inside and serves to chew rice (米) or other food.
齢
齢
レイ
レイ
766
Teeth 歯 counting under command 令 age
NOTE This character originally referred to the age of animals, which was usually determined under a careful inspection of the condition of their teeth.
巻
巻
カン
Two hands rolling rice grains
767
to roll (up)
ま.く
volume of books
Two hands manipulating grains of rice ((𠬞 + 米) ➝ ) in order to turn them into rolls resembling the symbolic rolled form of circulating energy (己). As a component this character can appear in the abbreviated form: .
270
拳
拳
カン
A hand 手 rolled up
ケン こぶし
暴
暴
768
fist ボウ バク
Four hands fighting for the rice grains to be eaten
あば.れる
to act violently
769
Four hands (共 ➝ ) of people who fight over some grains of rice (米 ➝ 氺) that they want to put into their mouths (甘 ➝ 曰), a scene of notorious violence.
爆
爆
バク
バク
康
康
770
Fire 火 acting violently 暴 explosion
コウ
Hand extracting grains from a rice plant
771
Ease
Originally 𥹺, an outstretched hand (⺕ ≈ 又) extracting the grains (米 ➝ 氺) of a rice plant (广 + 丨), an action that can be performed with a certain degree of ease.
271
唐
唐
トウ
Hand feeding rice grains to a mouth
772
Tang dynasty
A hand extracting grains from a rice plant (康 ➝ the mouth (口).
) to take them to
The concrete meaning of this ideogram seems to allude to that of a generous ruler or a fertile land. This glyph of positive connotations was adopted in any case by the Chinese Tang dynasty royal family to refer to its clan.
糖
糖
トウ
トウ
773
Rice grains 米 fed in the mouth 唐 sugar
NOTE The original meaning of this character alluded to a kind of sweet cake made with rice. After the sugar cane was introduced into East Asia the meaning of this character was changed to refer to the element extracted from it: ‘sugar’.
気
気
キ ケ
Floating energy obtained from rice
774
mood atmosphere
SPECIAL READING
浮気 [うわき]: extramarital affair キ
Originally 氣, the energy that floats in the environment (气) arisen 272
from the intake of food like rice (米 ➝ 㐅). 775
⾤
Isolated rice grain
釆
A particular grain (㇒) separated from the rest of the grains obtained from a rice plant (米).
釈
釈
776
シャク
シャク
朮
Measured 尺 and isolated parts ⾤ interpretation 777
ジュツ
Hand separating a rice grain from the rest
An outstretched hand (又 ➝ 屮 ➝ 十) distributing (八 ➝ ハ) a grain of rice (丶), separating it from the rest, in reference to a sieve. 778
ハク
白
白 SPECIAL READING
A white grain of rice
ビャク しろ
white
しら-
Clarity
白髪 [しらが]: white hair
A single grain of rice, chosen for its whiteness and gleam. 273
Ⓡ
The angular strokes ⼞ represent the contour—once pictographical, now linearized—of a rounded grain of rice. The upper stroke ㇒ is a vestige of what was the depiction of the sharp tip of the grain, and the inner line 一 is an abstract mark that reinforces the idea of what is seen within the grain's contour: the color white. As a component, this glyph sometimes takes on the meaning of ‘clarity’ or ‘clear’, as an evident derivation from the original meaning of ‘white’.
Standard shape of a grain of rice
伯
伯
ハク
Person 亻 owning the white rice 白
ハク
chief
SPECIAL READING
拍
拍
779
伯父 [おじ]: father ハク
ハク ヒョウ
780
Hand 扌 making a clear 白 sound clap ハク
泊
ハク
Water 氵 that is clear 白 and shallow
泊
と.まる
to lodge at
781
NOTE The allusion to clear and shallow water indicates a suitable area for the anchorage of ships where it is possible to moor and spend the night at some nearby lodging. 274
皆
皆
カイ みな
Several people collecting white grains of rice
782
everyone
Several people next to one another (比) collecting white grains of rice (白) in order to eat them, an allegorical scene highlighting white rice as the kind of food that everyone eats, since white rice is the staple food in ancient and contemporary China.
諧
諧 階
階 楷
楷
783
カイ
カイ
Speech 言 made by everyone 皆
harmony Parts of the mountains 阝 where
カイ
784
カイ
people collect white grains of rice 皆 storey
カイ
カイ
泉
泉
785
Wooden tablets 木 used by everyone 皆
regular style (in writing) 786
Clear water
セン いずみ
fountain
Clear (白) water (水) coming out of a fountain.
275
It is worth noting that the original form of this character was a pictogram directly showing the water flowing out of a cave, but the part that represented the cave was later replaced by the component 白 (clarity).
腺
腺
Body part 月 that secretes liquids like a
787
セン
fountain 泉
セン
gland
原
原
➀ ゲン ➁ はら
Fountain springing from a cliff ➀ source
788
➁ wilderness
Originally 厡, a cliff (⼚) acting as the source of a fountain of clear water (泉 ➝ ).
願
願 源
ガン ねが.う
Head 頁 thinking of a fountain
789
ゲン
springing from a cliff 原 to desire
ゲン
源 みなもと
Water 氵 coming from a source ゲン
fountain 原 fountainhead
276
790
REVIEW ON PLANTS
⼬端余早朝⽣告星不艹荅
1
若荒蒸卉奔莫丰麦夆勃寿拝 奉坴埶陵舞乇屯春世⽵算散 ⽠
叙塗除乾嘲潮姓性産隆否花茨芯葛 芽葬芝茎草茶搭塔諾慌膜慕暮募漠 墓毒麺峰俸奏泰睦陸勢熱無託頓笑 笛答符筆筋等孤
⽊林𠩵森乗采相某桼者尞桑 ⽾本朱末未来束頼東曹重動 量⽲委秀兼秋垂華 2
休校梅根杉検枚村架条傑札松染板 朴桃栃杯模棒葉歴暦彩採菜想霜箱 媒謀膝漆暑諸煮著箸僚瞭耗籍体殊 株抹妹味魅昧勅瀬凍陳棟槽腫薫働 勲季和⾹秩穏稽私税移種萎誘嫌謙 愁唾睡 277
⼩肖当隙少歩⽶娄歯巻暴康 唐⾤朮⽩皆泉原 3
消硝妙省抄劣沙砂秒頻捗渉粒隣粘 菊糧数楼齢拳爆糖気釈伯拍泊諧階 楷腺願源
278
ANIMALS 1 | OVIPAROUS Animals are, along plants, another key natural element in any culture because they not only provide food but can also be used for many other functions such as transport or clothing. Within the existing animals two major divisions can be made according to the way in which they are born: oviparous animals, which are born from ‘eggs’ 卵; and mammalian animals, which are born directly from the mother's womb. Within the group of the oviparous there are animals as diverse as ‘insects’ ⾍, ‘fish’
魚, ‘turtles’
亀, or ‘birds’
⾫ and ‘poultry’
鳥, characterized by their wings full of ‘feathers’
卵
卵
羽.
791
Spawn
ラン たまご
egg
Several eggs (𠂑, 卪) from a spawn of fish, frogs, insects or any of the species that lay small eggs that stick together and have a black spot in their center. Pictogram currently referring to the broad concept of ‘egg’.
Eggs from a frog spawn 279
792
⾍
Serpent
チュウ むし
虫
Ⓡ
insect
Cobra type snake, with an upright body, a notoriously large head (⼞) and a meandering body (厶). Over time this character began to be associated with any kind of creature with a thin and elongated body, such as worms, and, eventually, any kind of ‘insect’.
Primitive version of the pictograph for 'snake’
蚕
蚕 蛮
蛮
793
サン かいこ
Wiggling 夭 ➝ 天 insect ⾍ silkworm People distributing themselves 亦 like insects ⾍
バン
barbarian
280
794
蚊
蚊 蜂
蜂
Insect ⾍ that leaves a mark in the
795
body 文
か
mosquito ホウ
ホウ はち
796
Insect ⾍ standing on lush plants bee 797
蜀
Person picking insects
蜀
A leaning person (勹) looking with his eyes (目 ➝ 罒) over an insect (⾍) in order to pick it up.
濁
濁
ダク にご.る
属
属
Water 氵 from which one can collect insects 蜀
798
to be polluted
ゾク ショク
Creature sitting on a person picking insects
799
to belong to
Originally 屬 [ 蜀], an ape-type animal, sitting with its tail (尾 ➝ ) on top of a person who is picking up insects 蜀. This ideogram evokes the scene of a certain kind of animal in relation to another animal of another species, making reference to the interdependence 281
that all living beings maintain, all belonging to the same nexus. The lower part of the character ( into the strokes 禹.
嘱
嘱
+ 蜀) over time got simplified
ショク
ショク
800
Words 口 that make belong 属 entrusting 801
魚
魚
Ⓡ
ギョ うお さかな
fish
A fish, drawn vertically. The pointed head is represented by ⺈ and the body with its scales is represented by 田. The lower strokes 灬 are a schematization of the moving tail of the fish while swimming in the water, a graph that is not semantically related to the simplified version of the component for “fire” (火 ➝ 灬), although it is graphically identical to it.
Primitive version of the pictograph for ‘fish’
282
ギョ
漁
漁
ギョ リョウ
Water 氵 covering fish 魚 that are
802
going to be caught fishing 803
再
再
サ サイ
Trapped fish once more
ふたた.び
Fish trapped ( ) between the two ends of a fish trap (工). This character takes its meaning in reference to the fact that fish always, time and again, fall into the fishing traps.
冓
冓
804
Fishing trap
コウ
A complex net of fishing traps in which several fish have been trapped. The lower part of the graph is the component for “trapped fish” (再), while the upper part is the same component turned upside down and simplified ( ), alluding in this way to a multitude of fish trapped thanks to a complex trap or set of traps.
283
講
講
Speech 言 interconnected as the コウ
コウ
structure of a fishing trap 冓 lecture コウ
溝
溝 構
805
コウ みぞ
Holes in a fishing trap 冓 that allow
806
water 氵to pass through gutter
コウ
Wood pieces 木 interlinked to form a コウ
fishing trap 冓
構 かま.える 亀
亀
807
to set up 808
キ かめ
turtle
A turtle depicted vertically, with the tip of the head represented by ⺈, the protruding head proper depicted by 田, and the body and tail by 电
隹
隹
809
Bird
スイ
Ⓡ
A rampant bird with folded wings and a short tail, probably a falcon, seen from the side.
284
The left part 亻 represents the bird’s body profile (丨) and the head (㇒), while the right part represents the unfolded plumage.
携
ケイ
携 たずさ.える 唯
唯
ユイ イ
Hand 扌 carrying a bird ⾫ that is pregnant 乃 and carries a baby bird inside
to carry Solitary song produced by the mouths 口
誰
だれ
811
スイ
of the birds 隹 in the morning
only Bird ⾫ using singing speech 言 for
誰
810
812
calling the attention of other birds who someone
NOTE It refers to the question arisen from an unknown voice whose identity has to be ascertained.
雅
雅 推
推
ガ
Bird ⾫ with fangs
ガ
813
elegance スイ
スイ
Hand 扌 throwing a bird 隹 into the air
お.す
to push ahead 285
814
Outstretched hand 又 holding a single
隻
隻
815
bird ⾫
セキ
one of a pair vessel シ
雌
雌 准
准 堆
堆
シ めす
Bird ⾫ staying behind 此 during the
816
act of copulation
め-
female 817
ジュン
Bird ⾫ trying to drink from ice 冫 semiスイ
タイ
818
Soil 土 over which birds 隹 fly heap
NOTE Originally this character meant ‘hill’ or ’sea rock’, making use of an ideographic association analogous to the form 島 (island). Over time, however, this glyph began to designate any type of mound or heap.
催
催
サイ もよお.す
Person 亻 located high above like a bird スイ
隹 flying over a mountain 山 to host
286
819
椎
椎 稚
稚
820
スイ
ツイ
Tree 木 over which birds 隹 rest oak スイ
チ
雄
雄
821
Fruits of a tree 禾 only eaten by birds 隹
immature ユウ お おす
822
Energetic arm carrying a bird
male
The original glyph was 厷, which represents an outstretched hand (又 ➝ 𠂇) filled with floating energy (厶), highlighting the concept of energy or force evoked by the male sex. Later on, the component ⾫ (bird) was most probably added through an analogy to the character for “female” (雌), which shares said component in reference to the position that the female bird takes in copulation. In contrast, the present character can be associated with the active (energetic) role that the male bird takes in the reproductive act. 823
焦
焦
➀➁ ショウ
Bird burning in a fire ➀ to burn ➁ to fret
➀ こ.げる ➁ あせ.る
A bird (⾫) being burnt in a fire (火 ➝ 灬).
287
ショウ
礁
礁
Submerged stone 石 that causes fret 焦
ショウ
824
shoal rock reef 825
集
集
シュウ
Birds on a tree
あつ.める つど.う
to gather
Originally 雧 [雥⽊], several birds (⾫×3 ➝ 雥 ➝ ⾫) on top of a tree (木), showing the tree as a place where many birds congregate or gather, because it is in the tops of trees where a large number of birds can be seen together at rest.
奞
奞
826
Bird unfolding wings
A bird (⾫) becoming bigger (大) while unfolding its wings to take off on a flight.
奪
ダツ
奪
うば.う
Hand working 寸 in order to catch a bird that unfurls its wings 奞 trying to escape
to snatch
288
827
828
Bird with a crest and deep eyes
カン
Heron
Originally 雚, a bird (⾫) with a noticeable crest (⻀ ➝
) and
deep eyes (吅 ➝ 一), probably a heron.
歓
歓 観
観 勧
Heron カン
カン
権
829
open 欠 in front of a prey delight Deep eyes of a heron
カン
looking 見
830
around
カン
view 831
カン
Heron
勧 すす.める 権
delighted with its mouth
ケン ゴン
カン
that is strong 力
to recommend Heron
カン
on top of a tree 木
authority rights
289
832
蒦
カク
Outstretched hand grabbing a crested bird
833
Snare An outstretched hand (又) catching a crested bird (⾫ + ⻀ ➝ 雈 ➝ 萑) on the fly.
護
護
ゴ
Speech 言 snaring
カク
834
an argument
defense
NOTE This character originally referred to an argumentative defense against an accusation. Over time, that connotation was extended to any type of defense or protection.
穫
穫
カク
鳥
鳥
Prosperity 禾 being snared
カク
835
harvest 836
poultry
チョウ とり
Ⓡ
bird
A fowl depicted in profile, with a body that is smaller and plumper than birds that fly at great heights. The upper part of the graph, 白, represents the beak (㇒) and the head with its eyes (曰). The middle part shows the body and folded wings, and, finally, the bottom part 灬 is a representation of the legs of the bird. 290
Over time, the character's meaning of fowl or poultry was expanded to also cover any type of bird, while the original character designating such concept (⾫) has been relegated to be used only as a component. The original meaning of the character, ‘poultry’, is mainly reserved in contemporary Japanese for the sense of ‘chicken meat’.
Primitive version of the pictograph for ‘poultry’
鳴
鳴 鶏
鶏
メイ
Mouth 口 of a bird 鳥 making sounds
to chirp
な.く
ケイ
to make sound Bird 鳥 that can be caught even as an adult
にわとり
島
島
837
838
ケイ
chicken 839
トウ しま
Mountain overflown by birds
island
Originally 㠀 [鳥山], a bird (鳥 ➝ ) flying over or resting on top of a mountain (山), in reference to the resounding scene of seagulls or seabirds hovering around a rock in the middle of the sea, that is: an island.
291
⽻
羽
840
ウ は はね
Wings
Ⓡ
feather
Two wings (习×2) unfolded and showing their feathers.
翌
翌
Wings 羽 flying a bird that was ヨク
841
previously standing 立 on the ground the following
NOTE In reference to the succession of movement: The state of flying motion following the state of rest.
翼
翼 翁
翁 習
習
842
ヨク Person putting on 異 a pair of wings 羽 つばさ wing 843
コウ
オウ
Public 公 man wearing feathers 羽 venerable old man 844
シュウ Wings 羽 flapping in a clear 白 movement なら.う
to learn
292
翟
845
タク
Bird with spread wings
Originally 翟 [羽⾫], a bird (⾫) with its two wings spread (羽 ➝ ).
躍
ヤク
躍
おど.る
曜
曜 濯
濯
Foot 足 movement making the body fly
846
タク
like a bird with spread wings 翟
to leap Sun 日 going forward like a bird with
847
spread wings 翟
ヨウ
weekday Water 氵 soaking the spread wings of a
848
タク
bird 翟
タク
rinse
⾶
飛
849
ヒ
Bird flapping wings
と.ぶ
to fly
Originally 𠃧 two wings spread in full flight at high speed. Over time, the component 羽 (wings) was added to the original glyph to reinforce the meaning, forming the graph 𦐭, which would later become simplified into 𩙱 and finally into the current version: 飛. 293
非
非
ヒ
Wings flapping against each other
850
negation
Two wings spread in opposite directions, denying flight and subsequently any action.
俳
俳 悲
ハイ
Person 亻 negating 非 his own personality
actor
排
852
ヒ
ヒ
Negative 非 feeling 心
悲 かな.しい 排
851
ヒ
sad Hand 扌 making wings flap in the ヒ
ハイ
opposite direction 非 expulsion
294
853
2 | MAMMALS Mammalian animals are the ones that have the closest relationship with humans, as many of them have been domesticated. One of the most distinctive domesticated mammals is the ‘dog’ 犬, which not only helps with the cattle or to act as a guardian but also serves as companions. Another important mammal is the ‘hog’ 豕, which helps with dietary needs. There are also larger animals, such as the ‘elephant’ 象, the ‘horse’ 馬. Then there are finally some mammals that are aggressive and indomitable, such as the ‘capable’ bear their ‘horns’
能 or the ‘tiger’
角, such as the oxen or ‘cattle’
羊 or the ‘deer’
⽝
虎, or those characterized by
犬犭
牛, the ‘sheep’
鹿.
Mammalian animal
ケン いぬ
854
Ⓡ
dog
An animal standing on four legs, with a tail and pointed ears, depicted in a vertical position. This is a generic pictographic representation that suggests many types of mammalian animals, from which the concept of ‘dog’ was taken for the base meaning of the character when working as a standalone. The horizontal line 一 represents at the same time the head and the front legs, the oblique line 丿 also represents the head and the hind legs, while the drop 丶 represents the ears and the stroke ㇏ the body and an upright tail. When the character acts as a component and is placed on the right, it adopts the glyph 犭, which is more similar to the original 295
pictograph.
Primitive version of the pictograph for ‘dog’
伏
伏 犯
犯 狭
狭
フク
Person 亻 adopting the pose of a dog 犬
ふ.す
to bow down ハン
ハン
Animal 犭 making a person huddle ⺋
おか.す
to violate
キョウ
Dog 犭 between people
せま.い
narrow
855
856
857
NOTE Referring to a narrow pass, in the middle of a forest or a mountain, where it is easy to come across animals.
独
独
ドク
Dog 犭waiting alone to hunt an insect ⾍
ひと.り
alone
296
858
獲
獲 獄
獄
カク
カク
Dog 犭 capturing a heron
え.る
to obtain Dogs 犭⽝ saying 言 something to each
860
other
ゴク
prison
猟
猟 Originally 巤 [ hair (
859
リョウ
Dog hunting furry animals
861
game-hunting
], a hairy head (
←
) surrounded by more
), a furry head, presumably the head of a fierce animal.
Over time the component 巤 was simplified into the form 鼡 and the component for “dog” (犬 ➝ 犭) was added, which reinforces the meaning of ‘hunting’ as it suggests the scene of a dog going after its furry prey.
臭
臭臭
シュウ
Nose of a dog
くさ.い にお.う
862
to smell
The nose (自) of a dog (犬), notorious for its great smelling power. When this graph appears as a standalone character it takes, in Japanese, the graph 臭, which has omitted the stroke 丶 of the “dog” component (犬 ➝ 大), making the lower part of the character 297
graphically identical to the component 大 (big), which can evoke the idea of a big smelling nose.
嗅
キュウ
嗅
Action made by the mouth 口 and the
863
シュウ
nose of a dog 臭
か.ぐ
to sniff
NOTE The original form of this character was 齅 [鼻臭], formed by the component 鼻 (nose) and the component 臭 (to smell). The component 鼻 was eventually replaced by 口 (mouth) to reduce the number of strokes and facilitate writing.
然
然
ゼン ネン
Meat of an animal on fire
864
thus
Meat (肉 ➝ ) of a mammalian animal (犬) cooked on fire (火 ➝ 灬), referring to what is as it should be, what is duly, thus, in the expected manner, in that manner.
燃
燃
ネン
More fire 火 added to meat of an
865
ネン
animal on fire 然
も.える
to get fired up 866
黙
モク
Animal in the black night
黙
だま.る
to be silent
Originally 默 [黒⽝], a dog or another mammal (犬) silent in the 298
コク
black (黒) darkness of the night.
類
類
ルイ
Plant, animal and person
たぐ.い
type
867
Originally 類 [米犬頁], a rice plant (米), alluding to plants in general, a mammalian animal (犬 ➝ 大), referring to animals in general, and a person with an enhanced head (頁), referring to the human being. Ideographic composition that encompasses the most synthesized typology of living beings: plants, animals and human beings. 868
⾘
Beast
豸
Ⓡ
A four-legged mammal opening its mouth as a sign of ferocity and aggressiveness: a beast.
貌
貌
ボウ
Beasts and people clearly told apart
869
appearance
‘Appearance’ regarded as the thing that distinguishes clearly (白) a beast (⾘) from a person (人 ➝ ⼉).
299
貇
貇
870
Still person looking at a beast
コン
コン
A person who looks calmly and still (艮) at a wild beast (⾘).
懇
懇 墾
墾
コン
Feeling 心 caused by a beast that lets
871
コン
itself be looked at 貇
ねんご.ろ
friendly Soil 土 where beasts can be calmly
872
コン
looked at 貇
コン
farmland
求
求
873
キュウ
Furry animal
もと.める
to seek
A four-legged animal with particularly long fur. The current graph is presumed to be a derivation of the glyph 犬 (mammalian animal) with the addition of more strokes that represent the animal's long fur (㇔㇛). The meaning of the standalone character alludes to the need to seek furry animals for making clothes.
300
救
救
874
キュウ
キュウ
Furry animal 求 hit by a weapon 攵
すく.う
to save 875
豕
Hog
豕
A pig, hog or the like, drawn vertically. The top line 一 represents the head and the lower part 𧰨, represents the body, the four legs and the curly tail.
豚
豚
Meat 月 of a hog 豕
トン ぶた
876
pork pig 877
㒸
Distributed hogs
㒸
Hogs (豕) distributed (八 ➝ 丷) through the population.
隊
隊
タイ
Hogs distributed in the mountains
878
regiment
Hogs distributed (㒸) along a mountain range (阜 ➝ 阝), referring 301
to the need to distribute food and other commodities in military camps located in the mountains.
墜
墜
879
タイ
ツイ
亥
亥
Soil 土 on which a regiment 隊 passes crash 880
Skeleton of a hog
ガイ
㊔
Framework
The skeleton of a hog. An earlier version of the current graph was 𧰧, which clearly is 豕 (pig) with fewer strokes: a pig without the flesh. The meaning of ‘skeleton of a hog’ has then been extended to mean any type of supporting structure, so to say, a ‘framework’.
骸
骸 該
該
ガイ
ガイ
ガイ
881
ガイ
882
Bones 骨 that make up a framework 亥 skeleton Speech 言 arranged in a framework 亥 aforementioned
302
劾
劾 核
核
883
ガイ
ガイ
Framework 亥 giving strength 力 denunciation ガイ
カク
象
象
884
Tree 木 skeleton 亥 kernel ➀ elephant
➀ ゾウ ➁ ショウ
885
➁ figure
An elephant depicted vertically. The upper strokes ⺈ represent the curved trunk, the central strokes 𫩏 represent the head and the lower part 𧰨 represents the four legs, the body and the tail, as the lower strokes in 豕 (hog). The second meaning of ‘figure’ probably derives from the fact that elephants were not common in ancient China—nor in contemporary China–, so the sight of such an animal was only possible for most people through mental or artistic figures.
Primitive version of the pictograph for ‘elephant’
303
像
像
ゾウ
ゾウ
為
為 SPECIAL READING
886
Person 亻 making a mental figure 象 image
イ
Hand grabbing a figure
887
deed
為替 [かわせ]: money order
Originally 爲 (爪 ), a hand grabbing (爪 ➝ 爫 ➝ 丶) a figure—or a elephant representing a figure—(象 ➝ 𤉢 ➝ ) in order to perform a new controlled action with it. 888
偽
偽
ギ いつわ.る
イ
Person 亻 grabbing a figure 為 to fake
にせ
馬
馬
889
バ うま
horse
Ⓡ
ま-
A horse depicted vertically. The head practically has been reduced to an eye (目) and the mane (三), while the four legs have become four dots (灬) and the tail a hook on the right (𠃌).
304
駄
駄 駅
駅 駒
駒 験
験 篤
篤
890
タ
ダ
Horse 馬 that is fat 太 packhorse 891
シャク
エキ
Horse 馬 travels measuring 尺 place station Horse 馬 whereupon sentences 句 are
892
made
こま
board game piece ケン
ケン ゲン
Horse 馬 examined by an authority 㑒 verification チク
トク
騒
ソウ
騒
さわ.ぐ
893
894
Horse 馬 hard and flexible as bamboo ⺮
serious Horse 馬 on which an outstretched hand 又 places insects ⾍ to make noise
305
895
能
能
896
Bear
ノウ
capability
An animal with large jaws (⺝), a small tail (厶) and legs that end in sharp claws (𫧇): a bear. The original meaning of ‘bear’ has been displaced by that of ‘capability’, a meaning which, although probably due to a phonetic loan, can be understood as an association to the extraordinary capabilities bears have compared to other mammals, such as the ability to hibernate for a long time or the ability to climb trees despite their heavy weight and large size.
態
態 熊
熊
タイ
くま
虎
虍虎
Capability 能 of the heart and mind 心
897
condition Bear 能 that can be cooked with fire 灬
898
bear 899
コ とら
tiger
Ⓡ
A tiger, drawn vertically. The head and the mouth with its fangs are depicted by ⺊ and 乛, the body and the tail are represented by the stroke 丿 and the legs by 七. 306
When acting as standalone character this glyph gets the component for “person” (人 ➝ ⼉) added below, ideographically referring to the threat posed by tigers to man.
Primitive version of the pictograph for ‘tiger’
虞
虞 慮
慮
Person subjugated 呉 to the mouth of
900
a tiger 虍
おそれ
anxiety Thoughts 思 arising from the リョ
901
encounter with a tiger 虍 consideration
虚
虚
Hill with tigers
キョ コ
903
to harass
キョウ
コ
A hill (斤 ➝ 业) inhabited by tigers (虍). The sense of ‘void’ understood initially, deducing by the ideograph, as ‘void of people’ because of the menace of the tigers.
307
虐
虐
903
ギャク
Tiger crushing a person
しいた.げる
to harass
Originally 䖈, a tiger (虍) pouncing on a person who is facing away from him (七 ➝ ).
兔
兔
904
rabbit
ト
㊔ 兎
A rabbit drawn vertically. The tip of the head is represented by ⺈, the prominent ears by the strokes 𫩏, the body and legs by ⼉ and the tail by the stroke 丶. When the character appears as a standalone (forming part of some names) it does so with the variant 兎.
角
角
➀ horn
➀ ➁ カク ➀ つの ➂ かど
905
Ⓡ
➁ angle ➂ corner
A sharp pointed and scaled horn of an animal. The tip of the horn is represented by the strokes ⺈, which are used identically to represent a sharped tip in other characters referring to animals such as 魚 (fish), 亀 (turtle) or 兔 (rabbit). The body of the horn proper is depicted by . The derived meanings of ‘angle’ and ‘corner’ come from the 308
angular shape of the horns. It should be noted as well that the word ‘corner’ itself comes from the Latin word cornu, which, indeed, means ‘horn’.
触
触
ショク さわ.る ふ.れる
⽜
牛牜
Horn-like 角 antennas providing the sense of touch to insects ⾍
906
to touch
ギュウ うし
Animal head with horns
907
Ⓡ
cattle cow
The head of a horned bovid, seen from the front. The strokes
represent the horns, the head proper is depicted by
the vertical stroke 丨 and the ears by the horizontal line 一. This character can be used to designate any kind of cattle, but in modern Japanese most commonly refers to ‘cow’.
Primitive version of the pictograph for ‘cattle’
件
件
ケン
Person 亻 dealing with cattle 牛 case
309
908
牧
牧 特
特
ボク まき
Owner of cattle 牜 that is hit with a weapon 攵 shepherd Cattle 牜 that moves forward and
牲
910
works well 寺
トク
special セイ
牲
909
Cattle 牜 that is alive 生 offered in セイ
911
religious services sacrifice
半
半
912
Distributed cattle
ハン なか.ば
half
Distributed (八 ➝ 丷) cattle (牛 ➝
), pieces of beef that are
distributed among the people by previously cutting the animal in two halves. 913
伴
ハン バン
伴 ともな.う
ハン
Person 亻 going along his other half 半
to accompany
310
914
⽺
Ⓡ
羊 ⺶𦍌
sheep
ヨウ ひつじ
Auspicious
A sheep's head seen from the front. The upper part, 䒑, is a schematization of the curved horns (originally most sheep had horns). The horizontal stroke in the middle, 一, represents the ears. The lower horizontal stroke 一 represents the snout and the vertical stroke 丨 represents the thickness of the face of the sheep. When this graph appears as a component it can do so in the variant ⺶ or, more commonly, in the reduced version 𦍌. The sheep is considered within the compendium of Chinese characters as an auspicious symbol. It seems that sheep were one of the preferred animals in ancient China (Shang Dynasty) for the sacrifice to the gods in prospects of good crops and fortune.
Primitive version of the pictograph for ‘sheep’
美
ビ
美 うつく.しい
Big 大 auspicious sheep 𦍌
beautiful
311
915
916
着
着
➀ ➁ Sheepskin ⺶ over the head and eyes 目 チャク ➀ to wear ➀ き.る ➁ to arrive ➁ つ.く
NOTE With regard to the second definition, ‘to arrive’, it can be interpreted as an auspicious prediction (羊 ➝ 羊) that is fulfilled and appearing before the eyes, arriving to the material world.
詳
ヨウ
ショウ
Speech 言 that is auspicious 羊
詳 くわ.しい 群
群 羞
羞
accurate 918
クン
グン むら
Mouth and a stick 君 guiding the sheep 羊
flock 919
チュウ
シュウ
Hand gripping 丑 a sheep ⺶ tightly
embarrassment Water 氵 accumulated like flocks of
洋
洋
917
ヨウ
sheep 羊
ヨウ
ocean western
312
920
羨
羨
セン うらや.む
Person spitting 㳄 to another person’s auspicious 𦍌 endeavours to envy ヨウ
様
様
ヨウ さま
921
Wooden logs 木 used to allow sheep 𦍌 to cross the water 氺
922
manner Mr.
鮮
セン
Meal of fish 魚 and lamb 羊
鮮 あざ.やか 善
善
fresh 924
ゼン
Auspicious words
よ.い
goodness
Originally 譱 [羊誩], several sayings (言×2 ➝ 誩 ➝ become auspicious (羊), something unequivocally good.
膳
膳
セン
ゼン
923
Served meat 月 that is good 善 dining tray
313
) that
925
敬
敬
Hand hitting a barbarian
ケイ
926
Menacing
うやま.う
to show respect
Originally 𢿩 [𦲆攴], a hand with a weapon (攴 ➝ 攵) threatening or menacing a leaning (勹) person who is related to sheep (羊 ≈ 芉 ➝ 艹) and pledges clemency with his mouth (口) The person related to the sheep makes a reference to the Qiang (羌), an ethnic group that was the barbarian archenemy of the peoples of the Shang Dynasty and they were said to be sheep breeders. The character that designates this ethnic group is, in fact, 羌, which represents a person (人 ➝ ⼉) under a sheep (羊 ➝ 𦍌).
警
警 驚
927
ケイ
Menacing 敬 speech 言
ケイ
admonition 928
ケイ
Menacing 敬 horse 馬
キョウ
驚 おどろ.かす 鹿
鹿
to surprise 929
しか か
deer
Ⓡ
A deer, seen from the side. The antlers on the top have been reduced to 亠. The head has been shrunk into the “eye” component (目 ➝ 罒 ➝ ), the left part of 314
the body has become 丿, and the four legs are represented by 比.
麓
麓
ロク ふもと
Place with groves 林 where deer 鹿 live
930
foot of a mountain
麗
レイ
Deer with exuberant horns
麗
うるわしい
magnificent
931
A deer (鹿) with particularly large and tall antlers (丽), symbol of elegance and magnificence.
薦
セン
Deer among the plants
薦
すす.める
to encourage
932
A deer running (鹿 ➝ 廌) among the grass (艹), a game which hunt can be encouraged. The component for “deer” (鹿) changes in this character the original strokes depicting the legs (比) for the element 灬, which better evokes the rapid movement of the animal’s legs by means of an analogy to the lower element of the character for “horse” (馬).
慶
慶
Deer standing still
ケイ
933
jubilation
A deer that, after running (鹿 ➝ 廌 ➝ ), remains at rest with its feet still (夂), rejoicing at the jubilation caused by the state of 315
calmness, enhanced by the component for “heart” or “feeling” (心).
316
3 | ANIMAL MANIPULATION Another very important function that animals provide is the supply of fur. Ancient people, in order to keep themselves warm in winter, needed to ‘catch’ an animal modify it with two hands clothes or other elements.
⾪
隶, remove its ‘skin’
皮 and
革 to use it in the form of ‘leather’
934
Hand holding the tail of an animal
隶
Ⓡ
Catch
An outstretched hand (⺕ ≈ 又) catching an animal by its tail (毛 ➝ ➝ 氺).
皮
皮
ヒ かわ
Hand removing the skin of an animal
935
skin
An outstretched hand (又) tearing off the skin (丨) of an elongated animal (⼚), probably a snake.
披
披
Hand 扌 holding the removed skin of ヒ
ヒ
an animal 皮 exposure
317
936
破
破
ハ
Stone 石 used to tear off the skin of an ヒ
animal 皮
やぶ.る
波
波
937
to rip 938
Skin of the water
ハ なみ
wave
ヒ
The skin (皮) of water (水 ➝ 氵), in reference to the surface of the water and the phenomena that occur in it.
婆
婆
ハ
バ
⾰
革
939
Woman 女 carried away by waves 波 old woman
カク かわ
Two hands removing the skin of an animal
940
Ⓡ
leather modification
Originally 𠦶 [ 𦥑], two hands ((𦥑 ≈ ⼶) → ⼞) stretching the skin of an animal to modify it and make it more malleable. The animal is schematically depicted by the element , which shows the head (廿), the body (丨) and the legs (一).
318
靴
靴
カ
カ くつ
Leather 革 that gets transformed 化 shoes
319
941
4 | SILK PRODUCTION A very interesting aspect of animal manipulation is the production of silk by the use of silkworms. Silk has a very important role in ancient Chinese culture and trade. Through the components related to silk it is possible to observe the entire production process of the said element, because different characters are used to depict the selection of small silkworm ‘cocoons’ extraction of their very ‘dim’ fibers silk ‘threads’
幺, the
玄, and the elaboration of
糸. 942
⼳
Silk cocoon
幺
Ⓡ
A pair of hanging silk cocoons.
A silk cocoon
幼
943
ヨウ
Strength 力 given by a cocoon 幺 infancy
幼 おさな.い
320
楽
楽
➀ ガク ➁ ラク ➁
Instrument made of wood and threads that produce a clear sound
944
➀ music
たの.しい
➁ enjoyable
Originally 樂 [𢆶白木], a musical instrument made of wood (木) and several strings of silk (幺×2 ➝ ) that emit a clear (白) and harmonious sound, an ideogram associated with music in general and, by extension, to pleasure and enjoyment. ガク
薬
ヤク
薬
くすり
⽞
玄
Plants 艹 that are enjoyable 楽
945
medicine
ゲン
Tiny thread of silk coming out of a cocoon
946
dim
A small thread starting to come out (亠) out of a silk cocoon (幺), a hardly visible, somewhat dim element. 947
率
率
➀ リツ
Silk threads being twisted
➁ ソツ ➁
➀ ratio ➁ to lead
ひき.いる
321
A silk cocoon (ㄠ) from which separate threads ( ) get twisted in an incessant movement ( ) in order to form strong threads for the textile industry, suggesting the importance of taking into account the proportion or ratio of virgin yarn to be used.
幻
ゲン
幻
まぼろし
Thread hanging a silk cocoon
948
illusion
A barely visible thin thread hanging from a silk cocoon. The almost transparent color of the thread evokes the midpoint between the visible and the invisible, the real and the unreal, the world of illusions. This character has a morphosemantic structure similar to the character 玄 (dim). 949
𢆶
Several silk cocoons
Several silk cocoons in a row (幺×2).
幽
幽
Silk cocoons inside a mountain
ユウ
950
confinement
A figurative ideogram that pictographically places several silk buds (𢆶) in the middle of a mountain (山), evoking the idea of something small confined within something much larger, 322
suggesting the scene of an ancient sage spending long periods of seclusion and isolation in the mountain.
兹
兹
Plant strands coming out of cocoons
ジ
951
Flourishing
Originally 茲 [卄𢆶], a metaphorical representation of the breakage of the chrysalis of silkworms that have emerged from their cocoons (𢆶) as if they were flourishing like plants (艹 ➝ 䒑).
慈
滋
Flourishing 兹 heart 心
ジ
慈 いつく.しむ 滋
952
ジ
to be affectionate (to) ジ
ジ
Water 氵 making plants flourish 兹 exuberant ジ
磁
磁
953
Stone 石 with a flourish 兹 ジ
954
porcelain magnet 955
糸
シ
thread
糸
いと
Tiny
Small threads (小) coming out of silk cocoons (ㄠ). 323
Ⓡ
As a component sometimes this graph may adopt the meaning of ‘tiny’ by semantic association. 956
絶
ゼツ
Color 色 becoming tiny 糸
絶
た.える
to die out
統
トウ
Threads 糸 being set aside 充
統
す.べる
to supervise
絞
絞 紋
紋 細
コウ しぼ.る し.める
ジュウ
958 コウ
Threads 糸 being mingled 交 to squeeze モン
モン
サイ ほそ.い
957
959
Writings 文 made by threads 糸 coat of arms 960
Tiny 糸 skull 田
slender
細 こま.かい
324
絹
ケン
絹
きぬ
紺
紺
Threads 糸 coming out of the mouth 口 of
961
a meaty ⺝ insect
silk Plant threads 糸 that are tasty to the
962
カン
mouth 甘
コン
dark blue
NOTE This character refers to woad plants, used to make tea, which give an intense color to the water. Such a color would be in a rather dark green tone, but it should be noted that in East Asia, traditionally, the same term (青) is used to denote both green and blue colors.
給
キュウ
給
たま.う
級
級 緊
緊
Thread 糸 tying what has been talked ゴウ
between two mouths 合 to be bestowed
964
キュウ
キュウ
963
Hand reaching 及 a certain thread 糸 rank Thread 糸 being passed by an outstretched
キン
hand through the eye
tight
325
ケン
of a needle
965
繁
繁
ハン
緩
カン
緩
ゆる.い
紫
シ
966
Tiny 糸 sensibility 敏 overgrown
967
エン
Thread 糸 that caresses 爰 loose 968
シ
Threads 糸 left behind 此
紫 むらさき
purple
NOTE Most probably referring to an unintentionally mixed dyeing color, the blend of red and blue, discarded and left behind because it was not the color originally intended.
総
総
Thread 糸 figuratively tying public ソウ
ソウ
feelings 忩 overall キ
紀
紀
969
Thread 糸 tying what circulates 己 キ
throughout time chronicle
326
970
紳
紳
シン
シン
971
Linking threads 糸 that get expanded 申
sir
NOTE Referring to social network available to the noble gentry.
糾
糾 線
線
キュウ
キュウ
シュウ
終
お.わる
経
twist 973
セン
a fountain 泉 line
終
経
Threads 糸 getting intertwined
Thread 糸 of clear water coming out of セン
972
➀ ケイ ➁ キュウ ➀ へ.る
Threads 糸 tight and frozen like the ice
974
トウ
of the winter 冬 to finish Thread 糸 slit along the diameter of a
975
ケイ
piece of clay that is being worked on 圣 ➀ to lapse ➁ sutra [Buddhism]
NOTE Among the many ancient ceramic objects found throughout East Asia one can find several ornamental marks made by the pressure applied on it with different types of rope. It is this type of artisan object to which this character alludes. 327
976
素
ソ
Single thread 糸 of a lush plant
素
ス
element
SPECIAL READING
純
純
素人 [しろうと]: amateur
トン
ジュン
977
Thread 糸 that is yet a sprout 屯 sheer
緒
ショ
緒
お
Thread 糸 on which an action is
978
シャ
performed 者 string 979
練
レン
Threads 糸 used to bind a backpack 東
練
ね.る
to elaborate
繕
ゼン
繕
つくろ.う
Thread 糸 tying something in a good ゼン
way 善 to mend
328
980
981
縄
ジョウ
Thread like a serpent
縄
なわ
rope
Originally [ 𦥑], two hands (𦥑) holding a serpent (⾍ ➝ ), manipulating it. The glyph later evolved into the form 黽 and then into . The character, thus alludes to a long, serpentine and malleable shape. Finally the component 糸 (thread) was added to reinforce the more concrete meaning of ‘rope’.
維
維
982
イ
Bird tied with a thread maintenance
A bird (⾫) whose legs are tied to a thread (糸) in order to be kept and prevent its flight.
縁
➀ エン
縁
➁ ふち
Thread tying a hog
983
➀ connection ➁ verge
A hand (⺕ ➝ 彐) tying a hog (豕) with a thread (糸) to keep it close.
系
系
984
ケイ
Binding made out of threads link
329
A knot (㇒) linking (糸) threads together. ケイ
係
➀ ➁ ケイ
係
➁ かかり
Person’s 亻 links 系
985
➀ correlation ➁ clerk
孫
➀ ➁ ソン
孫
➁ まご
Child that is linked
986
➀ descendants ➁ grandchild
Child or children (子) to whom one is linked (系).
県
縣県
987
ケン
Head hanging from a thread prefecture
A head turned upside down (首 ➝ 県) hanging from a knotted thread (系), scene indicating the display of a person punished with the death penalty, a symbol of dominance by force and, by extension, the symbol of a controlled territory: a prefecture. As a single character this glyph uses the abbreviated form 県.
懸
ケン
Feelings 心 that hang 縣
懸
ケ
suspension
ケン
330
988
索
索
Two hands pulling off a
989
thread
サク
search cord
Two hands (⼶ ➝ 冖) pulling threads (十小) from a silk cocoon (糸), either to search for its origin, or to form a cord.
显
显
990
Strands of silk being dried and shining under the sun
Originally 㬎 [日絲], several threads (糸×2 ➝ 𢇁 ➝ 业) drying and shining under the sunlight (日).
顕
顕
ケン
Thread-like hairs shining 显 over the head 頁
991
manifestation
湿
シツ
Water 氵 covering dried strands of silk 显
湿
しめ.る
wet
992
993
𤰔
Tied thoughts
Head (囟 ➝ 田) whose thoughts are bound and interrelated by a 331
knot of a figurative cord (十).
専
専
Hand working 寸 along tied thoughts 𤰔
994
speciality
セン
exclusive
恵
恵
ケイ エ
995
Heart tied to thoughts to bless
めぐ.む
Thoughts tied to (𤰔) feelings (心), or vice versa, indicating an optimal congruency and a sense of blessing.
穂
スイ
穂
ほ
Part of a prosperous plant 禾 that is blessed 恵
ear (of a plant)
332
996
REVIEW ON ANIMALS
卵⾍蜀属⿂再冓亀⾫雄焦集 奞 蒦⿃島⽻翟⾶⾮ 1
蚕蛮蚊蜂濁嘱漁講溝構携唯誰雅推 隻雌准堆催椎稚礁奪歓観勧権護穫 鳴鶏翌翼翁習躍曜濯俳悲排
⽝猟臭然黙類⾘貌貇求⾗㒸 隊亥象為⾺能虎虚虐兔⾓⽜ 半⽺善敬⿅麗薦慶 2
3
伏犯狭独獲獄嗅燃懇墾救豚墜骸該 劾核像偽駄駅駒験篤騒態熊虞慮触 件牧特牲伴美着詳群羞洋羨様鮮膳 警驚麓
隶⽪波⾰ 披破婆靴
333
幺楽⽞率幻𢆶幽兹⽷縄維縁 系孫県索显𤰔恵 4
幼薬慈滋磁絶統絞紋細絹紺給級緊 繁緩紫総紀紳糾線終経素純緒練繕 係懸顕湿専穂
334
THE MATERIAL REALM
335
THE MATERIAL REALM If we understand culture as the manifestation of the collective intellectual achievements of a society, we can find among the objects manufactured by man, one of the first cultural manifestations, and that is the topic the material realm is about. Artificial objects, made by men, vary greatly in form and complexity, and also in degree of appreciation and consideration. Such consideration is usually measured by the material in which the object in question is made. Objects made of wood or bamboo have a lesser consideration and are usually relegated to everyday use. On the other hand, metal objects—bronze in the period when Chinese characters were developed—were held in high esteem and were reserved for special uses. The consideration for the objects also depends on their functionality, since there are tools that are indispensable for the expansion of a domain or territory, such as counting tools, monetary tools and, above all, work tools. Also, vessels are especially important, since they were key in the various religious rituals of the Shang dynasty. Different types of objects, tools and vessels take prominence within Chinese characters and can be grouped within the material realm, which is divided into the following groups: Characters used to represent everyday objects, characters used to represent tools, and lastly, characters used to represent vessels.
EVERYDAY OBJECTS
1. Wooden Objects 2. Bamboo Objects 3. Cloths
TOOLS
VESSELS
1. Counting Tools 2. Monetary Tools 3. Work Tools 4. Nets and Baskets
1. Food and Drinking Vessels 2. Bags and Boxes 3. Plates and Trays 4. Boats
336
THE MATERIAL REALM AT A GLANCE EVERYDAY OBJECTS
TOOLS
337
VESSELS
EVERYDAY OBJECTS 1 | WOODEN OBJECTS One of the most basic materials for the production of everyday objects is wood, which is easy to obtain and malleable. The most basic wooden object is certainly the ‘stick’ 丂, because a stick can simply be a branch ripped from a tree. But in spite of their simplicity, sticks can be used to create very complex things, because if there is some ‘talent’ involved, with several upright sticks
才 even buildings can be erected. Common furniture such
as ‘stools’ ⼏ or tables 片 are also just elaborated big ‘pieces’ of wood. With small pieces of wood, on the other hand, it is possible to make kitchen utensils such as ‘ladles’ ‘pestles’
斗 and
午. But wood can, ‘moreover’, be elevated to the
spiritual realm, for with it ‘altars of sacrifice’ religious rituals were made.
丂
且 used in
997
Ⓡ
Stick
コウ
A slightly curved wooden stick. The upper stroke 一 represents the handle and the lower strokes ㇉ are a deformation of the stick as such.
338
号
号
998
コウ
ゴウ
朽
キュウ
朽
く.ちる
Words 口 made by a stick mark Tree 木 from which sticks
コウ
999
fall off
to decay 1000
考
考
コウ かんが. える
Old man with a walking stick
to ponder コウ
An old man (老 ➝ 耂) leaning on a walking wooden stick (
➝ ),
representing a stereotyped sage who devotes much of his time thinking and pondering. This graph is actually a cognate of the character 老 (old man), in which the walking stick is represented by the strokes 匕. The component 丂 (stick) was later added redundantly to the present character to differentiate it from the glyph previously mentioned.
拷
拷
コウ
ゴウ
1001
Hand 扌 making people ponder 考 torture
可
可
1002
Sticks and words
カ
able 339
Words (口) and sticks (
コウ
➝
) acting together, the power of
speech and the power of weapons, a symbol of the ability or complete capacity to act.
歌
歌 河
河 苛
苛
1003
カ
カ
Great ability 可×2 to exhale air 欠
うた.う
to sing 1004
カ
カ かわ
Water 氵 able to 可 run free waterway 1005
カ
カ
Plants 艹 able to 可 grow free torment
NOTE Originally it referred to the weeds that grow uncontrollably. Ultimately the meaning derived into anything uncontrollable that produces discomfort and torment.
何
何
カ なに なん
Person carrying a stick on his shoulder
1006
what
Originally 仃, a person (人 ➝ 亻) carrying a stick (
コウ
➝
) on his
shoulder, evoking the scene of someone who comes out, armed, behind the track of something or someone who has caught his attention and whose intention is to discover ‘what’ it is the thing that has aroused his interest. 340
Over time the character turned its original pictographic component カ
(stick) into the component 可 (able) due to its graphic and phonetic correspondence, giving rise to a possible ideographic association with the scene of a person (人 ➝ 亻) armed with a stick (丂 ➝ ) asking with his mouth (口) what has caught his attention.
荷
カ に
荷
Plants 艹 carried in a bundle tied to a
1007
カ
stick about which a mouth asks 何 load 1008
奇
キ
奇 Originally
Person on top of a stick unusual
, a person (大) on top of a stick (
コウ
➝
) balancing, a
somewhat unusual sight for the ancient man. Over time, in a process similar to that of the character 何 (what), this glyph saw its component
カ
(stick) transformed into 可 (able)
due to a phonetic association,
埼
埼
1009
さい
Earth formation 土 that is unusual 奇
PLACE NAME USAGE
promontory 埼玉 [さいたま]: Saitama
341
崎
崎 椅
椅
1010
さき
Mountain 山 that is unusual 奇 headland キ
イ
1011
Wooden object 木 that is unusual 奇 chair
NOTE Chairs were in fact a very rare object in ancient China and the rest of East Asia.
騎
騎
Horse 馬 controlled by a person on top
1012
キ
of it 奇
キ
horseman
才
才
Lifted sticks
1013
Upright
サイ
talent
Several wooden sticks (一㇒亅) placed vertically, upright on the ground, indicating the beginning of the construction of a building made of wood. The meaning of ‘talent’, if literally understood, refers to the much appreciated and necessary ability to erect buildings. This meaning can also be analyzed in a more metaphorical way, in the sense of the ‘talent’ required to raise—start—and maintain—continue—any kind of enterprise. In some compounds, the glyph 才 becomes 342
.
存
存
ソン ゾン
Upright
サイ
1014
child 子
existence 1015
在
ザン
在
あ.る
Standing upright
サイ
on the soil 土
to be at サイ
Wood 木 from which several sticks 才
材
材
1016
are obtained
ザイ
timber material 1017
Flaming flag attached to a pole
Ⓡ
An upright wooden stick (才 ➝ 方) to which a flag fluttering in the wind ( ) is attached.
施
シ セ
施 ほどこ.す
チ
Flags
1018
that are spread 也 to perform
NOTE It refers to the flags displayed in military campaigns, implicitly indicating the performance of military activities and conquests. 343
旅
旅
1019
リョ たび
People carrying a flag travel
Originally 𣃨 [ 从], several people (人×2 ➝ 从 ➝ 𧘇 ➝ ) carrying a flag fluttering in the wind ( ) on a military expedition. 1020
主
主
➀ ➁ シュ ➁ス ➀ おも ➁ ぬし
Wooden beam ➀ main ➁ lord
A beam (亠) made of wood (木 ➝ 土) supporting a roof. The meaning of this character comes from the structural function of beams, that of supporting the roofs under which people live. From this meaning derives both the notion of ‘main’—because beams are the main supporting element of roofs–; and that of ‘lord’, referring to the owner of a house, since it is the owner who ‘supports' the household.
シュ
住
ジュウ
Person 亻 under wooden beams 主
住
す.む
to dwell
344
1021
注
注 柱
柱 駐
駐
チュウ
Water 氵 seeping through wooden
1022
シュ
beams 主
そそ.ぐ
to pour Vertical tree 木 with an architectural
1023
シュ チュウ はしら function like that of a wooden beam 主 pillar
シュ
チュウ
⼏
几
1024
Horse 馬 under wooden beams 主 stop-over 1025
Stool
キ
A wooden stool in an upright position. The upper stroke 一 represents the seat and the lower strokes ⼉ the legs.
肌
肌
1026
はだ
Meat 月 on a stool ⼏ (human) skin
345
机
机
キ
キ つくえ
処
処
1027
Wooden object 木 similar to a stool 几 table 1028
ショ
Person sitting still on a stool
location
A person sitting on a stool (⼏) and staying still (夂) on it, implicitly pointing out the constant position in a certain place.
拠
拠
ショ
キョ コ
1029
Hand 扌 placed on a certain location 処
basis 1030
殿
殿
テン デン との どの
Person sitting on a high stool and holding a weapon palace
Originally 𣪍 [ ⽎], a person sitting (尸) on a stool of a height equivalent to two stools (⼏ 2 ➝
➝ 共)—a throne—and holding
a weapon (⽎), making a clear reference to a ruler or a king. The meaning of ‘king’ subsequently became that of the ‘residence of the king’ or ‘palace’.
346
片
片
1031
Table
ヘン かた
Ⓡ
piece
A table depicted vertically, made with several pieces of wood put together. The vertical stroke 丿 represents the surface, and the strokes of the right, 丄 and 𠃍, represent the legs.
状
版
Piece of wood 片 being pressed against
1032
ハン
反 paper
ハン
printing
丬
丬
1033
Table
ショウ
Pieces
Originally 爿, a table represented vertically, made with several pieces of wood. The vertical stroke 丨 depicts the surface, and the lateral strokes 冫 the legs. This component is simply a mirrored version of the glyph 片 (table), and as such its meaning can also refer to ‘pieces’. The inverted position of the graph serves to mark out a different phonetic value (ショウ).
347
状
状
ショウ
ジョウ
Animal 犬 being examined on a table 丬
state of things 1035
Two hands taking a piece
将
will
ショウ
将
1034
(a) general
Two hands grabbing (爪 ➝ 爫) and working (寸) with several ショウ
pieces of wood (丬), representing the ‘will’ to build something. The meaning of entrepreneurial will later went on to mean also ‘leadership’ and, finally, ‘leader’ or ‘general’.
奨
奨
ショウ
ショウ
⽧
1036
Big 大 will 将 urge 1037
Person lying on a bed
疒
Ⓡ
Illness
A table (丬) with a person on his back (匕 ➝ 亠) lying on it, representing convalescence and illness.
348
痕
痕 疫
疫
コン
コン あと
エキ ヤク
ソウ
痩
や.せる
療 瘍
瘍 疲
Illness 疒 that remains still 艮 scar 1039
痩
療
1038
Illness 疒 striking like a weapon ⽎ epidemic Illness 疒 burning a person like a torch
ソウ
to get thin Person lying on a bed 疒 next to a
リョウ
1040
1041
リョウ
bonfire 尞 cure Illness 疒 that makes skin shine like
ヨウ
1042
ヨウ
sun rays 昜 ulcer ヒ
ヒ
疲 つか.れる
Illness 疒 felt on the skin 皮 to get tired
349
1043
Hand holding a ladle
⽃
ト
斗
1044
Ⓡ
ladle unit of volume [~18 l]
Originally 𣁬, a ladle (
➝
) grasped by a hand (又 ➝ 𠂇 ➝ ㇀).
A bronze ladle from the Shang dynasty, called ‘dui’ (斗)
料
料 科
科 斜
斜
Rice 米 taken with a ladle 斗 リョウ
1045
foodstuff charge 1046
カ
シャ なな.め
Tree fruits 禾 taken with a ladle 斗 science Image of food remains 余 taken with a ladle 斗 slantwise
350
1047
勺
勺 A ladle (
1048
シャク
Ladle with food inside
➝ 勹) with food (丶) inside.
的
テキ
的
まと
White rice grains 白 to which a ladle シャク
勺 is directed aim
Thread 糸 tying a ladle with food
約
約
1049
1050
シャク
inside 勺
ヤク
promise approximately
NOTE In reference to the promise—binding—of food or salary in exchange for servitude or work.
升
升
ショウ ます
Hand holding a ladle with food inside
1051
unit of volume [~1.8 l]
A hand holding a ladle with food inside. This character has visibly suffered a major distortion of strokes. The strokes ㇀, 丿 and 丨 (勺 ➝ ) represent the ladle with
351
contents inside and the horizontal line 一 represents the outstretched hand (𠂇 ➝ 一).
昇
昇
ショウ
Hand rising a ladle with food inside ショウ
升 up to the mouth 曰
のぼ.る
与
与
1052
to rise
ヨ あた.える
Two hands giving a ladle with food inside to two receiving hands
1053
to give
Two hands delivering a ladle with food to two receiving hands. This character suffered an abrupt process of simplification. The original form of the character was 𦥸 [𦥑 ⼶], which is made up of two hands (𦥑 ≈ ⼶) holding a spoon with food inside turned upside down (勺 ➝ ) that is delivered to two other receiving hands (⼶). As a solo character, the graph was simplified into the form 与, in which only the inverted spoon ( ) and the two receiving hands (⼶ ➝ 一) are reflected. On the other hand, when the character acts as a component, it takes another simplification: 兴, in which the simplified giving hands can be seen in the form ⺍ (𦥑 ➝ ⺍), the inverted spoon is turned into a horizontal line 一 ( ➝ 一) and the two receiving hands have become the strokes ハ (⼶ ➝ ハ).
352
誉
誉
ヨ
ヨ
Speech 言 following givings
ほま.れ
挙
キョ
挙
あ.げる
串
串
1054
praise Hand 手 rising a giving
ヨ
1055
to elevate 1056
skewer
くし
A wooden skewer (丨) with several pieces of meat stuck in it (吕).
患
1057
カン
Heart 心 pierced by a skewer 串
患 わずら.う 午
午
to suffer 1058
Pestle
ゴ
noon
A primitive hammer-like big pestle made of wood, with the head represented by the strokes and the body by 丨, with the horizontal stroke 一 marking its thickness. The meaning of ‘noon’ is given because from ancient times this character was taken to indicate the double hour that goes from 11 am to 1 pm. The selection of this character for the time period may
353
be due to the relationship between noon time and cooking, for which the use of a mortar and pestle was often necessary.
Hammer-like pestle
許
許
キョ
Speech 言 accompanied by a strong
1059
ゴ
pounding of a pestle 午
ゆる.す
to permit 1060
⽸
缶
Mortar and pestle
カン
tin can
A pestle (午) on a mortar (凵). This pictogram was originally used to represent a mortar, but later it started to designate any type of food container and, finally, tin cans.
陶
陶
Leaning person 勹 making a tin 缶 out トウ
of the clay from the mountains阝 pottery
354
1061
䍃
䍃
1062
ヨウ
Hand hitting a mortar with a pestle
A hand grabbing (爪 ➝ 爫) a pestle (午) used to pounder the mortar (凵).
謡
謡 揺
揺
Speech 言 made along the rhythm of ヨウ ヨウ うたい the pounding of a mortar and pestle 䍃 chanting
ヨウ ゆ.れる
卸
卸
Hand 扌 pounding a mortar with a
1063
1064
ヨウ
pestle 䍃 to waver
おろし
Person using a mortar and a pestle
1065
wholesale
Originally 缷 [缶卩], a kneeling person (卩) grinding grain with a mortar and pestle (缶 ➝ ) in order to sell it wholesale. It is very likely that the transformation of the component 缶 into is due to a deliberate addition of the component 止 (to stop), to specify or emphasize that the grain has stopped being ground and is therefore being sold.
355
且
且
1066
ソ
Altar of sacrifice
か.つ
moreover
A small wooden altar (𠀃) with several shelves inside (二) used to deposit various sacrificial items. The meaning of ‘moreover’ derives from the fact that ancient Chinese religious practice always required, after consultations or requests to the gods, to perform, in addition (‘moreover’) to the rites and prayers, various sacrifices in order to please the gods and, thus, get good results.
助
1067
ソ
ジョ
Sacrifices 且 providing strength 力
助 たす.ける 阻
ソ
阻
はば.む
査
査
to assist Mountain range 阝 int he middle of
1068
ソ
altar of sacrifices 且 to thwart Wood 木 used in the making of an
1069
ソ
サ
altar of sacrifice 且 revision
NOTE It refers to the periodic review of the condition of the wood of a sacrificial altars to keep them always pristine for the gods.
356
租
租 粗
粗 狙
狙
Part of the prosperity 禾 given as a
1070
ソ
ソ
sacrifice 且 tariff
ソ
Rice 米 used in sacrifices 且
あら.い
coarse
ソ ねら.う
1071
ソ
1072
ソ
Animals 犭 used for sacrifices 且 to be after (something)
NOTE When the purpose of religious prayers was of considerable importance, the use of sacrificial animals was required. ソ
繕
ソ
組
く.む
Thread 糸 tying altars of sacrifice 且 together to assemble
357
1073
2 | BAMBOO OBJECTS Bamboo stems are used in East Asia as a resistant wood-like material. The most important bamboo objects of ancient China were undoubtedly the ‘books’ 冊, which were made in ancient times of bamboo strips tied to each other. From the layout of these bamboo books derives the traditional way of writing the Chinese characters from top to bottom and also their square proportion.
冊
冊
1074
Bamboo slips
サツ サク
volume of a book
Several bamboo strips, placed in an upright position and tied together, on which Chinese characters were written: a primitive form of the books of ancient China. The vertical lines 𦉫 represent the edges of the bamboo strips and the horizontal line 一 the string that holds them together.
Book made of bamboo slips
358
嗣
嗣 柵
柵
Words 口 deposited in a book 冊 by a
1075
シ
governor 司
ツ
heirdom Wooden 木 stakes arranged like
1076
サク
bamboo slips 冊
サク
palisade
侖
侖
1077
ロン
Someone talking through a book
A book (冊) used to convey a speech, a book that speaks to people (亼).
倫
倫 論
論
Person’s 亻 behavior talked about in a
1078
ロン
book 侖
リン
ethics ロン
ロン
Speech 言 based on books 侖 argument
359
1079
典
典
1080
テン
Two hands holding a book code
Two hands (⼶ ➝ ハ) holding and lifting a book (冊 ➝
) to show
what is written in it, meaning that it is a law or code that must be referred to.
傘
傘
1081
サン かさ
umbrella
An umbrella composed of a handle ( ), bamboo stripes (𠈌) and a sunshade ( ).
A woman with a bamboo umbrella
360
3 | CLOTHS The textile industry is one of the backbones of every sedentary society, since clothing is an indispensable tool for survival in certain climatologies. The existence of a large-scale textile production system has a direct impact on the economy and development of any society and it allows it to expand. One of the first textile manufacturing tools to be found in ancient societies is the loom with which ‘cloths’ are made are produced, any kind of ‘clothes’ made.
⼱
巾
キン
巾, and then, once fabric 衣 or ‘hats’
冃 can be
Threads hanging from a loom
1082
Ⓡ
cloth
Threads (丨) coming out of a loom (冂), a part of the textile production process.
Woman working with a thread hanging from a loom
361
帳
帳
1083
チョウ
Long 長 cloth 巾
チョウ
notebook
NOTE Initially it referred to a type of cloth that was hung in public places and had announcements or mandates written on it. 1084
スイ
帥
帥 幕
幕
Person leaving footprints スイ
and
carrying a cloth 巾 flag commander 1085
バク
バク マク
布
布
Cloth 巾 that hides 莫 things curtain
フ ぬの
1086
Hand holding threads coming out of a loom fabric
An outstretched hand (又 ➝ 𠂇) working with the threads that come out of a loom while creating fabrics (巾).
怖
怖
フ
フ
Heart 忄 squeezed like a piece of fabric 布
こわ.い
fearful
362
1087
希
希
Fabric with visible interweaving
キ
1088
exceptional
A cross (㐅) woven fabric (布), a fine and presumably high quality fabric, an exceptional one. 1089
帛
White fabric
帛 A piece of white (白) fabric (巾).
綿
綿
1090
メン わた
帚
Threads 糸 that make a white fabric 帛
cotton 1091
Hand holding a broom
A cloth (巾) attached to handle (冖) that can be held by an outstretched hand ((⺕ ➝ ) ≈ 又). A representation of a rudimentary broom.
婦
婦
1092
フ
Woman 女 holding a broom lady
363
掃
掃
1093
ソウ
Hand 扌 handling a broom
は.く
敝
敝
to sweep 1094
ヘイ
Cloth beaten with a club Rags
Cloths (巾) that have been beaten with a club (攵) and therefore have been torn and become rags. The worn-out state of the cloths (巾), which have been drilled with holes ( ).
弊
弊 蔽
ヘイ
1095
ヘイ
1096
Cloths turned into rags 敝 by two ヘイ
hands ⼶ breakage Plants 艹 that are ragged 敝 and used
ヘイ
as camouflage cover ヘイ
幣
幣
Ragged 敝 cloths 巾 ヘイ
1097
cash shinto paper streamers
NOTE This character originally referred to any kind of worn-out or ragged cloth, then it started to implicitly denote cloths worn out by some type of writing made in it. After that, ‘ragged cloths’ 364
started to be associated also with ragged paper and, finally, the sinogram adopted both the meaning of ‘cash’ (as paper money), and that of ‘paper streamers’ used specifically in the offerings of the Japanese Shinto religion.
Shinto streamer, called ‘shide’ (紙垂), folded in the traditional way
爾
爾尓
ジ
Cloths being embroidered on a loom
1098
㊔
thou
Threads of cloth hanging from a loom (巾) with an advanced mechanism (丅) capable of distributing (八 ➝ ハ) those threads and intertwining them (㸚) in different ways so that the new fabric shows different patterns and embroidery. In some compounds this character adopts the simplified version 尓.
称
称
ショウ
Prosperous 禾 products that are embroidered 尓
1099
reputation appellation
NOTE This glyph was originally associated with the meaning of reputation or renown, since some precious object is something of renown, something whose name is known by many people or, as 365
the English expression goes, something that has its name in lights. This notion of reputation associated with name made the meaning of the ideogram finally derive into the more prosaic concept of ‘naming’ or ‘appellation’.
繭
繭
ケン まゆ
Threads spun by insects among the plants from which cloths can be made
1100
cocoon
A natural container made by threads (糸) formed with the saliva of an insect (⾍) that is found among plants (艹) and from which the material to produce fabrics (巾 ➝ ) can be extracted.
衣
衣 衤
1101
garment
イ ころも
Ⓡ
clothes
Originally 𠅃, a top garment with an open collar (亠), sleeves and a junction in the chest area (从 ➝ 𧘇). When this character acts as a component it can take, in addition to the standard form 衣, two additional forms: The simplification 衤 when the component is placed to the left, or the distortion , which separates the parts 亠 and 𧘇 to leave a space in the center where a new component is placed.
366
Traditional Chinese garment
依
依 褒
褒 褐
褐
1102
イ
イ エ
Person 亻 and his clothes 衣 reliant 1103
ホ
ホウ
Clothes
used for protection 保
ほ.める
カツ
to extol Clothes 衤 that look threatening
1104 カツ
brown
NOTE Brown clothes are here understood as dirty and worn-out clothes, clothes worn by someone who can be intimidating or threatening.
袖
袖
ショウ そで
Part of a garment 衤 often reaching the ユウ
mouth 由 sleeve
367
1105
ヒ
被
Clothes 衤 on the skin 皮
➀➁ヒ ➁
1106
➀ quilt
被 こうむ.る
➁ to endure 1107
表
表
Fur on a garment
➀➁ ヒョウ
➀ surface
➀ おもて ➂
➁ chart ➂ to display
あらわ.す モウ
Originally 𧘝 [ 毛], the fur (毛 ➝ ) that is left visible on a fur garment (衣 ➝ 𧘇), the ‘surface’ of it.
俵
俵
ヒョウ たわら
Person 亻 looking like if he was
1108
ヒョウ
wearing garments full o fur 表 straw bag
NOTE It is the image of a man carrying a bale of straw on his back, making him look like a hairy beast.
People carrying straw bags on their backs
368
1109
カイ
Crying baby covered in clothes
Originally 褱 [ ], clothes (衣 ➝ ➝ ) covering a baby with watery (水 ➝ 氺 ➝ ➝ 亠) eyes (目 ➝ 罒).
Feelings 忄 caused by a crying baby
懐
懐 壊
壊
1110
➀ カイ covered in clothes カイ leaning on the ➀ なつ.かしい bust ➁ ➀ dear ふところ ➁ bust 1111
カイ
Soil 土 left with babies crying
こわ.す
衰
衰
カイ
to destroy スイ おとろ. える
1112
Clothes made of bamboo to weaken
Originally 𧜸 [ ], clothes (衣 ➝ ) made of bamboo (竹 ≈ ➝ ), in reference to a kind of raincoat made with bamboo strips (簑), which was characterized by rapid deterioration.
369
Representation of the deity Saonetsuhiko wearing a bamboo raincoat
1113
卒
卒卆 SPECIAL READING
ソツ
Garment tied with a belt finish
何卒 [なにとぞ]: please
A top garment (𠅃 ← 衣) tied at the bottom with a belt (十), the garment finally worn and fitted, indicating the end or ‘finishing’ of the dressing process. When this character acts as a component it takes the simplified form 卆.
Traditional Chinese garment tied with a belt
370
砕
砕 枠
枠 粋
粋
ソツ
サイ
Stone 石 finished 卆 in pieces
くだ.く
to smash
1114
1115
わく
スイ いき
Wood structure 木 that is finished 卆 frame Rice 米 whose elaboration process is
1116
ソツ
finished 卆 refined
雑
雑
1117
ザツ ゾウ
Clothes made of bamboo miscellaneous シュウ
Originally 襍 [衤集], a gathering (集) of different clothes (衣 ➝ 衤) combined. This character finally took, over time, the variant 雜 [𠅃 木⾫], in which the element for “clothing” (衤 = 衣) becomes 𠅃— as in the character 卒 (finish)—and the element for “collection” (集) is divided into two parts (木⾫). Eventually, this form of the character was simplified into the current glyph 雑, where the element 𠅃 has became 九.
乍
乍
1118
Folded clothes
サ
371
The pointed fold of the collar of a top garment, the place where the two wrapping parts meet. Although the contemporary form of the character diverges a lot from the original pictogram, in the strokes one can see the pointed edge of the collar, and in the strokes lining.
its inner decorative
Collar of a traditional Chinese garment
サ
作
作 詐
詐
サ サク
Person 亻 folding clothes 乍 that have
つく.る
been just made to make Speech 言 made while covering the
サ
昨
1120
サ
mouth with one’s folded clothes 乍 deception サ
昨
1119
Sun 日 covered with folded clothes 乍 サク
SPECIAL READING
yesterday previous 昨日 [きのう]: yesterday
372
1121
1122
冃
Hat
A kind of traditional hat whose brim descends slightly towards the eyes. This character currently adopts the squashed form compounds and is placed on top of them.
in the
1123
冒
ボウ
Hat covering the eyes
冒
おか.す
to risk
The brim of a hat (冃 ➝ ) completely covering the eyes (目), hindering visibility and putting the person at risk.
帽
帽
ボウ
ボウ
曼
曼
1124
Cloth 巾 worn over the eyes 冒 headgear
1125
マン
Hand putting a cover over the eyes
An outstretched hand (又) covering the eyes (目) with a hat (冃 ➝ ).
373
慢
慢 漫
漫
1126
マン
Feelings 忄 being covered 曼
マン
ridicule マン
1127
Uncontrolled fluids 氵 being covered 曼
マン
unrestrained 1128
最
サイ
Hand taking off a hat
最
もっと.も
utmost
シュ
A hand taking (取 ➝
) a hat (冃 ➝
) off the field of vision of the
eyes, thus allowing the utmost clairvoyance.
撮
サツ
撮
と.る
Hand 扌 taking off a cover over the サイ
eyes and ears 最 to take pictures
374
1129
REVIEW ON EVERYDAY OBJECTS
丂考可何奇才㫃旅主⼏処殿 ⽚丬将疒⽃勺升与串午⽸䍃 卸且 1
2
号朽拷歌河苛荷埼崎椅騎存在材施 住注柱駐肌机拠殿版状奨痕疫痩療 瘍疲料科斜的約昇誉挙患許陶謡揺 助阻査租粗狙組
冊侖典傘 嗣柵倫論
3
⼱布希帛帚敝爾繭⾐表 衰卒 雑乍冃冒曼最 帳帥幕怖綿婦掃弊蔽幣称依褒褐袖 被俵懐壊砕枠粋作詐昨帽慢漫撮 375
TOOLS 1 | COUNTING TOOLS The prosperity of a given society is directly determined by its technological development, for which a series of tools is vital. Among those tools there are abstract counting tools, which lay the foundations for any kind of calculation that would become indispensable to develop more advanced technologies. The first counting tools that appeared in the Yellow Valley were a kind of counting rods. If those rods were placed horizontally
一, they
indicated the ‘units’, and if they were placed vertically indicated the ‘tens’.
十, they
1130
イチ イツ
⼀
一
Counting rod
Ⓡ
one
ひと.つ
❶ 一人 [ひとり]: one person / ❷ 一日 [ついたち]: first day of the month / ❸ 一昨日 [おととい]: the day before yesterday SPECIAL READINGS
A counting rod, such as those of the positional numeral system that was used for counting in ancient China, where each rod represented a unit.
376
百
百
1131
Clearer counting rod
ヒャク
hundred
A counting rod (一) that has its positional value multiplied to represent a larger amount, an amount that, being larger, is more ヒャク
“clear” (白). 1132
⼆
ニ
Two counting rods
二
ふた.つ
two
SPECIAL READING
二人 [ふたり]: two people
Two counting rods (一×2) representing two units.
仁
仁
ジン ニ
Characteristic of the people 亻 shared
1133
ニ
between two of them to 二 humanity 1134
三
サン
Three counting rods
三
み.つ
three
Three counting rods (一×3) representing three units.
377
1135
⼗
十
Ⓡ
ジッ ジュウ と とお
SPECIAL READING
Thick rod ten
二十日 [はつか]: twentieth day of the
month Originally 丨, a counting rod placed vertically, placed perpendicularly to the horizontal rod representing the units (一), in order to show the end of the units’ positional value and the beginning of the tens. In one of the rod numeral systems used in ancient Asia, the units were represented as follows: 𝍠 (1), 𝍡 (2), 𝍢 (3), 𝍣 (4), 𝍤 (5), 𝍥 (6), 𝍦 (7), 𝍧 (8), 𝍨 (9); and the start of the tens was represented by the change of orientation of the counting rod: 𝍩 (10), 𝍩𝍠 (11), 𝍩𝍡 (12), etc. Over time the transcription of the vertical counting rod for the tens (丨), began to be written with greater thickness than the horizontal rod, probably to reinforce the new singularity of the tens and the concept of ‘ten’ as an independent number or quantity rather than just a positional value. The thickness of the vertical line finally, as in so many other characters, became linearized with the addition of a horizontal line (一). This concept of ‘thick rod’ is adopted by some compounds in which this glyph appears as a component.
378
計
計
ケイ
Sayings 言 about results given by thick counting rods 十
はか.る
to measure
SPECIAL READING
協
協
時計 [とけい]: clock キョウ
キョウ
汁 準
準
ジュウ しる
1137
Ten 十 arms acting together 劦 cooperation ジュウ
汁
1136
Fluid 氵 prepared with a thick rod 十
1138
soup juice Water 氵 level at a depth of a thick rod 十
ジュン
1139
in which a bird ⾫ can touch the bottom
level 1140
千
セン
Ten people reproducing
千
ち
thousand
A person (人 → 亻) crossed by a horizontal line that forms the character for “ten” (十). It is very likely that this glyph is a modification of the character 人 (person) adapted to mean ‘thousand’ through a phonetic borrowing. 379
In any case, it can be interpreted ideogrammatically by using the concept of multiplicity and associating it with that of reproduction, insofar as an initial group of ten people can end up becoming a clan or tribe of a thousand people.
年
年
1141
Fruits reproducing
ネン とし
year
Originally 秊 [禾十], a thousand (千) fruits (禾), or a large quantity of fruit being reproduced over time, in reference to the annual harvest and planting cycles. This character has been considerably simplified over time and its original strokes have become intermingled. First, the two upper strokes of the component 禾 became the element and then the lower oblique lines of 禾 became a straight, united line, thus giving rise to the form . Later, that form was simplified into —with the center line shortened–, and finally it developed into the current form 年, in which the central line has ended up in a vertical position to facilitate the fluidity of writing between strokes.
古
古
コ ふる.い
Words passing through ten mouths
1142
old
Words that have gone through ten (十) mouths (口), words that have been repeated many times since olden times, words that speak of something old.
380
克
克 故
故
コ
Person ⼉ that is old 古
コク
overcoming 1144
コ
コ ゆえ
1143
Old times 古 coming as a blow 攵 happenstance
NOTE A reference to indirect causality, in the sense that past actions affect present events. 1145
湖
湖
コ
コ みずうみ
Water 氵 that is an old 古 body 月 lake コ
苦
ク にが.い
Plants 艹 that are old 古 bitter
苦 くる.しい 枯
枯
painful コ
コ
Tree 木 becoming old 古
か.れる
to wither
居
居
1146
キョ い.る
Person sitting on a place since an old time to stay 381
1147
1148
コ
A person sitting (尸) in the same place since old times (古), a person who stays in a certain place.
据
据 裾
裾
1149
す.える
Hand 扌 making something stay 居 to set 1150
すそ
支
支
Part of the clothes 衤 that stays put 居 hem
シ ささ.える
Outstretched hand holding onto a thick rod
1151
to sustain
An outstretched hand (又) holding a thick wooden rod or stick (十), evoking the image of a hand holding onto the branch of a tree.
伎
伎
1152
シ
キ
Person 亻 sustaining 支 herself skill シ
肢
肢
Body part 月 that sustains 支 itself シ
onto the trunk as branches limb
382
1153
技
技 岐
岐 枝
枝
1154
シ
ギ わざ
Hand 扌 sustaining 支 a person ability Branches protruding from a mountain
キ
1155
シ
山 which a hand can be held on 支 ramification シ
シ えだ
Part of a tree 木 held by a hand 支 branch
383
1156
2 | MONETARY TOOLS An accumulation of all kinds of tools and everyday objects at the end of the day is subjected to trade and exchange between different members of society. When the volume of trade and commerce begins to be large, the implementation of a monetary system that facilitates transactions is necessary. One of the first coins to be used in ancient China was cowrie ‘shells’ 貝, as they were imitation proof and a scarce object and, therefore, valuable. Another type of valuable and sought-after objects were those made of jade, such as ‘jade discs’, that were kept together in strings 玉, revealing a symbol of economic power.
貝
貝
1157
seashell
バイ かい
Ⓡ
Money
A cowrie shell. The upper contour ⼞ represent the exterior body of the shell, while the two central lines (二) and the two lower strokes (ハ) represent the inner marks of the shell. Cowrie shells were used in remote antiquity, at least among the elite, as currency, and it was customary to tie several of these seashells to a rope to facilitate transactions. It is from this monetary use of cowrie shells that the meaning of ‘money’, used by this character when acting as a component, comes from.
384
Specimen of cowrie shell
資
資 貨
貨 賛
賛 唄
唄 貪
1158
ツ
シ
Sequence 次 of money 貝 assets カ
カ
1159
Transformed 化 money 貝 goods 1160
サン
Two adults 夫×2 exchanging money 貝
approval 1161
うた
Words 口 turned into money 貝 ballad 1162
ドン
Instant 今 need for money 貝
貪 むさば.る
to covet
385
賄
1163
ワイ
Money 貝 taken for meat 有
賄 まかな.う 賢
ケン
to bribe
Delicately
賢 かしこ.い 敗
賀 貼
貼
earned money 貝
intelligent 1165
バイ
ハイ
Money 貝 that has been blown 攵
敗 やぶ.れる 賀
1164
ケン
to fail 1166
カ
ガ
Added 加 money 貝 congratulations 1167
チョウ は.る
Seashells 貝 used in divination 占 rituals
to paste
NOTE In reference to cowrie shells that were ornamentally pasted into different objects or garments for religious rituals.
販
販
ハン
ハン
Money 貝 going in opposite directions 反
sale
386
1168
賭
購
購 財
財
1169
ト
Money 貝 acting 者
か.ける
to bet コウ
コウ
Money 貝 that has been trapped 冓 purchase サイ
ザイ サイ
桜
桜
1170
1171
Money 貝 earned with talent 才 wealth
オウ さくら
Blooming feminine tree
1172
cherry tree (Prunus serrulata)
Originally 櫻 [木賏女], a tree (木) whose fruits are feminine as women (女) and its bloom is plentiful as the riches of money (貝 ×2 ➝ 賏 ➝ ⺍).
貴
貴
Two hands holding a person with money とうと.い
1173
キ
たっと.い
valuable
Originally 䝿 [臾貝], two hands grabbing a person (臾 ➝ ) that has money (貝): An ideographic representation of value beheld by money.
387
潰
キ
カイ
Water 氵 swallowing valuable things 貴
潰 つぶ.れる 負
負
1174
to be crushed フ
Person carrying money
1175
お.う ➀ to carry on one's back ま.ける ➁ to lose
A leaning person (勹 ➝ ⺈) carrying a sum of money (貝) on his back as a burden, referring to debt money that has to be returned, so to say, money that is eventually lost.
賁
賁
1176
Abundant money
フン
Abundantly
Cowrie shells (貝) growing in plenty as abundant plants (卉).
憤
フン
フン
憤 いきどお.る 噴
噴
1177
Feelings 忄 arousing abundantly 賁 to be enraged フン
フン
Words 口 arousing abundantly 賁
ふ.く
to spout
388
1178
墳
墳
フン
フン
1179
Earth 土 accumulated abundantly 賁 tumulus
貫
カン
貫
つらぬ.く
Thread going through a seashell
1180
to go through
A knot (十) made at the end of a rope that goes through holes (⼞) made on cowrie shells (貝) that are tied together in a string. Since ancient times it was common in East Asia to tie together several seashells in strings in order to facilitate monetary transactions requiring large amounts of shells. Later, currency evolved from cowrie shells to coins made of copper or other metals that, however, maintained the faculty of being able to be bound in strings, since they were made with a hole in their middle in order to let pass a string through it.
String of Chinese coins
慣
カン
慣
な.れる
Feeling 忄 of having money kept
カン
together through a string of coins 貫
to get used to 389
1181
⽟
玉𤣩
String of jade disks ➀➁ ギョク
➀ jade
1182
Ⓡ 玉
➁ jewel
➂ たま
➂ sphere A string of three jade discs (王) bound with a rope topped with a knot (丶). In ancient China jade was an element of luxury profusely used in various ritual objects. Some of the most important among those objects were a kind of flat discs called bi (璧), which had a hole in the middle and presumably symbolized heaven. This type of jade disc, the bi, eventually went on to designate ‘jade’ in general and, more recently, ‘jewels’ and precious stones. From the circular shape of the bi derives, in turn, the meaning of ‘sphere’. When this character acts as a component and is placed to the left of the compounds, it takes the form 𤣩, which drops the dot 丶.
Ornamented jade disk, called ‘bi’ (璧)
390
珍
チン
珍
めずら. しい
現
ゲン
現 珠
珠 球
球
あらわ. れる
1183
チン
Jewel 𤣩 that is aged 㐱 rare ケン
Jewel 𤣩 that can be seen 見 to be revealed
シュ
シュ
1184
1185
Jewel 𤣩 of a scarlet color 朱 gem
キュウ
キュウ たま
1186
Jewel 𤣩 being sought after 求 ball
NOTE A jewel with a round shape, evoking purity.
璽
璽
ジ
ジ
1187
Embroidered 爾 jade 玉 imperial seal
NOTE It refers to the seals or sigils used by the emperor or other government agencies, whose handle was made of jade and had inscriptions and carvings that recall the embroidery on clothing.
391
The turtle-shaped handle of a seal
玨
玨
The seal proper
1188
Several jewels
ハン
Several jewels strings (玉×2 ➝ 𤤴 ➝ 珏 ➝ 玨).
斑
斑
ハン
ハン
Several jewels 玨 full of writings 文 mottled キン
琴
琴
キン こと
1189
1190
Contained words 今 transformed into jewels 玨 Asian zither
NOTE Called guqin (古琴) in Chinese and koto in Japanese, a percussive string instrument whose sound, designed to accompany the words of poems, was supposed to be as delicate as jewels.
392
Woman playing the koto
全
全
ゼン
String of jewels tied with a tight knot
すべ.て
1191
completely
まった.く
whole
A string of jewels (玉 ➝ 王) tightly tied at its tip with a rope ( ), a string of jewelry completely sealed, making with the parts a whole entity. The dot 丶 of the component 玉 (jewel), which originally represented a small knot, disappears here because the strokes now represent a larger knot.
Strings of jade jewels from Shang dynasty China, called ‘peiyu' (佩玉)
393
詮
栓
栓
ゼン
セン
1192
Speech 言 analyzed as a whole 全 inquiry Wooden piece 木 acting as a knot
1193
ゼン
tying something 全
セン
stopper
朋
朋
ホウ
Several strings of jewelry tied together
1194
㊔
companions
Several strings of jade discs (玨) hanging from the same rope (⺆), a pictographic representation that gave rise to the graph and later to the current form 朋, whose compositional elements, in spite of their graphic similarity, have nothing to do etymologically with the components 月 (moon) or 肉 (meat). ホウ
崩
ホウ
崩
くず.す
棚
棚
Several pieces of jewel 朋 falling down
1195
from a mountain 山 to pull down Wood 木 furniture made for storing
たな
jewelry 朋 shelf
394
1196
3 | WORK TOOLS One of the characteristics of social expansion is the settlements of people, which are produced thanks to the development of the domestication of plants and animals or, in other words, livestock 395
and agriculture. To carry out such development it is necessary to have a series of work tools for daily use, such as the ‘hoe’
工,
that tills the field, or the ‘nails’ 丁, that fixes building structures. Once a great degree of domestication of certain animals has been achieved, they can be used to help with agricultural tasks, and for this purpose there are tools that facilitate the handling of those animals, such as the ‘yoke’ for a single head
丙, or that of ‘two’
heads 両. In an even more advanced state of technological development this element can also be used for transport, joining it to a cart pulled by wheels and thus forming a ‘chariot’
⼯
工
車.
1197
A hoe
ク コウ
craft
A multi-purpose tool with a handle on top (一), a trunk (丨) and a metal blade (一) used to dig or strike: A hoe, parallel to physical work activity, or ‘craft’.
Blade of a hoe from ancient China
396
コウ
項
項 攻
攻 功
功 巧
巧 江
江 虹
虹
Hoe’s 工 head 頁 コウ
1198
nape of neck item 1199
コウ
コウ
Hoe 工 hitting something 攵
せ.める
to attack 1200
コウ
コウ ク
Hoe 工 used by a strong arm 力 success コウ
コウ たく.み
コウ え
コウ
1201
Hoe 工 and stick craftsmanship Water 氵 passing through a furrow
1202
コウ
dug with a hoe 工 creek
Flying serpent ⾍ that creeps into the にじ
1203
ground like a hoe 工 digging a furrow rainbow
NOTE It is very likely that the neolithic Chinese society identified the rainbow with a mythological snakelike creature—the 397
rainbow serpent—as many other cultures throughout the world do and have done.
差
差 紅
紅
➀サ ➁ さ.す
コウ ク くれない
Auspicious ⺶ work of a hoe 工
1204
➀ distinction ➁ to be noticeable 1205
コウ
Thread 糸 dyed as a craft 工 crimson 1206
貢
貢
コウ ク みつ.ぐ
巩
コウ
Money 貝 in exchange for craft 工 to pay a tribute 1207
Person working with a hoe
A person working with his hands (丮 ➝ 卂) while using a hoe.
恐
恐
キョウ おそ.れる
Feelings 心 caused by a person handling a hoe 巩 dreadful
398
1208
築
築
チク きず.く
左
左
Person working with a hoe 巩, bamboo ⺮ and wood 木
1209
to construct 1210
サ ひだり
Hand helping with work left hand side
An outstretched hand (又 ➝ 𠂇) serving as an aid in the manipulation of a hoe (工).
佐
佐 惰
惰
サ
サ
1211
Person 亻 assisting like the left hand 左
assistant Feelings 忄 in a body 月 that has to
1212
サ
help with work 左
ダ
laziness
尋
尋
ジン
Hands and mouth working
1213
into something
たず.ねる
to inquire
Two hands working (寸 + ((⺕ ≈ 又) ➝ )) with a metaphorical work tool or hoe (工) while pronouncing words (口): Inquiry into a matter through questions and exhaustive work.
399
展
展
テン
Sitting person displaying hoes on top of some clothes
1214
exhibition
Originally 㞡 [尸 㠭𧘇], a sitting person (尸) exhibiting a handful of hoes (工×4 ➝ 㠭 ➝ ) on top of some clothes (衣 ➝ 𧘇).
㐮
ジョウ
Two hands extracting hoes from a bag
1215
Work in the field Two hands (⼶ ➝ ハ) taking out a bunch of hoes (工×4 ➝ 㠭 ➝ 𠀎) from some clothes (衣 ➝ ) that act as a bag, in reference to the preparation for an agricultural activity or work in the field.
嬢
嬢 譲
譲 壌
壌
ジョウ
ジョウ ゆず.る
Woman 女 that helps in the field
ジョウ
girl Speech 言 related to the work to be done in the field
1217
ジョウ
to assign 1218
ジョウ
ジョウ
1216
Soil 土 where field work land lot 400
is done
壬
壬
1219
Thick and heavy hoe
ニン
㊔
Originally , a hoe (工) with a thick trunk. The thickness of the handle is shown in the contemporary graph, as in so many other characters, with a horizontal line (一). The upper stroke of the glyph, 一, was later tilted to differentiate 1648
this component from the character 王 (king).
妊
妊 淫
Woman 女 that has become thick and
1220
ニン
heavy 壬
ニン
pregnancy
イン
Water-soaked 氵 hand grabbing 爪 a
1221
ニン
thick and heavy hoe 壬
みだ.ら
lewd
NOTE It seems that this character initially alluded to the abundant sweat caused by excessively hard work. Eventually the notion of ‘sweat’ would begin to be associated with sex and lewdness.
任
任
ニン まか.せる
Person with a thick and heavy hoe to give responsibility
401
1222
ニン
A person (人 ➝ 亻) with a thick and heavy hoe (壬), with the responsibility to work with it in spite of himself. 1223
ニン
賃
チン
賃
巨
巨
Responsibility 任 concerning money 貝
fee
キョ
Person measuring something in the distance with a hoe
1224
huge
Representation of a person holding with his hand ((⺕ ≈ 又) ➝ コウ
)
a hoe (工 ➝ 匚) that he uses to measure, in the distance and in a comparative way, an object or element that despite its ‘huge’ original size seems equivalent to that of the hoe, as when a person makes the gesture of catching the moon with his fingers. Over time, the original component for the person (大) disappeared and the glyph was left depicting just a hoe (工 ➝ 匚) being held by a hand (⺕ ➝ ).
Bare hand 扌 in comparison as a hand
拒
拒
キョ
キョ
holding a hoe 巨 at the time of
こば.む
measuring something to refuse
402
1225
距
距
Something that can be measured by feet
1226
キョ
キョ
足 or by a hand holding a hoe 巨 distance
丁
丁
1227
Nail
チョウ テイ
block
A stick (亅) with a thicker part on top (一), a tool that serves to fix other elements: a nail. The meaning of ‘block’ that this character takes when acting as a standalone is given by the functionality nails have to join together in block pieces that were previously loose.
頂
チョウ
Nail’s 丁 head 頁
頂 いただ.く 訂
訂
1228
チョウ
top テイ
テイ
1229
Speech 言 fixed by nails 丁 correction テイ
打
ダ
Hand 扌 hitting a nailhead 丁
打
う.つ
to hit
403
1230
灯
灯
テイ
Nailed down 丁 fire 火
トウ ひ
丙
丙
1231
lamp 1232
Single yoke
ヘイ
3rd
A yoke designed for a single animal, with its crossbar (一) and an undulation below it (内) that is adapted to the shape of the necks of the cattle. This character, when appearing as a standalone, takes on the meaning of ‘third in rank’, meaning that originates from the Sinitic ordinal system known as Heavenly Stems (天干), wherein ten concrete primitive characters are used to designate different ordinal positions, among which 丙 takes the third one, after 甲 (コウ) and 乙 (ヘイ). The adoption of this grapheme to denote ‘third’ may be due to the fact that a single yoke can be considered as bad or ‘third’ tier compared to the more common double yoke.
Yoke for a single head
404
ヘイ
柄
柄
➀ ヘイ ➀ がら ➁え
Wood 木 with which a single yoke 丙
1233
is made ➀ body build ➁ grip 1234
病
➀➁ ビョウ ➀➁ ヘイ
ヘイ
Illness 疒 weighing like a yoke 丙 ➀ sickness
病 ➀ やまい
➁ to fall sick
➁ や.む 1235
Single yoke being fixed
更
更
➀ コウ ➁ さら ➂ ふ.ける
➀ renewal ➁ moreover ➂ to get late
Originally 㪅 [丙攴], a single head yoke being fixed and renewed by a hand holding a tool (攴 ≈ 攵), implying that it can be used for a longer time. The middle strokes of the original glyph (⺊ + 内), by means of a process of simplification, finally ended up merging into the form 申.
405
便
便 硬
硬 梗
➀ ➁ ビン ➀ ベン ➁ たよ.り
1236
Person 亻 getting renewed 更 ➀ convenience ➁ letter
1237
コウ
コウ
Stone 石 that is renewed 更
かた.い
hard コウ
コウ
両
両
1238
Tree-like 木 element that looks renewed 更
flower stalk 1239
Double yoke
リョウ
both
Originally 兩, a double yoke, with room for two animal heads. In a process of simplification, the middle lines depicting the undulations (从) of the yoke ended up becoming the element 凵.
Yoke for two heads
406
満
満
➀ ➁ マン ➀ み.たす ➁ み.ちる
Oxen held by a yoke and drinking water ➀ to fulfill
1240
➁ full
Two oxen held by a double yoke (兩 ➝ 両) approaching their mouths ((廿 ≈ 口) ➝ 艹) to a water source (水 ➝ 氵) in order to satisfy their thirst and feel fulfilled.
車
車
1241
Chariot
シャ くるま
Ⓡ
car
A chariot seen from above pulled by two cattle or horses. The upper line 一 represents the double yoke, which is linked to the transport box (田) through a wooden bar (丨) that ends up connected to a perpendicular axis (一) that holds the wheels.
Two-wheeled carriage pulled by an ox
407
軟
軟 較
較 軸
軸 撃
撃
ナン やわら. かい
Chariot 車 that can be pulled by the air exhaled by a man 欠 soft
1243
Moving chariot 車 next to a still コウ
カク
person with his legs crossed 交 contrast Part of a chariot 車 that causes 由 its
ジク
軌
1244
functionality axle
ゲキ う.つ
Hand 手 hitting with a weapon ⽎ an to beat Chariot 車 leaving figurative arms 九
キ
1245
enemy’s chariot 車
ク
軌
1242
on the ground track
408
1246
軽
ケイ
Chariot 車 that has been made on a
かる.い
potter's wheel 圣
ケイ
軽 かろ.やか 陣
陣 範
範 輩
輩
to be light Chariots 車 stationed by a mountain
輪
1248
range 阝
ジン
camp Chariot 車 surrounded by bamboo
1249
ハン
ハン
poles ⺮ where a person can huddle ⺋ exemplary
1250
ヒ
ハイ
Negation 非 of a chariot 車 getaway comrade Part of a chariot 車 with many
輪
1247
リン わ
1251 リン
bamboo strips like a talkative book 侖 wheel circle
井
井
1252
ショウ セイ い
water well Pit
409
The rectangular outline of the wooden structure of a water well seen from above. As a component this glyph takes on the derived meaning of ‘pit’.
Two women at a well
耕
耕
コウ
Heavy branched trees 耒 made to grow
1253
in pits 井
たがや.す
to till 1254
丼
丼
セイ どん どんぶり
Pit full of food bowl
A figurative well (井) or pit full of food (丶), a bowl with a lot of space to store lots of food.
录
录
1255
ロク
Pulley drawing water from a well
A pulley ( ) drawing a well a bucket (一) wherefrom water drips 410
(水 ➝ 氺).
Thread 糸 dyed with a color similar to
緑
緑
リョク ロク みどり
1256
that of water drops falling from a ロク
bucket drawn from a well 录 green
NOTE In the Sinosphere, the colors green and blue have historically been grouped together under the same concept (greenblue).
411
4 | NETS AND BASKETS
One of the indispensable tools for survival is the ‘net’ 冈, which in its most basic form can be used to catch fish. If a stick is added to a simple net it can become a ‘simple’ butterfly net 単, useful to catch bugs instead of fish. If the nets are made of wood or bamboo instead of cloth, more sophisticated objects can be made, such as winnowing ‘baskets’ 𠀠, which are essential for sowing. We see therefore how the elaboration of networks is an essential aspect of fishing, hunting and agriculture.
1257
冈
冈 罒
Net
A fishing net with its sticks (冂) and its intertwined ropes (㐅). This component gets simplified into the form —with the inner strokes 㐅 flattened into 䒑—in some compounds, but most of the time, a further simplified form is used: 罒, which is identical in appearance to the tilted version of the character for “eye” (目 ➝ 罒).
Two people handling a fishing net
412
署
署 罪
罪 罵
罵 罷
罷 網
網
シャ
ショ
ザイ つみ
Net 罒 of people performing actions 者
governmental office 1259
Net 罒 capturing a criminal and preventing him to fly away 非 crime Words that immobilize people like a net
バ ののし.る
1258
1260
バ
罒 and make them shake like a horse 馬
to curse at 1261
ヒ
モウ あみ
Bear 能 trapped by a net 罒 termination Threads 糸 forming a net
that make
1262
モウ
fish perish 亡 network 1263
羅
羅
ラ
Net 罒 maintaining 維 things together encompassing
413
買
買
1264
バイ
バイ
Net 罒 of money 貝 used for purchasing
か.う
to buy
岡
岡
1265
Net of mountains
コウ おか
ridge
A network ( ) of mountains (山) placed in a line.
綱
綱
コウ
コウ つな
単
単
1266
Thread 糸 thick as the line of a ridge 岡
hawser 1267
タン
Insect caught in a net simple
Originally 單 [吅 ], an insect (吅) caught in a butterfly net ( ). The insect can be noticed in the elements protruding from the network, the antennas (吅 ➝ ⺍), and the butterfly net itself is depicted by its network (冈 ➝ 田) and its thick handle (十). The way of capturing insects or other animals through a net is understood as a ‘simple’ form of hunting that, however, is certainly effective.
414
Butterfly net
獣
獣
ジョウ けもの
Animal catching another animal
1268
beast
Originally [單犬], an animal (犬) that catches another animal or insect with a metaphorical net (單 ➝ 単), denoting the condition of bestiality—fierceness—shown in carnivorous animals. Over time the component 口 (mouth) was added to the character, forming the element ((單 + 口) ➝ 嘼 ➝ ), in order to reaffirm the notion of the alimentary function of preying and link it to fierce animals.
巣
巣
1269
ソウ す
Wooden network in a tree nest
A network (冈 ➝ 田) of wooden sticks placed on top of a tree (木) containing several small birds (⺍) inside: a nest.
卓
卓
Person caught in a net outstanding
タク
table 415
1270
Originally
, a person (人 ➝
➝ ⺊) trapped in a net (
➝ 早),
implying that such a scene is something extraordinary, or ‘outstanding’, because in the ancient world it was more precious to catch human capital—slaves—after battles that simple animals of prey. The derivation of the original glyph denoting the element ‘butterfly net’ ( ≈ 單) in the form 早 is most likely due to a graphic analogy with the component 早 (early) and (sunrise), even though their etymological meanings have nothing to do with each other. The meaning of ‘table’ originates through a phonetic loan, although it is possible to associate the meaning of ‘outstanding’ with something that is placed on top, and afterwards to think of a table as an object that holds objects in a high place.
悼
悼
トウ
Feelings 忄 caused by a person that has
1271
been caught 卓
いた.む
to lament 1272
离
离
リ
Bird trapped in a net
A butterfly net in which a bird is trapped. In this case the glyph shows a quite peculiar and complex graphic evolution. The logical form of the component after a linearization process of the original pictogram would have had to be like [ ], where it is possible to distinguish a bird with its head and wings ( ) trying to fly away from the butterfly net ( ← ) it is 416
trapped in. This form, however, ended up being turned around, probably by analogy with other graphic compositions such as the component 禺 (person dancing with a mask on), and what should be the head and wings of the bird now resembles more a tail (禸) coming out of the lower part of a butterfly net shown upside down (㐫).
離
離
リ
Bird ⾫ escaping from the net it was
1273
リ
trapped in 离
はな.れる
to leave 1274
璃
璃
リ
リ
Jewel 王 that traps 离 images inside
crystal 1275
其
𠀠 其
キ
Winnowing basket
㊔ 其
that
A winnowing basket, made with straw intertwined like a net (𠀠 ≈ 冈). In some compounds this glyph takes the form 其, which is a variant with the element for “two hands” added ((𠀠 + ⼶) ➝ 𢍌 ➝ 其). When this variant gets placed on top of the compounds it takes the flattened form .
417
Winnowing basket
キ
欺
ギ
Winnowing basket 其 with a lack of content 欠
欺 あざむ.く 期
期 基
基 碁
碁
to deceive Grain sieve made with a winnowing
キ ゴ
キ もと もとい
1276
1277
キ
basket 其 according to the moon cycles 月
period of time Mound of earth 土 where the content of a winnowing basket
キ
1278
falls
base 1279
ゴ
Stone 石 pieces kept in a basket
キ
go (board game)
NOTE Go (‘weiqi’ in Chinese) is an abstract strategy board game for two players, in which the aim is to surround more territory than the opponent. The pieces used in the game are shaped like small circular stones and they are held in baskets before they are put into the board. One player plays with white stones and another 418
with black stones.
Go board and stones
棋
棋 旗
旗
キ
キ
キ はた
1280
Wood piece 木 kept in a basket 其
chess piece Flaming flag
square-shaped like a
1281
キ
winnowing basket 其 flag
鼻
鼻
ビ はな
Nose smelling a basket held by two hands
1282
nose
Two hands (⼶) grasping a basket (𠀠 ➝ 田) and taking it to the nose (自) to smell its contents.
419
棄
棄
キ
Newborn baby deposited in a wooden basket
1283
abandonment キ
A newborn child ( ) placed inside a wooden basket (𠀠 ➝ 丗) made of wood (木).
敢
敢
カン
Hand shoving a furry animal into a basket
1284
bravery
A hand hitting (攵) a furry beast (求 ➝ 丅) in order to shove it into a basket (𠀠 ➝ ➝ 耳), an action showing bravery. 1285
害
害
ガイ
Basket dropping the old harm キ
Originally 𠱬 [ 古], a basket turned upside down (𠀠 ➝
➝
➝
) dropping the old (古), a symbolic representation of the neglect of the old things, implying that forgetting ancestors and ancient traditions is harmful. The shape 𠱬 would eventually evolve in the composition 害, in which the traces depicting the basket facing down have been flattened ( ➝ ).
420
轄
轄
ガイ
カツ
1286
Chariot 車 being dropped 害 jurisdiction
NOTE Implying a controlled place where there is no need to use a chariot to move around, a controllable territory.
憲
憲
Basket dropping an eye
1287
into feelings
ケン
constitution
A basket turned upside down (𠀠 ➝
➝
➝
➝
) dropping a
figurative eye (罒) into the feelings (心) of the people in order to control them, writings inside a basket that legislatively controls the lives of the people.
良
良
1288
リョウ
Sieve filtering grain
よ.い
good
A person (人 ➝ ㇔) sifting grain in a winnowing basket (甘 ➝ 白) to filter it from dust and dirt, which falls down ( ): A filter that expels the bad and keeps the good. When this component is placed to the left of the compounds it is simplified in the following narrowed form: .
421
Woman filtering the grain with a sieve
娘
娘 朗
1289
むすめ
Good 良 woman 女 daughter 1290
ロウ
Good
朗 ほが.らか
リョウ
浪
浪
moon 月
brilliant リョウ
ロウ
Water 氵 that sieves 良 billow
422
1291
REVIEW ON TOOLS
⼀百⼆三⼗千年古居⽀ 1
仁計協汁準克故湖苦枯据裾伎肢技 岐枝
⾙桜貴負賁貫⽟玨全朋 2
資貨賛唄貪賄賢敗賀貼販賭購財潰 憤噴墳慣珍現珠球璽斑琴詮栓崩棚
⼯巩左尋展㐮壬任巨丁丙更 両満⾞井丼录 3
4
項攻功巧江虹差紅貢恐築佐惰嬢譲 壌妊淫賃拒距頂訂打灯柄病便硬梗 軟較軸撃軌軽陣範輩輪耕緑
冈岡単獣巣卓离𠀠⿐棄敢害 憲良
署罪罵罷網羅買綱悼離璃欺期基碁 棋旗轄娘朗浪 423
VESSELS 1 | FOOD AND DRINKING VESSELS As we have already seen on several occasions, bronze made objects and, specifically, bronze vessels, were of paramount importance in the religious life of the China in which sinograms were invented. That is why a great variety of vessels make a presence in the repertoire of Chinese characters. Among all these vessels, the most basic are the ‘bowls’ for food 皿. Although their original function is to house food as ‘dishes’, they were also frequently used for ritual ceremonies, in which they were used even to store ‘blood’
血. But if the vessels are too full, then even in ritual
ceremonies their contents can ‘easily’ spill 易. In order to prevent this form happening, it is possible to put a curved lid on them and thus create ‘bean-shaped’ bowls food vessels are the ‘mortar’
豆. Another type of
臼, the ‘cauldron’
鼎 or a ‘three-
legged cauldron’ 鬲. Vessels designed to store alcoholic beverages were also an indispensable complement in the same way in both facets of social life, culinary and religious, since ‘wine jars' 酉 were used both to store alcohol for later consumption and as containers used in religious libations. Such an important object was this type of vessels that they were even made in a larger size, as 'big alcohol vessels'
畐, that could store more quantity of wine.
424
⽫
皿
Bowl with two handles
1292
Ⓡ
Food vessel
さら
dish
Originally 𠀜, a vessel with a bowl ( ), two handles (ハ) and a foot (一). Over time, the inclined strokes representing the handles became vertical and were joined with the upper and lower horizontal lines, forming the current composition. The original meaning of ‘bowl’, due to its frequent use as a food vessel, ultimately came to mean ‘dish’.
Ritual bronze vessel with handles, called 'gui' (簋)
盟
盟
メイ
メイ
1293
Bright 明 food vessel 皿 alliance
NOTE A shining, good quality ritual vessel bestowed as a present in the enactment of an alliance.
425
盗
盗
トウ ぬす.む
Person exhaling 欠 ice 冫 as he draws
1294
something out of a food vessel 皿
to steal
NOTE The ice refers to the immobility—figurative freezing— usually suffered by those who steal something.
温
温 塩
塩
オン
Water 氵 in a vessel 皿 heated by the sun 日
あたた.かい
warm
エン しお
Mineral from the soil 土 eaten by a person's 人 ➝ mouth 口 from a dish 皿
猛
モウ
1296
salt Animal 犭 putting a child 子on a
猛
1295
1297
figurative food vessel 皿 in order to eat him wildness
益
益
エキ ヤク
Water overflowing from a bowl
1298
benefit
Bowl (皿) containing a stream of water placed horizontally (水 ➝ 426
氺➝ ), a bowl full of water that is about to overflow, symbol of abundance and benefit.
⾎
血
1299
Blood on a bowl
ケツ ち
blood
A ritual bowl (皿) with a drop of blood (㇒) inside, most probably alluding to some kind of sacrificial ceremony.
衆
衆
シュウ シュ
Several people sharing the same blood populace
Originally [血 ], several people (人×3 ➝ under the same blood (血).
監
監
カン ラン
1300
➝ 㐺 ➝ 乑) united
Person looking at a bowl with blood on it
1301
to oversee
Originally 𧗄 [臥血] , a person looking down (臥 ➝ ) on a ritual bowl with blood inside (血 ➝ (皿 + 一)), overseeing that the ritual ceremony is being performed correctly.
427
覧
覧 濫
濫 藍
藍
Person looking 見 at another person
1302
ラン
ラン
who oversees a bowl 監 ➝ perusal ラン
ラン
1303
Water 氵 overseen by a person 監 overflow
ラン あい
Plant 艹 a dyeing process overseen by a
1304
ラン
person 監 indigo (color and plant) 1305
易
易
イ エキ
Water spilling from a bowl easy
やさ.しい
A bowl full of water, turned upside down and spilling that water. The element 曰 represents the foot of the bowl and part of the water. The element 勹 represents the edges of the bowl, and the strokes 丿丿 represent the water spilling. This graph refers to the ‘ease’ with which water can spill out of a bowl or glass that is full.
428
1306
賜
シ
Money 貝 spilling from a bowl 易
賜 たまわ.る ⾖
豆
to bestow
ズ トウ まめ
1307
Bean-shaped bowl with a lid
beans
Round vessel shaped like a bean, with a lid (一), a wide bowl (⼞) and a foot (䒑).
Ritual bronze vessel with a rounded shape and a lid, called 'duo' (豆)
1308
頭
頭
ズ トウ ト あたま かしら
トウ
Bean-shaped 豆 head 頁 head
429
痘
痘
Illness 疒 that produces bean-shaped
1309
トウ
豆 pimples
トウ
pox
登
登
ト トウ
Ritual lidded bowl going up to an altar
のぼ.る
to ascend
1310
トウ
A ritual lidded bowl (豆) that is ascended towards an altar. The component 癶 (two feet going upwards) is a figurative resource that suggests that the bowl has risen by itself, indicating the intransitive aspect of the verb.
澄
チョウ
澄
す.む
壴
Water 氵 inside a ritual bowl that is on
1311
トウ
top of an altar 登
to become clear 1312
Bowl wherefrom sound comes out Percussion instrument
A bowl or pot ( ≈ 皿 ≈ 豆) from whose interior sound comes out (㞢 ➝ 士), a percussion instrument.
430
喜
喜 鼓
鼓
キ よろこ.ぶ
コ つづみ
膨
ボウ
膨
ふくら.む
樹
樹
ジュ
1313
Words 口 pronounced to the rhythm of a percussion instrument 壴 to rejoice Percussion instrument 壴 hit by a thick
1314
rod held by a hand 支 drum Body part 月 with hair 彡 pumping
1315
like a percussion instrument 壴 to swell Tree 木 coming out of a bowl 壴 and being worked on 寸
1316
trees
NOTE Originally this character had the meaning of ‘cultivating’ or ‘planting’—presumably in pots—but then the cultivated element, the plant and, later, trees in general, began to supplant the original meaning.
豊
ホウ
豊
ゆた.か
Pot from which several lush plants come out bountiful
431
1317
Ⓡ
Originally 豐 [𠁳豆], several lush plants (丰×2) coming out from a pot out (豈 ≈ 壴), a symbol of abundance. In a simplification process, the upper strokes of the element(𠁳) ended up reducing their number of strokes, forming the current composition: 曲. 1318
艶
エン つや
艶
㿝
㿝 A bowl ( food.
Bountiful 豊 color 色 luster 1319
Bowl filled with rice
≈ 皿 ➝ 厶) with white rice (白) inside, a bowl full of
The original glyph 㿝 gets simplified into the form compounds.
爵
爵
Ⓡ
in most
Hand grabbing 爫 a net 罒 that catches the hands that work 寸 to get bowls full シャク of food peerage
432
1320
即
即
ソク
Kneeling person in front of a bowl filled with rice
1321
immediate
A person kneeling (卩) in front of a bowl full of food (㿝 ➝ ), in the instant immediately before starting to eat.
Part of a bamboo stalk ⺮ that places
節
節
セツ セチ ふし
1322
immediately 即 places other parts of it next to each other node
既
既
キ すで.に
Person in front of a bowl who turns his head back
1323
previously
A person next to a bowl (㿝 ➝ ) who turns his head away and opens his mouth to exhale air (旡)—to burp—because he has eaten the food that previously was inside. The element 旡 is the mirror version of the component 欠 (person with an open mouth exhaling air), consisting of two legs (⼉) and a head with an open mouth turned to the right (匸).
慨
慨
キ
ガイ
Heart 忄 turning back 既 repentance 433
1324
概
概
キ
ガイ
食
食飠
1325
Wooden structure 木 already 既 erected
outline ショク ジキ
Mouth over a bowl full of food
く.う た.べる
Food
1326
Ⓡ
to eat
Originally 𩚀 [亼㿝], a mouth over (亼 ➝ 亽) a bowl full of food (㿝 ➝ 艮), a mouth eating the food inside. When this component is placed to the left of the compounds it takes the simplified graph 飠, in a form similar to the simplification of the component 㿝. 1327
飲
イン
Eating 飠 with an open mouth 欠
飲
の.む
to drink
餅
餅
ヘイ もち
Bowls full of rice 飠 that can be lined ヘイ
up 并
rice cake
434
1328
1329
餌
餌 飼
飼 飽
飽 飯
飯 養
ジ え えさ
ジ
Food飠 that appeals to the ears 耳 bait 1330
シ
シ
Food 飠 being deposited 司
か.う
to feed 1331
ホウ
ホウ あ.きる
Food 飠 wrapping process 包 to get tired of ハン
ハン めし
ヨウ
養 やしな.う 飾
ショク
飾
かざ.る
1332
Food 飠 upon which a hand arches 反 meal ヨウ
1333
Auspicious 𦍌 food 食 to rear Bowl full of food whereon a person 人 puts a cloth 巾
➝
to decorate
435
1334
飢
飢
キ
Bowl full of uneaten food 飠 on top of キ
a stool 几
う.える
⾅
臼旧
1335
to starve 1336
キュウ
Hollow vessel
うす
mortar
A vessel or container that is kept empty inside, more specifically referring to a mortar. The original glyph 臼, still present in some compounds, is a modification of the element 日—graphically identical to the glyph for “sun” (日)—which usually forms part of glyphs that represent vessels. Said element gets an opening in the middle (臼) to enhance the void in it, showing a hollow vessel that can be used as a ‘mortar’. In some compounds this component can take the form 旧, which is a phonetic association to the character 旧 (old times), which has a similar graphical structure.
児
児 毀
毀
1337
ジ ニ
Hollow 旧 person ⼉ infant Hollow cavity 臼 on the soil 土 made
キ
by a sledgehammer ⽎ destruction 436
1338
陥
➀ カン Mountains 阝 making a leaning person 勹 ➀
おちい.る
陥➁
➝ ⺈ fall into a hollow cavity 旧
➀ to collapse ➁ to make collapse
おとしい.
れる
稲
稲
トウ
Plant producing grains 禾 that can be
いないね
grabbed 爫 and put into a mortar 旧
潟
潟
1339
1340
rice plant
かた
Water filling a hollow cavity from which birds drink
1341
lagoon
Originally 舃, [臼 ] and then 舄, a bird (鳥 ➝ ➝ ) drinking water (氵) that fills a cavity (臼), a lagoon from which birds can drink water.
鼎
鼎貝
1342
㊔
Cauldron
テイ
鼎
A cauldron with several sustaining legs. The central upper part 目 represents the container proper with some decorations and the lower strokes 𤕰 represent the two handles on top and an indefinite number of legs below. As a component this character adopts the simplified form 貝, which 437
graphically matches with the character 貝 (seashell) but has no etymological relation to it.
Legged ritual cauldron, called ‘ding’ (鼎)
貞
貞
テイ
1343
Legged cauldron used in divination rituals integrity テイ
Originally 鼑 [⺊鼎], a ritual cauldron (鼎 ➝ 貝) used in divination ceremonies (卜 ➝ ⺊), a cauldron of exclusively ritual use and that therefore is not used in the kitchen, a cauldron that remains integral and pristine.
偵
偵
1344
テイ
テイ
具
具
Person 亻 pretending to be in integrity 貞
spy 1345
グ
Cauldron held by two hands tool
Two hands (⼶ ➝ ハ) holding a cauldron (鼎 ➝ 貝 ➝ 438
), in
reference to the utility of said vessel as a tool for heating water.
惧
惧
Feeling 忄 arising while holding a hot グ
1346
グ
cauldron with two hands 具 dread
真
真 SPECIAL READING
1347
Person in integrity
シン ま
true
真似 [まね]: mimic
Originally [匕貝], a person (匕 ➝ 十) that has integrity as a ritual cauldron (貝 ➝ ) that is held with two hands (⼶ ➝ ハ) to be used in a divination ceremony: a person showing his true identity.
慎
シン
シン
慎 つつし.む 填
填
Feelings 忄 of a person in integrity 真 to be prudent Earth 土 covering ritual kettles and
テン
1348
シン
people 真 in a burial ceremony to fill in
439
1349
1350
⿀
Three-legged cauldron
鬲
A ritual cauldron with a bowl ( ) in the upper part and three bulky legs ( ) in the lower part.
Three-legged ritual cauldron, called ‘li’ (⿀鬲)
隔
隔 融
融
カク
Mountain range 阝 hiding ritual
1351
cauldrons 鬲
へだ.てる
to isolate Ritual cauldron 鬲 containing
1352
burning insects ⾍
ユウ
melt
⾣
酉
1353
Wine jar
ユウ
Alcohol
440
Ⓡ ㊔
A jar designed to store fermented alcoholic beverages for a long time. The strokes 兀 represent the mouth and neck of the jar, the lower strokes ⼞ represent the outline of the body and the inner line 一 represents a decorative motive. The meaning of ‘wine jar’ can be expanded into that of ‘alcohol’ in some compounds.
Bronze ritual wine jar, called ‘lei’ (罍)
酵
酵 酎
酎
Alcohol 酉 making process passed from コウ
1354
コウ
parents to children 孝 fermentation 1355
チュウ
Alcohol 酉 on which a hand works 寸 rice wine
441
酸
酸 醜
サン す.い
Alcohol 酉 that distributes energy to the feet 夋 acid
1357
シュウ
Alcohol 酉 that makes ghosts 鬼 appear
醜 みにく.い 配
配
1356
ugly 1358
キ
ハイ くば.る
Alcohol 酉 that is circulated 己 to distribute 1359
酒
酒 酬
酬
シュ さけ さか-
Fluid 氵 coming out of a wine jar 酉 sake (Japanese rice wine) 1360
シュウ
シュウ
Alcohol 酉 and pieces of land 州
reward 1361
酷
酷
コク
コク
Alcohol 酉 making words come out 告 cruel
442
醒
醒
セイ
セイ
Alcohol intake 酉 and stargazing 星 awake シャク
酌
シャク
Alcohol 酉 poured with a ladle 勺
酌
く.む
to serve alcohol
醸
ジョウ
醸
かも.す
酔
酔 酢
酢
Alcohol 酉 made thanks to work in the field
1363
1364
ジョウ
to brew ソツ
スイ
Alcohol intake 酉 being finished 卆
よ.う
to get drunk
サク す
1362
Wine jar 酉 covered with folded clothes
1365
1366
サク
乍 during a fermentation process vinegar 1367
酋
Distributed alcohol
酋
Libation
Wine jars’ (酉) content being distributed (八 ➝ 丷) as a libation— pouring alcohol for the gods—in religious rituals.
443
猶
猶
Libation 酋 made along an animal 犭
1368
sacrifice
ユウ
furthermore 1369
尊
尊
ソン たっと.い とうと.い
Hand working on a libation precious
スン
A working hand (寸) actively pouring alcohol in a libation (酋).
畐
1370
ヒョク フク
Big wine vessel
A wine vessel with a longer neck than normal, presumably with a capacity for a great alcohol content. The upper strokes represent the mouth and neck of the jar, whereas the lower strokes 田 represent the decorated body.
Bronze ritual wine jar with a long neck, called ‘gu’ (觚)
444
幅
幅
フク
フク はば
Cloth 巾 covering a big wine vessel breadth
445
1371
2 | BAGS AND BOXES A more modest type of container, or vessel, are those made of cloth or small filaments of wood or bamboo, such as the ‘bags’ 西 that are closed at the top and good for storing and transporting objects, a function so convenient and necessary without which the small-scale serial ‘production’ and trade of commodities would not be possible, because serially produced goods have to be easily packed in several bags 品. Another type of basic container used to store other objects is the ‘box’ 匚 which, if it is made of bamboo and is flexible enough, can be ‘folded’ at will, reflecting in the box the folds of the material
曲.
1372
西
西覀
サイ セイ にし
Bag
Ⓡ
west
Originally 卤, a bag (⼞)—decorated with some embroidery (㐅)— that is closed on its upper part (⺊). The glyph suffered a gradual simplification in which the original form 卤 ended up becoming the current glyph 西 as the upper strokes ⺊ merged with the inner strokes 㐅. When acting as a component the graph even takes a further simplification into the form 覀. The meaning of ‘west’ probably is taken through a phonetic loan, analogue to that of the character 東 (backpack ➝ east). It metaphorically evokes the image of a small bag hanging on a tree, a 446
nest, awaiting for the birds to come when the sun sets in the west.
Small embroidered bag from Meiji period Japan
価
価 煙
煙 覇
覇
1373
カ あたい
エン
Person 亻 examining a bag’s 覀 content
price Fire 火 burning a bag 覀 on top of an
1374
earth 土 mound
けむ.る
to smoke 1375
ハ
Bag 覀 with leather 革 and of meat 月 supremacy 1376
要
要
ヨウ かなめ
Bag of a woman necessary
い.る
Originally 𡢗 [𦥑囟女], two hands (𦥑) holding the figurative bag (卤 ➝ 囟 = 西) of a woman (女), symbolizing the scene of a birth 447
that indirectly refers to the female uterus and the primordial need of its existence and well-being for the survival and perpetuation of a certain social group. Over time the upper part of the character, , ended up being simplified in 覀, erasing the element that represented two hands (𦥑).
腰
腰
ヨウ こし
Body part 月 where the women’s
1377
ヨウ
uterine bag 要 is placed hips
栗
栗
1378
リ
Tree with bag-shaped fruits ㊔ chestnut tree
A tree (木) that produces fruits with a spiked shell whose appearance resembles a bag (西 ➝ 覀).
Chestnut fruit with its spiked shell
448
慄
慄
Feeling 忄 provoked by the sight of a
1379
リ
spiky chestnut 栗
リツ
fear
卑
卑
ヒ いや.しい
Hand holding a bag upside down
1380
lowly
An outstretched hand (又 ➝ 𠂇 ➝ 十) holding a bag upside down ((西 ← 卤) ➝ ), signifying that the bag is empty and nothing comes out of it. An empty basket that, as such, figuratively represents scarcity and low social status.
碑
碑
ヒ
ヒ
品
品
1381
Stone 石 put in a low place 卑 tombstone 1382
Several small bags
ヒン しな
Ⓡ
product
Several small bags (卤 ➝ 囟 ➝ 田 ➝ 口×3), symbolizing a specific object or material that is produced in multiple times: a small-scale serial production.
449
臨
臨
リン
Person looking down
1383
ヒン
products 品
のぞ.む
喿
into several
to overlook 1384
Products of a tree
ソウ
The products (品) that come from a tree (木), that is, fruits. 1385
操
➀ ソウ ➀
Hand 扌 taking the products of a tree
➀ to manipulate
操 あやつ.る ➁ みさお 燥
燥 藻
藻
ソウ
ソウ も
ソウ
➁ fidelity
Fire 火 burning the products of a tree
ソウ
1386
dryness Plants 艹 that are the product of trees ソウ
living under the water 氵 seaweed
450
1387
繰
繰
1388
Thread 糸 that turns around an object く.る
shaped like the products of trees 喿 to wind
器
器
➀➁キ ➁ うつわ
Several products acting as one
1389
➀ instrument ➁ vessel
Several small products (口×4 ≈ 品) interconnected, forming a large product (大): A complex mechanism consisting of several parts, an instrument. The meaning of ‘vessel’ is a semantic derivation resulting from the relationship between the general concept of ‘instrument’ with the particular concept of ‘vessel shape’ that characterized many of the ancient day-to-day instruments.
匚
匚𠃊
1390
An open box
Ⓡ
A box open at its top, presumably made of bamboo, turned vertically.
匿
匿
Hand hiding inside a box 匚 the food トク
ジャク
to be eaten 若
concealment
451
1391
匹
匹
1392
Energy inside a box
ヒツ ひき
unit (of)
Energy distributed (八 ➝ ⼉) inside a box (匚), an ideographic representation of a box containing something inside: A packaged item, a unit of some object or article. 1393
甚
甚
ジン カン
Box with a basket inside exceedingly
はなは.だ
A winnowing basket (𠀠 ➝ ) placed inside a box with content inside (匹): A Box with too much content, an exceedingly full box. カン
勘
勘 堪
堪
Exceedingly full box 甚 touched by an カン
1394
outstretched arm 力 perception
カン た.える
Heavy earth 土 filling an exceedingly
1395
カン
full box 甚 to bear
区
区
1396
Box full of products
ク オウ
delimitation 452
Originally 區 [匚品], several products (品 ➝ 㐅) stored inside a box (匚), the location of those products delimited by their container. オウ
欧
欧
Delimitated space 区 where people オウ
exhale air 欠 Europe オウ
殴
殴 枢
枢 駆
駆
1397
オウ なぐ.る
Box containing several products 区
1398
that is hit with a sledgehammer ⽎ to assault Wood piece 木 holding together a box
1399
オウ
full of products 区
スウ
pivot
ク か.ける
Horse 馬 transporting a box full of
1400
ク
products 区 to dash 1401
直
直
➀ ジキ Eye pointing straight ahead ➀ チョク ➀ ➀ straightaway ただち.に
➁ to put straight
➁ なお.す
453
The gaze of an eye (目) pointing directly towards a specific thick rod (十) kept inside a box (匚 ➝ 𠃊). 1402
値
値 殖
殖
チ ね あたい
ショク ふ.える
チョク
Person 亻 being directly looked at 直
value Bone remains ⽍ being directly looked
1403
チョク
at 直
to augment
NOTE The meaning of ‘augmenting’ comes from the association made between the action of inspecting, or directly looking at some bone remains for a long time and the observation that the decay of such bone clearly increases.
植
植
チョク
ショク
Tree 木 being directly looked at 直
う.える
to plant
置
チ
置
お.く
Net 罒 placed directly where the eye チョク
aimed to 直 to put
454
1404
1405
㥁
1406
Straight feeling
Originally 悳 [直心], a feeling that goes directly (直 ➝ the heart (心).
聴
聴
➝
Feeling coming directly from the ears チョウ 耳 き.く to listen
) to
1407
1408
Stored rice grains Several grains of rice (米) stored in a box (匚 ➝ 𠃊).
継
ケイ
継
つ.ぐ
Thread 糸 tying together stored rice grains
1409
to take over
NOTE The meaning of this character is mainly related to the reception of inheritance, hence the representation of material provisions safely tied and stored.
455
曲
曲
1410
キョク
Bent bamboo box
ま.がる
to bend
A box made of folded bamboo strips, which each fold visible marked.
456
3 | PLATES AND TRAYS Complementing the vessels we have seen so far, there is a kind of food and drink container of more mundane appearance and greater availability, which makes it ‘commonplace’, but which is also suitable for use in religious rituals. That is the flat plate or tray 凡, which in turn can be used to contain minerals, such as cinnabar 丹, capable of creating a ‘vermillion’ pigment.
凡
凡
1411
Plate
ボン ハン
commonplace
A plate or tray with two legs and two handles and a flattened shape, a fairly ‘commonplace’ object. The original form of the pictogram was something similar to the strokes , which would later evolve into 𠔼 and finally, influenced by the flow of the strokes, to the current form 凡.
Bronze tray, called ‘pan' (盤)
汎
汎
ハン
ハン
Water 氵 contained in a plate 凡 all-inclusive
457
1412
帆
帆
ハン
ハン ほ
1413
Cloth 巾 that is commonplace 凡 sail 1414
同
ドウ
Mouth eating from a plate
同
おな.じ
same
A mouth (口) eating or drinking from a plate (凡), activity repeated throughout life in the same way by everybody. ドウ
胴
胴 洞
洞
Body part 月 with the same size 同 in ドウ
most people torso
ドウ ほら
Water 氵 from a plate going through
筒
1416
ドウ
the cavity of the mouth 同 cavity Bamboo stalk 竹 used as a straw for
筒
1415
トウ つつ
drinking through the mouth from a ドウ
plate 同 cylinder
458
1417
興
興
キョウ コウ
Two hands handing a plate to two other hands
おこ.す
to vitalize
1418
Originally 𢍯 [𦥑同⼶], two hands (⼶ ➝ ) offering a plate to be put in the mouth (同) of a person who receives it with his or her two hands (𦥑 ≈ ⼶): A plate of food offered to a person to give him energy.
斉
斉
1419
セイ
Commonplace writings even
Commonplace (( ➝ ) = 凡) writing (文), writing that has been regularized, matched so that it can be used evenly and understood by everyone.
済
済
サイ す.む
セイ
1420
Water 氵 that becomes an even 斉 course
to conclude
NOTE In reference to the end of a river at the river mouth.
粛
粛
1421
シュク
Hand stirring grain on a plate
quietly
A hand grasping the handle ((⺕ + 丨) ➝ 肀) of a tray ((凡 ≈ )➝ ) containing rice grains (米) while sieving the good grains from dust and other substances, an activity that must be done quietly 459
and patiently. 1422
風
風
フウ フ かぜ
Vessel of flying insects wind
かざ-
The metaphoric vessel—or tray (凡 ➝ )—of flying insects (⾍), the element that helps flying insects move.
嵐
嵐
1423
Wind 風 blowing through the mountains 山
あらし
storm
受
受
ジュ う.ける
Hand receiving a plate from another hand
1424
to receive
An outstretched hand (又) receiving a plate (凡 ➝ 冖) from a hand that was grabbing it (爪 ➝ 爫).
授
ジュ
ジュ
Hand 扌 giving something to a receiver 受
授 さず.ける
to grant
460
1425
丹
丹
1426
Pigment on a plate
タン
vermilion
Originally 𠂁, a cinnabar stone (丶) deposited on a plate ((凡 ≈ ) ➝ ) to create a reddish pigment with it. It also alludes to the red color of many lacquered containers—among them plates and trays —of ancient China.
Lush plant on a plate
青
青
セイ ショウ あお
1427
blue green Clear
Originally 靑 [円], a lush plant (丰 → ) over a plate from which pigment (丹 ➝ 円 ➝ ⺝) is to be made. The pigment obtained from plants becomes greenish or bluish, taking into account that the Eastern notion for blue mingles with that of green. As a component the character can also mean ‘clear’, as a reference to the bright and clean color of the pigment obtained from plants. 1428
静
静
セイ ジョウ しず.か
セイ
ソウ
Cleared 青 contest 争 calm
461
1429
情
情
ジョウ セイ
Clear 青 feelings 忄
なさ.け
emotion
SPECIAL READING
ショウ
お父さん [おとおさん]: father 1430
請
請 晴
晴
セイ シン う.ける こ.う
セイ
Clear 青 speech 言 to request
セイ
セイ
Sun 日 that is clear 青
は.れる
to be sunny
1431
1432
精
清 精
精
セイ ショウ
Water 氵 that is clear 青
きよ.い
pure
セイ
セイ
セイ ショウ
Rice 米 that is clear 青 fine
462
1433
南
南
1434
ナン
Wood generating fire
ナ
south
みなみ
This is a character with a rather complex graphic evolution and semantic association. It represents, in origin, a tree (木) on top and a plate containing vermilion pigment (𠂁 ← 丹) at the bottom. The strokes of this sinogram, over time, have been mixed and got overlapped, and that is why the original compositional elements are no longer visible. The strokes of the “tree” component (木) are attested in the elements 十, 丷 and 丨 (木 ➝ (十 + 个), 个 ➝ (丷 + 丨)) of the contemporary graph. On the other hand, the strokes of the element “vermilion”, are reflected in the lower element 冃 (丹 ← 𠂁 ➝ ). The original ideographic composition of this graph refers to an association between wood and vermilion color, giving an association with fire and the red color in general, which, within the traditional East Asian conceptual framework of the five elements or five phases (wu xing, 五行), is directly associated with the south cardinal point. This conceptual framework, in turn, dictates that wood generates fire, thus reinforcing the relationship between the two compositional elements of the character.
献
献
Wood generating fire 南 used to heat or
ケン コン
cook an animal 犬
contribution
463
1435
用
用
1436
ヨウ
Ritual plate
もち.いる
to use
Originally 𤰃, a vessel or ritual plate (凡 ←
) used for divinatory
(卜 ➝ ⺊) or religious rites, the ultimate use of any vessel. Over time the upper stroke of the form 𤰃 (-) became longer— joining the left and right ends of the character. In this way it is that the current form of the character 用 came to be.
甬
甬 A mouth (口 ➝
1437
ヨウ
Divine message passing through a person
) interpreting the messages obtained through the
ritual use of a plate ( ← 用): the divine message that passes through a shaman. This notion of ‘passing through’ is what this component takes in the compounds. 1438
踊
踊
ヨウ
ヨウ おど.る
Foot 足 passing over 甬 a hole to dance
NOTE Originally this character had the meaning of ‘jumping’— meaning that it is still maintained in contemporary Chinese language. Ultimately the meaning of ‘jumping’ was associated with jumping to the rhythm of music, or dancing.
464
痛
痛
1439
ヨウ
ツウ
疒 one goes through 甬
いた.い
to hurt
勇
ユウ
勇
いさ.む
Strength needed for a religious ritual
1440
courage
ヨウ
[甬 力], with the variant 恿 [甬心] also attested, the
Originally
(emotional = 心) strength (力) that a shaman needs to carry out a divinatory or religious rituals (甬 ➝ ).
ユウ
湧
ユウ
Water 氵 gushing with courage 勇
湧
わ.く
to gush forth
甫
甫
1441
1442
ホ
Father handling a ritual plate ㊔
Benefit
フ
A father (父 ➝ 十 + 丶) handling a ritual plate (
← 用), denoting
the supposed benefit of religious ceremonies being guided by an authority figure, a father.
哺
哺
ホ
ホ
Mouth 口 obtaining a gain 甫
suckling 465
1443
捕
Hand 扌 obtaining a benefit 甫
つか.まえる
捕 と.らえる 浦
浦 補
1444
ホ
ホ
to catch Water 氵 where benefits 甫 can be
1445
obtained
うら
bay 1446
ホ
Clothes 衤 providing a benefit 甫
ホ
補 おぎな.う
to supplement
尃
ハク
Hand working on obtaining benefits
1447
Profitable ホ
A hand working (寸) in obtaining benefits (甫), tying to make something profitable.
縛
縛
バク
ハク
Thread 糸 making things profitable
しば.る
to bind
466
1448
1449
博
博
ハク
ハク バク
溥
溥
Counting 十 made profitable plentiful 1450
Profit flowing like water
ハク ハク
Hand working for profit ( ) that is obtained like flowing water (水 ➝ 氵), beneficial results, growth.
薄
薄 簿
簿
ハク うす.い
Plants 艹 growing like the flow of
1451
ハク
water 溥 thin
Bamboo book ⺮ about the flow of
1452
ハク
profit 溥
ボ
record book
NOTE Books in ancient China were made with bamboo slips, as it is attested by the character 冊 (bamboo slips, volume of a book).
467
庸
庸
ヨウ
Hands placing a lush plant on a ritual plate
1453
ordinary
Originally 𠭻 [ ], two hands grabbing a lush plant (((𠬞 ← ⼶) + 丰) ➝ ➝ 𠩖 ➝ )) that is deposited on a ritual plate ( ← 用), referring to the ordinary practice of using a ritual plate for mundane purposes such as the preparation of food.
468
4 | BOATS The last kind of vessels to talk about are the navigation vessels, the ‘boats’ 舟, which are not a vessels understood as containers, but as means of transport. Although of a completely different typology to the other vessels seen so far, it is interesting to group boats within the semantic category of ‘vessel' not only for the homography, but also because the graphic composition of the component for “boat” (舟) is quite similar to that of the “plate” component (凡) seen in the previous section.
1454
⾈
舟⺝
シュウ ふね
boat
Ⓡ 舟
ふな-
A small wooden boat, drawn vertically, with the contour and the central crossbar represented by the strokes , two seats represented by the strokes 丶 and 丨, and the tip of the prow by the stroke ㇒. In some components this graph takes the simplified form ⺝.
Small wooden boat from the Edo Japan
469
航
航 舶
舶 舷
舷 艦
艦
Boat 舟 moving above and below the
1455
コウ
surface 亢 of water
コウ
navigation ハク
ハク
Boat 舟 transporting white rice 白 large ship
1457
ゲン
Boat's 舟 dim part 玄
ゲン
gunwale カン
カン
般
般
1456
1458
Boat 舟 that is overseen 監 warship 1459
ハン
Boat fixed with a hammer generic
A ship (舟) being fixed or assembled by a hammer (⽎), a bad quality, generic boat.
搬
搬
Hand 扌 putting goods on a generic ハン
boat 般
ハン
carrier 470
1460
盤
盤
1461
ハン
Generic 般 plate 皿
バン
俞
俞
tray
ユ
Mouth talking over a boat sailing in the water
1462
Accomplishment
Originally 兪 [亼⺝巜], a mouth metaphorically speaking (亼) to a boat (舟 ➝ ⺝) that sails on a water course (巛 ➝ 巜 ➝ 刂), implying the notion of the governance of a boat over the water, the ‘accomplishment’ of being able to sail a boat.
愉
愉 諭
諭 喻
喻
ユ
ユ
ユ さと.す
Feeling 忄 of accomplishment 俞 pleasure Speech 言 that make accomplishments
1464
ユ
俞 happen to admonish Words 口 making understanding
ユ
1463
ユ
accomplished 俞 metaphor
471
1465
ユ
癒
癒 輸
輸
ユ
Feeling 心 of accomplished 俞 healing
1466
over an illness 疒
い.える
to be cured ユ
ユ
前
前
1467
Chariots 車 and boats sailing waters 俞
transport
ゼン まえ
Standing on top of a boat sailing in the water
1468
before in front
Originally 歬 [止舟], and then 𠝣, a stopped (止 ➝ 䒑) boat (舟 ➝ ⺝). With the passage of time the element 刂 (originally 巜 ← 巛: water course) was added to the composition, by analogy with the component 俞 (mouth talking over a sailing boat) and also to denote the idea that the boat remains stopped 'before' sailing in the water. The notion of ‘before’ is given, therefore, by the understanding of the immobility of a ship, whose main function is to move, as an unnatural situation always prior to that movement. The meaning of ‘in front’ is, on the other hand, a semantic association taken from the similarity between the concepts of ‘before’ and ‘in front of', which is also given in English with expressions such as ‘standing before you'.
472
ゼン
煎
セン
Heating done before 前 burning with
1469
fire 灬
い.る
to broil
朕
朕
チン
Two hands handling the helm of a boat
1470
person in charge
Two hands grabbing the rotating knob (关) of a boat (舟 ➝ 月), or in other words, a person at the helm, a person in charge. In the compounds this graph takes the peculiar arrangement , which leaves space for the other components in the lower right corner.
謄
謄
1471
トウ
People in charge
repeating a speech 言
mimeograph 1472
勝
勝
➀➁ ショウ ➀ まさ.る ➁ か.つ
Person in charge
with strength 力
➀ to surpass ➁ to win
473
騰
騰
トウ
Person handling the reins of a horse
1473
pounce
A person in charge ( ) handling the reins of a horse (馬) and making it gallop and pounce.
藤
藤
トウ ふじ
Plant 艹 that growing as fast as a トウ
pouncing horse 騰 goes wisteria
474
1474
REVIEW ON VESSELS
⽫益⾎衆監易⾖登壴豊⾉即 既⾷⾅⿍貞具真⿀ 1
盟盜温塩猛益衆覧濫藍賜頭痘澄喜 ⿎膨樹艶爵節慨概飲餅餌飼飽飯養 飾飢児毀陥稲潟偵惧慎填隔融
⾣酋尊畐西要栗卑品喿器⼕ 匹甚区直㥁 曲 2
3
酵酎酸醜配酒酬醒酷酌醸酔酢猶幅 価煙覇腰慄碑臨操燥藻繰匿勘堪欧 殴枢駆値殖植置聴継
凡同興斉粛⾵受丹青南⽤甬 勇甫尃溥庸 汎帆胴洞筒興済嵐授静情請晴清精 献踊痛湧哺捕浦補縛博薄簿
475
4
⾈般兪前朕騰 航舶舷艦搬盤愉諭喩癒輸煎謄勝藤
476
THE TERRITORIAL REALM
477
THE TERRITORIAL REALM The territory is a broad concept that, however, takes centre stage in any settled society, since the identity of a society is almost always associated with the territory it is based on. The survival of a society is linked to the capacity of defending a territory, and for this defense it is necessary to use weapons. In ancient societies such as those of the time when Chinese characters were created, weapons were thus an essential element of communal life, and that is why they play a major role within the Chinese characters, as a symbol of the preservation of a territory. The concept of territory also gives rise to the concept of space. A territory can be interpreted in terms of several kinds of space: the vertical space—which has to do with the relationship between heaven and earth–; the horizontal space—which has to do with distances–; and the circular space—which has to do with inhabited and controlled telluric territories. Within these spaces or territories, societies also build buildings that become part of the landscape, from four walls that form a hut, to palaces and watchtowers end up conforming villages and cities interconnected by roads. The different aspects of the territorial realm can be sorted out, then, through the following three groups: Characters used to represent weapons, characters used to represent spaces, and lastly, characters used to represent man-made constructions.
WEAPONS
SPACES
1. Daggers 2. Pole Weapons 3. Axes 4. Defensive Weapons 5. Bows and Arrows
1. The Vertical Plane 2. The Horizontal Plane 3. The Circular Plane
478
CONSTRUCTIONS 1. Walls and Roofs 2. Doors 3. Tall Buildings 4. Roads
THE TERRITORIAL REALM AT A GLANCE WEAPONS
SPACES
479
CONSTRUCTIONS
WEAPONS 1 | DAGGERS
One of the most basic weapons is the knife or ‘dagger’ which is characterized by a sharp, cutting ‘blade’
刀,
刃. Initially,
daggers can be useful for cutting meat, plants or ropes, but also for killing prey. This function would soon also adopt a ritual aspect in religious sacrifices. In such sacrifices the weapon used would be a dagger with a thicker blade 氏, a ritual dagger that would ultimately also serve to denote clerical family clans and their ‘surnames’.
⼑
刀 刂
1475
Ⓡ
Dagger
トウ かたな
saber
A dagger with its blade slightly curved. The current glyph is visibly schematized, with a curved line 丿 and another bent line 𠃌, representing the blade of a dagger or knife pointing downwards. Some graph examples of the bronze script like or character.
more clearly show the pictographic origin of the
The original meaning of ‘dagger’ gets expanded when the character acts as a standalone and also in some compounds to that of ‘saber’. 480
In many compounds this sinogram adopts a simplified version: 刂, or , in which the original shape of the blade is more noticeable.
Bronze dagger of the Shang dynasty
別
1476
ベツ
別 わか.れる 剣
剣 帰
帰
Pile of bones 𠮠 cut with a dagger 刂 to separate 1477
ケン
ケン つるぎ
キ かえ.る
Authority 㑒 shown in a dagger 刂 sword Saber sweeping 帚 enemies in order to make possible the return home to come home ショウ
削
削
サク けず.る
1478
Cereals and meet 肖 cut with a dagger 刂 to sharpen 481
1479
剰
剰
1480
ジョウ
ジョウ
Tops of trees 乗 cut with a saber 刂 surplus カン
券
券
Paper rolled up and cut with a ケン
dagger 刀 ticket ガイ
刻
刻 劇
劇 解
解 判
判
1481
コク きざ.む
Framework 亥 drawn with a dagger
1482
刂 on a surface to carve Tiger 虍 and a hog 豕 attacked by a
1483
saber 刂
ゲキ
drama カイ ゲ と.く
1484
Horns 角 of an ox 牛 cut with a saber 刀
to loosen ハン
ハン バン
Something cut in half 半 with a saber 刂
judgement
482
1485
刷
刷
サツ す.る
A mold sitting 尸 on a cloth 巾 cut
1486
with a dagger 刂 to print 1487
ショ
初
初
はじ.め はつ そ.める うい-
Cloths 衤 cut with a dagger 刀 in order to make clothes beginning
ロク
剥
ハク
剥
は.ぐ
班
班
Rope of a pulley 录 cut off with a
1488
dagger 刂 to tear off ハン
ハン
1489
Several jewels 玨 being cut by a dagger
squad
NOTE In reference to a military squad distributing a booty among the group.
483
1490
罰
罰
バチ バツ
Net 罒 capturing a criminal that makes a confessional speech 言 whereupon a punishment through a dagger 刂 is made
punishment 1491
剛
剛 割
割 副
副 剤
剤
コウ
Ridge 岡 of daggers 刂
ゴウ
sturdy カツ わ.れる さ.く
1492
ガイ
Harm 害 caused with dagger 刂 to crack 1493
フク
フク
Big wine vessel
cut with a saber 刂
additional 1494
セイ
ザイ
列
列
Even 斉 cut made with a dagger 刂 dose 1495
Cut bone remains
レツ
array
Bone remains (⽍) that are cut with a dagger (刀 ➝ 刂) and orderly placed, arrayed, for burials or sacrifices. 484
例
レツ
レイ
Person 亻 next to an array of bones 列
例 たと.える 烈
烈
to liken 1497
レツ
レツ
Cut bone remains 列 on fire 灬 ardent 1498
レツ
裂
レツ
Bone remains cut 列 like clothes 衣
裂
さ.く
to tear
召
召
1496
1499
ショウ
Words and a dagger
め.す
to summon
Words (口) pronounced while making a sacrifice with a dagger (刀) in order summon some deity or ancestor.
詔
ショウ
ショウ
詔 みことのり 招
招
ショウ まぬ.く
1500
Speech 言 that summons 召 imperial edict Hand 扌 holding a saber while ショウ
summoning words 召 are pronounced to beckon 485
1501
超
超 沼
沼 紹
紹
1502
ショウ
チョウ
Running 走 summoning 召
こ.える
to transcend
ショウ ぬま
ショウ
1503
ショウ
1504
Water 氵 that seems to summon 召 people or deities marsh
Thread 糸 linking the summoner 召 ショウ
and the summoned introduction
昭
昭
1505
Summoned sun
ショウ
glittering
The Sun (日) responding with its glittering to its allegorical ショウ
summoning (召).
照
照
ショウ
ショウ
Glittering 昭 fire 灬
て.らす
to shine
486
1506
1507
分
分
Dagger cutting and distributing ➀ to part
➀ブ ➀ ブン ➁ フン ➀ わ.ける ➂ わ.かる
➁ minute ➂ to understand
A metaphorical dagger (刀) cutting and distributing (八 ➝ ハ ) something, a representation of the division of parts. The meaning of ‘understanding’ derives from the notion of having to divide something into parts in order to analyze it in detail and thus comprehend the whole.
頒
頒
1508
フン
ハン
Divided 分 heads 頁 dissemination
NOTE ‘Heads’ understood here as ‘people’.
雰
雰
フン
フン
1509
Rain 雨 that gets divided 分 atmosphere
NOTE Originally this character referred to ‘mist’. Over time the sense of ‘mist' got expanded into that of air or ‘atmosphere’.
487
1510
粉
粉 紛
フン こ こな
フン
Grains 米 that got divided 分 powder フン
フン
紛 まぎ.れる
1511
Threads 糸 that get divided 分 to be diverted 1512
貧
ビン ヒン
フン
Division 分 of money 貝
貧 まず.しい 盆
盆
poor 1513
フン
ボン
Divided 分 vessel 皿 tray
NOTE In the sense that a tray is a vessel without lid nor handles: a divided vessel.
㓞
1514
Lush plant cut by a dagger
A dagger (刀) cutting a lush plant (丰 ➝
488
).
潔
潔
ゲツ いさぎよ. い
Water 氵 and cut lush plants
tied
1515
together with a thread 糸 unsullied
NOTE In reference to a sort of rudimentary broom made with a bunch of plants that cleans and purifies things or people with the help of water.
契
契
1516
ケイ
Person cutting a lush plant
ちぎ.る
to pledge
A person seen from the front (大) cutting some lush plants ( ) that he will give as an offering when making an oath or pledge.
喫
喫
Mouth 口 eating lush plants that have
1517
ケイ
been cut by a person 契
キツ
consumption
制
制
1518
セイ
Saber cutting tree branches system
A saber (刀 ➝ 刂) cutting tree branches (朱 ➝ ), indicating the collection of material to build something, which implies a sequential process based on an organized system.
489
製
製
1519
セイ
セイ
System 制 of clothes 衣 production manufacture
利
リ
利
き.く
Fruits bore by a tree being cut with a dagger
1520
profit
Fruits of fruit trees (禾) cut by a dagger (刀 ➝ 刂), giving rise to a possible profit.
梨
梨 痢
痢
1521
Profitable 利 tree 木
なし
pear tree リ
リ
1522
Illness 疒 that becomes profitable 利 diarrhea
NOTE It may refer either to the fact that it is beneficial to be cured of a disease by expelling the bad things through diarrhea or, allegorically, to the fact that the abundance of animal excrement is profitable if used as fertilizer in the field.
則
則
1523
Money and sabers
ソク
rule
The implicit power derived from economy, money (貝), and the 490
military, sabers (刀 ➝ 刂). The legitimate and instigating power that establishes the rules and practices of a given society.
側
側
ソク
ソク がわ
1524
Person 亻 next to money and sabers 則 side ソク
測
ソク
Water’s 氵 rules 則
測
はか.る
to fathom
1525
NOTE It denotes the need to fathom or deduce the movements of water flows to prevent catastrophic flooding, which was a common threat in ancient times.
刃
刃
1526
Edge of a dagger
ジン は
blade
The edge of a dagger (刀), the blade, deliberately marked by an extra stroke (㇔) that highlights it.
忍
忍
1527
ニン
Edge of the heart
しの.ぶ
to put up with
Ideographic compound that allegorically depicts a heart (心) that ジン
has been injured with the blade of a dagger (刃), feelings of emotional pain that one sometimes has to endure.
491
認
ニン
ニン
1528
Speech 言that puts up with something 忍
認 みと.める
to recognize 1529
⽒
氏
シ うじ
Dagger with a thick blade surname
A dagger placed face down with a curved handle and a blade thicker than normal. The current glyph is a schematization of the curved handle of a dagger ( ) and the blade (㇂), whose wider-than-normal thickness was originally indicated with a kind of circle that later became linearized by the stroke (一). The joint shape of the handle and the blade ( ) is similar to the reversed form of the character for “knife” (刀 ➝ ). The dagger represented by this character probably alludes to a type of ritual dagger used to carry out sacrifices, a task reserved for the shamanic or clerical class, which presumably liked or required to mark such an important object with distinguishing signs that would ultimately be associated with that particular clan or family of high social status. In ancient times it was only these families of high social status that could be recognized by a specific symbol or name, something that would eventually lead to the concept of ‘surname’.
492
Ritual jade dagger with a slightly curved handle and a thick blade
婚
婚 紙
紙
Woman 女 speaking 曰 of her new
1530
surname 氏
コン
marriage
シ かみ
Plant threads 糸 cut with a thick
1531
シ
dagger 氏 in order to produce paper paper
氐
氐
1532
テイ
Dagger stuck on the ground Ground
A surface, the ground (一), on which a thick dagger (氏) is stuck. 1533
低
低
テイ
テイ
Person 亻 looking at the ground 氐
ひく.い
low
493
抵
抵
テイ
テイ
民
民
1534
Hand 扌 leaning towards the ground 氐
resistance 1535
ミン たみ
Eye pierced by a dagger common people
A distorted eye—without the mark of the pupil (⼞)—pierced with a thick blade ( )—like the one of the character 氏 (thick dagger). It symbolizes a subject to whom his power of vision has been reduced in order to be easily controlled. The meaning of this glyph refers, in extension, to that of ‘common people’, subjects subordinated to a given authority.
ミン
眠
ミン
Eye 目 with its vision power reduced 民
眠
ねむ.る
to sleep
七
七㐅
1536
1537
シチ
Cut
なな.つ なの-
seven
Originally it represents a cross mark or a slice (十), which later derived into the curved form 七 in order to be differentiated with the glyph 十 (ten). In any case, this borrowing can be understood as a connection between the importance of bone marks in religious-divinatory rites (卜) and their close relationship with the seven great stars visible 494
in the sky -also known as the seven luminaries (七曜): The sun, the moon, Mars, Mercury, Jupiter, Venus and Saturn. As a component, this character can take the slanted form 㐅.
叱
叱 刈
刈
シチ
シツ
Words 口 that hurt like a cut 七
しか.る
to scold
1538
1539
か.る
Criss-cross cuts 㐅 made with a dagger 刂
to mow 1540
切
切
セツ サイ
Cut made with a dagger to cut
き.る シチ
The action of ‘cutting’ (七) reinforced with the character for “dagger” (刀), a saber making a cut.
杀
1541
Cut rice plant
サツ
Originally 𣏂 [㐅术], grains of rice distributed (
サツ
➝ 术 ➝ 木)
by cuts (七 ➝ 㐅) made in the rice plant, a cut rice plant.
495
1542
殺
殺 刹
刹
サツ サイ セツ
Cut rice plant
勿
勿
hit with a weapon
⽎ to kill
ころ.す
セツ サツ
サツ
Place where rice plants are cut
サツ
1543
with a dagger 刂 to make offerings shrine 1544
Several cuts
モチ
㊔
not
The blade of a dagger (刀 ➝ 勹) making several cuts (㇒ 丿). 1545
物
物
ブツ モツ もの
モチ
Cattle 牜 killed by several cuts 勿 thing
NOTE A dead ox or cow is no longer a living being, but a still good: a thing.
496
2 | POLE WEAPONS In the battles of yesteryear, all kinds of melee weapons were used, among which, pole weapons, like ‘spears’ 矛 could give a great defensive advantage by allowing people to attack from a prudential distance. There was also a type of pole weapon that was even purely defensive, such as the sasumata or ‘bident’ 干, used in police ‘interventions’ to trap criminals. Weapons more suited for attack were things such a simple ‘stakes’ evolution, which are ‘dagger-axes’ such as ‘halberds’ halberds’
⼷, their direct
戈, a further development,
戊 or even a more sophisticated ‘thick-bladed
戌.
⽭
矛
1546
ム ほこ
spear
Ⓡ
A spear with a pointed tip ( ), an elongated shaft (亅) and a rope (乛, ㇒) that serve as a grabber. The current glyph is quite different from the original form, but resembles some other later versions of the pictogram in which the rope grabber is more visible:
.
497
Spear
柔
柔
1547
ジュウ ニュウ
Spear 矛 of wood 木
やわら. かい
務
務
pliant
ム つと.める
Hand strongly wielding a weapon against a spear
1548
to serve (in/as)
A hand holding a weapon (攵) that uses force (力) against an enemy spear (矛), in reference to the duty of the use of an armed force that people serving in the military have.
霧
霧
1549
ム
ム きり
Clouds serving 務 to form rain ⻗ fog 1550
⼲
干
Bident
➀ ➁ カン ➁ ほ.す ➁ ひ.る
➀ intervention ➁ to dry
A spear with a thick shaft (十)—in which the horizontal line 一 acts as a linearized depiction of the thickness—with a kind of hook with two prongs (一) that is used to immobilize the adversary. A weapon that is fairly commonly used in Asia even today, and which is called in Japan sasumata (刺股). In the West there is also a type of 498
similar traditional weapon called bident (double-pointed spear). This weapon is used when one does not want to inflict serious harm on the opponent (for example, when the opponent is a petty criminal), a situation that arises in police interventions, hence the meaning of ‘intervention’. The meaning of ‘to dry’ is due to the fact that the glyph 干 was used since ancient times as a folk alternative for the character 乾 (to dry), whose pronunciation is identical.
Head of a bident
カン
肝
肝 汗
汗 岸
岸
カン きも
Body part 月 that intervenes 干 in
1551
digestion liver 1552
カン
カン あせ
ガン きし
Water 氵 intervening 干 in cooling sweat Mountains 山 and cliffs ⼚ where カン
water becomes dry 干 coast 499
1553
カン
1554
Part of a tool held like a bident 干 that
幹
幹
カン みき
is straight like a person
waking up カン
with the early sun handle (of a tool) trunk (of a tree)
軒
軒
ケン のき
Parts of a chariot 車 shaped like カン
bidents 干 eaves カン
刊
刊
1555
Dry element 干 that can be cut with a カン
1556
dagger 刂 publication
开
1557
Two bidents
ケイ
Flat
Two double-pointed spear or bidents (干×2 ➝ 幵 ➝ 开). This component adopts the meaning of ‘flat’ or ‘becoming flat’. This meaning comes from the presumption that two bidents or sasumatas facing each other result in a draw, in a flat or equal outcome, because the sasumata acts as immobilizing defense weapon that prevents the performing of any attack.
500
1558
形
形
ギョウ ケイ かた かたち
研
ケン
研
と.ぐ
Flat surface
ケイ
a brush’ hair 彡 draws on
shape
Stone 石 becoming flat
1559
ケイ
to sharpen 1560
刑
刑
Equalizer saber
ケイ
penalty ケイ
A saber (刀 ➝ 刂) that acts as an equalizer or flattener ( ) of society, as it is used to give penalties.
型
型
ケイ
Equalized 刑 soil 土
ケイ かた
挿
挿
1561
model
ソウ さ.す
Hand introducing a bident in a hollow vessel
1562
to penetrate
Originally 插 [扌千⾅], a hand (手 ➝ 扌) grasping a bident (干 ➝ 千) that is inserted into an hollow container (臼 ➝ 曰). 501
This ideogram is certainly understood as the representation of a culinary tool with two prongs (干), graph and meaning analogous to that of “pestle” (午). 1563
⼷
弋
Stake
Ⓡ
Successiveness
A stake (㇂) traversing the ground (一) and with a knob (丶) at the top, presumably made with a small branch. This component quite often refers to the concept of ‘successiveness’ or ‘replacement’, as stakes are tools that can be nailed in one place temporarily, then removed and nailed back to another place, successively.
弐
弐
One rod 一 that can be used twice 二 ニ
1564
like a stake ⼷ two (in legal documents) 1565
代
代
➀ ➁ タイ Person replaced like a stake ➀ ➁ ダイ ➀ to supersede ➀ か.わる ➁ generation ➁よ ➂ しろ ➂ substitution
A person (人 ➝ 亻) succeeding another as a stake (⼷) that can be used again several times in succession. 502
タイ
袋
袋
タイ ふくろ
貸
are stored sack
SPECIAL READING
貸
Place where substitute 代 clothes 衣
1566
足袋 [たび]: Japanese socks with split toe 1567
タイ
タイ
Superseded 代 money 貝
か.す
to lend
式
式
Craft done in order
1568
ceremony
シキ
style
A craft (工) made with an established and consecutive order, through a series of movements that follow each other as the use of stakes (⼷).
拭
拭
ショク ぬぐ.う ふ.く
1569 シキ
Hand 扌 moving in order 式 to wipe
503
1570
試
試
シ
シキ
Speech 言 made in order 式
こころ. みる
to test
ため.す
1571
必
Distributed stakes
ヒツ
必 尗 かなら.ず Stakes (⼷ ➝ 义 ➝
necessarily
) that are distributed (八 ➝ ハ) on the
ground, an action that is necessary in some important activities such as the establishment of military camps. As a component the character can adopt the form 尗, which is somewhat more faithful to the original graphic composition.
泌
泌
ヒツ
ヒツ ヒ
Fluid 氵 that is necessarily expelled 必 secretion ヒツ
秘
ヒ
秘
Prosperity 禾 turned into necessity 必
ひ.める
to conceal
叔
叔
1572
1573
1574
シュク
Hand distributing stakes uncle
504
SPECIAL READING
叔父 [おじ]: uncle
An outstretched hand (又) distributing stakes (尗 = 必), in what can be thought as the establishment of a military camp. This ideogram suggests a leadership role, a close but authoritative figure, such that of an ‘uncle’.
督
督 淑
淑
1575
シュク
トク
Eye 目 of an uncle 叔 supervision シュク
シュク
⼽
戈
1576
Water 氵 given by an uncle 叔 graceful 1577
Dagger-axe
Ⓡ
A weapon with an elongated blade shaped like a dagger (一), a rear spike (丶), a long shaft (㇂) and a support foot (㇒). A weapon known by the term ‘dagger-axe’.
Head of a dagger-axe
505
1578 タン
戦
➀ ➁ セン Capturing net 単 and dagger-axe 戈 ➀ ➀ to battle たたか.う
戦 ➁ いくさ
➁ war
NOTE Ideogram that associates weapons such as dagger-axes with the action or intention of capturing the enemy: a battle.
戯
戯 賊
賊
ギ たわむ. れる
ゾク
1579
Dagger-axes 戈 brandished at the void 虚
spectacle Money 貝 taken by cuts 㐅 ➝ 十 made with halberds 戈
1580
rebel
伐
伐
バツ
Dagger-axe through a person's body
1581
felling
A dagger-axe (戈) passing through the neck or body of a person (人 ➝ 亻), metaphorically felling him down.
506
戒
戒
カイ いまし. める
1582
Two hands grabbing a dagger-axe to warn against
Two hands (⼶) raising a dagger-axe (戈) in sign of threat or warning.
械
械
カイ
カイ
1583
Wooden object 木 used to warn people 戒
appliance
NOTE The original meaning of this compound was that of ‘shackles’ or ‘fetter’, but in modern Japanese the character is used almost exclusively in the word 機械 (きかい, mechanism).
戠
戠
ショク
Dagger-axe producing sound
1584
Contention
The sound (音) produced by a dagger-axe (戈) colliding with another, an allegorical symbol of contention or discussion.
職
職
ショク
ショク
Ear 耳 listening to contentions 戠 employment
507
1585
識
識 織
織
ショク
シキ
シキ ショク
1586
Speech 言 on contentions 戠 knowledge Threads 糸 intertwining like clashing
1587
ショク
halberds making sound 戠 weave
我
我
➀ガ ➀ われ ➁わ
Hand grabbing a dagger-axe
1588
➀I ➁ my
A hand grabbing (手 ≈ 爪) a dagger-axe (戈), showing power or a certain status of nobility within a warrior stratum that infers a right to distinction and recognition of the person: an exaltation of the ego.
餓
餓
Food 飠 approached by a hand
1589
ガ
grabbing a dagger-axe 我
ガ
hunger
義
義
ギ
Hand grabbing a daggeraxe to be nailed in a sacrificial sheep righteousness
508
1590
ガ
A hand holding a dagger-axe (我) in order to slaughter a sheep (羊 ➝
) that is about to be given in sacrifice as an offering to the
gods, the sacrifice of an auspicious animal assuring goodness and righteousness.
儀
儀 議
議 犠
犠
1591
ギ
ギ
Person 亻 that is righteous 義 etiquette 1592
ギ
ギ
Speech 言 that is righteous 義 deliberation ギ
ギ
1593
Cattle 牛 becoming righteous 義 sacrifice 1594
サイ
Originally
Dagger-axe handled with talent サイ
[才戈], and later 𢦒, the talent (才 ➝
➝ 十) shown
in the handling of a dagger-axe (戈), or out put in other words: a weapon managed with talent.
509
戴
戴 栽
栽
Sort of mask 異 put on a person who サイ
タイ
handles halberds with talent coronation
サイ
Trees 木 distributed with talent
サイ
裁 繊
繊
➀ ➁ サイ ➀ た.つ ➁ さば.く
Clothes 衣 cut with talent
1597
➀ to cut cloth ➁ to judge Threads 糸 cut with talent
セン
1596
plantation サイ
裁
1595
サイ
and
1598
rounded into a bowl 亚 ← 豆 fiber 1599
載
載
サイ
サイ
Chariot 車 driven with talent
の.せる
幾
幾
to get on
キ
Person cutting small thicks of thread with a dagger-axe
how much
510
1600
A person armed with a dagger-axe ((人 + 戈) ➝ 戍) recounting several silk cocoons (𢆶), in reference to an authoritarian figure intervening as a moderator or accounting witness in a commercial activity.
機
機
キ
キ はた
㦮
㦮
1601
Wooden utensils 木 useful for counting 幾
mechanism 1602
Dagger-axe fight
セン
Originally 戔 [戈戈], two dagger-axes (戈×2) clashing with each other, representing a confrontation. The strokes of the upper part of the original glyph went through a simplification resulting in the strokes 彡 and 丶.
残
ザン
残
のこ.る
践
践
Bone remains ⽍ left after a daggerセン
axe fight 㦮 leftover Tracks 足 left by feet running out of a セン
セン
1603
dagger-axe fight 㦮
tread
511
1604
浅
浅 桟
桟
セン
Water 氵 on top of which a dagger-axe セン
battle 㦮 can be made
あさ.い
shallow Piece of wood 木 that gets intersected
サン
箋
1606
セン
like two clashing halberds 㦮 cleat Slips of bamboo ⺮ where letters are
箋
1605
セン
1607
written intertwined like two clashing セン
halberds 㦮 slip of paper
NOTE Originally referring to the ancient books or notebooks written on bamboo strips that were used during the Shang dynasty.
戊
戊
1608
Halberd
ボ
Ⓡ ㊔
A pole weapon similar a dagger-axe (戈) but with the blade having a crescent curvature (丿) instead of the shape a dagger.
512
Chinese halberd
越
越 茂
茂 戚
戚
エツ
Running 走 while holding a halberd 戊 ➝戉
こ.える
モ
1609
to cross over Plants 艹 susceptible of being cut with
1610
a halberd 戊
しげ.る
to overgrow 1611
セキ
Halberds 戊 and stakes 尗 kin
NOTE Related weapons, since stakes, when used as weapons, are a primitive form of halberd.
蔵
蔵
ゾウ くら
Halberd being watched out behind some plants warehouse
513
1612
A place covered with plants (艹) where weapons such as halberds (戊) are kept and watched by eyes looking down (臣). An allegorical representation of a place where valuable objects are stored.
臓
臓
ゾウ
1613
Body part 月 acting as a warehouse 蔵
ゾウ
viscera 1614
セイ ジョウ
成
成
Halberd nailed somewhere to result in
な.る テイ
Originally 成 [戊丁], a halberd (戊) nailed (丁 ➝ 𠃌) somewhere, symbolizing the conquest of a territory, a concrete result.
誠
誠 城
城
セイ
セイ まこと
Speech 言 that gives results 成 sincerity セイ
ジョウ しろ
1615
Soil 土 nailed with halberds 成 castle
514
1616
1617
盛
盛
➀ ➁ セイ ➁ ジウ ➀ も.る ➁ さか.る
セイ
Results 成 manifested in dishes 皿 ➀ to fill up ➁ to prosper 1618
戌
Big halberd
戌
A halberd (戊) with a blade broader than normal, which is marked by a horizontal stroke (一).
Head of a Chinese halberd with a broad blade
威
威 滅
1619
イ
メツ
滅 ほろ.びる
Woman 女 holding a big halberd 戌 intimidation Water 氵 floods, fire 火 and big halberds 戌 to be ruined 515
1620
NOTE Implying the destruction caused by a war.
歳
歳
サイ セイ
Time when one stops 止 being small 小 and takes a big halberd 戌 age
SPECIAL READING
蔑
1621
二十歳 [はたち]: twenty years old 1622
Head crossed by a big halberd
ベツ さげす.む
to discard
The head of a person—represented by the eyes (罒) and eyelashes (艹)—pierced by a big halberd (戌). A discarded enemy.
武
武
ブ ム
1623
Marching with a thick blade dagger-axe military
Group in which steps (止) take place while carrying big halberds (戌 ➝ ): the military.
賦
賦
ブ
フ
Money 貝 collected by the military 武 levy
516
1624
3 | AXES Axes, like daggers, are objects that can be used both as work tools and weapons. That is why there are several types of axes, such as the primitive small ‘axes’
斤—used merely as tools—, or battle
axes 士, which, when properly marked, served to tell apart different clans of noble ‘gentlemen’, within which, who carried the largest battle axe 王, was distinguished as the leader of the clans or, eventually, the ‘king’.
⽄
斤
Axe
1625
Ⓡ
unit of weight
キン
[~0.6 kg]
A rudimentary axe or hatchet, with its handle (丨) and a blade leaned to the left ( ).
Primitive stone axe
517
析
析 質
質 匠
匠
1626
セキ
シツ シチ チ
Tree 木 cut with an axe 斤 chop 1627
Axes 斤×2 exchanged for money 貝 matter 1628
Axes 斤 and boxes 匚
ショウ
artisan 1629
断
断
➀➁ ダン
Stored rice grains
being cut off with
an axe 斤
➀ た.つ ➁
➀ to sever
ことわ.る
➁ to dismiss
折
セツ
折
お.る
Hand holding an axe
1630
to break to fold
A hand (手 ➝ 扌) holding an axe (斤) to split—or break—some object or structure. The meaning of ‘folding’ probably comes from the image of a tree trunk chopped with an axe that has fallen bent or ‘folded’.
518
哲
哲
1631
セツ
Folded 折 words 口
テツ
wisdom
NOTE A series of words that can be ‘folded’ in the sense that they can show various faces, deep words, full of wisdom.
誓
誓
1632
セツ
セイ
Folded 折 speech 言
ちか.う
to vow
NOTE A speech or series of words that is embodied in a folded document and delivered to a religious institution.
兵
兵
1633
ヘイ ヒョウ
Two hands grabbing an axe soldier
The person who, with his two hands (⼶ ➝ soldier.
浜
浜
), grabs an axe (斤): a
ヘイ
ヒン はま
斬
斬
1634
Water 氵 whereby soldiers 兵 camp seashore
ザン き.る
Axe attack made while riding a chariot to slice (off) 519
1635
An axe (斤) used while riding a chariot (車) that is, thanks to its moving speed, stroke with such force that it slices what it encounters.
暫
暫 漸
漸
1636
ザン
Slice 斬 of the sun 日
ザン
temporarily Water 氵 moving as the result of a
1637
ザン
slicing cut 斬
ゼン
steadily
斥
斥
1638
Split axe
セキ
rejection
An axe (斤) split or cut (㐅 ➝ ㇏) in the middle, a weapon or tool that is rejected due to its lack of functionality. 1639
訴
訴
ソ うった. える
⼠
士
Speech 言 that might be rejected 斥 to accuse Battle axe knight
シ
gentleman
520
1640
Ⓡ
A large battle axe, with a big blade (一) and a handle (十) whose thickness is marked by a horizontal line (一). Battle axes were a characteristic object of knights—associated with gentlemen of the nobility—because their wide blades allowed to show a range of symbols characteristic of a certain clan. The upper horizontal line of this character appears longer than the lower one as a consensus to differentiate this graph from the character for “earth” (土).
Blade of a bronze ceremonial axe from Shang dynasty China
1641
仕
シ ジ
シ
Person 亻 next to a gentleman 士
仕 つか.える 壮
壮
to work for 1642
Battle axe on a table
ソウ
robust ショウ
A battle axe (士) on a table (丬), as a symbol of nobility and strength.
521
荘
荘
1643
ソウ
ソウ
Plant field 艹 that is robust 壮 manor 1644
装
ソウ ショウ
ソウ
Putting robust 壮 clothes 衣
装 よそお.う 吉
吉
to dress 1645
キチ キツ
Words of a gentleman good luck
Ceremonial words (口) pronounced by gentlemen (士) of the noble class in order to wish good luck and prosperity for the clan or nation.
詰
詰
1646
キツ
キツ
Speech 言 of good luck 吉
つ.める
to focus on 1647
結
結
ケツ むす.ぶ ゆ.う
キツ
Thread 糸 that assuring good luck 吉 to tie
NOTE Perhaps in relation to the complex Chinese decorative knots (中国結), probably used in the past as decorative elements of religious rituals.
522
Conceptualization of the 'endless knot' (盤長), considered as an auspicious symbol
王
王
1648
Big battle axe
オウ
Ⓡ
king
A battle axe (士 ➝ 土) with a size that is larger than normal, riveted by the upper stroke (一) that suggests a hilt. While a standard battle axe is indicative of a noble class of knights, a greater axe is indicative of the leader of that class, which consequently derives into the concept of ‘king’.
Blade of a big bronze axe from Shang dynasty China
弄
オウ
ロウ
弄 もてあそ.ぶ
Big battle axe 王 held by two hands ⼶
to trifle with
523
1649
旺
旺
1650
オウ
Sun 日 and king 王
オウ
vigorous 1651
望
望
ボウ モウ
Perished 亡 body 月 of the king 王
のぞ.む
to wish for
SPECIAL READING
ボウ
オウ
望月 [もちづき]: full moon
NOTE Understood as the wish for the return of a deceased king.
皇
皇
狂
Clearest 白 king 王
オウ コウ
SPECIAL READING
狂
1652
オウ
emperor 天皇 [てんのう]: emperor of Japan
オウ
キョウ
Animal 犭 acting like a king 王
くる.う
to rage
呈
呈
テイ
Words pronounced before the king
1653
1654
presentation
Words (口) pronounced before the king (王), a presentation or 524
offering to the sovereign power.
聖
聖 程
程
1655
Ear 耳 of the king who listens to a テイ
セイ
presentation made before him 呈 holy テイ
テイ ほど
Prosperity 禾 presented before the king 呈
extent
525
1656
4 | DEFENSIVE WEAPONS After having seen a series of attack weapons, it is only natural that the corpus of Chinese should also refer to the defensive weapon par excellence: the shield with any kind of ‘armor’.
甲
甲
甲, which would later be associated
Shield
カン コウ
1657
armor 1st
Pictogram of a rudimentary circular shield with an opening in the middle (曰), crossed by a handle (丨), an image taken later to indicate any type of protective armor. The main current meaning of this character is that of ‘first in rank’, meaning that originates from the Sinitic ordinal system known as Heavenly Stems (天干), in which ten concrete primitive characters are used to designate different ordinal positions, among which 甲 takes the first one, before 乙 (オツ). The adoption of this graph to mean ‘first’ may be due to the linkage of bone shells—associated with armors—with divination, being that material the first thing one needs to perform divination activities.
Rudimentary circular shield
526
押
押 岬
岬
コウ
オウ
Hand 扌 holding an armor 甲
お.す
to push
1658
1659
みさき
盾
盾
Mountain 山 acting as an armor 甲 cape (on coast) 1660
ジュン たて
Person holding a shield shield
A person (人 ➝ ⼚) holding a shield (甲 ➝
527
).
5 | BOWS AND ARROWS The last type of weapons that appear within the Chinese character corpus are those that grant an advantage at a distance, the projectile weapons: bows and arrows. Most bows in Chinese antiquity had a serpentine shape, as they were composite ‘bows’:
弓. These bows were tied with
thick strings 引 that, when they were ‘pulled’, could throw their projectile at a great distance. If, on the contrary, that string got detached from its bow, it became a loose ‘rope’ 𢎗 that could be used for other tasks. The bows would be useless, however, if it were not for their ‘arrows’
矢, capable of following a fixed path and passing
through the ‘middle’ of a hoop 中 in shooting practice. In order for the flight of an arrow to be optimal and its impact to be striking, special attention had to be paid to the arrowheads 入, which should be made of a metal sharp enough for them to ‘enter’ the surface of what they hit.
弓
弓
1661
キュウ ゆみ
bow
Ⓡ
A composite bow. In the modern form of the character the string is not visible anymore, and only the limbs and handle (弓) are left.
528
Chinese composite bow
張
張
チョウ
チョウ
Bow 弓 with an elongated string 長
は.る
to stretch 1663
キュウ
強
強
➀ ➁ Bow 弓 string that makes energy flow キョウ 厶 and is thick as a serpent ⾍ ➀ ➁ ゴウ ➀ strong ➀ つよ.い ➁し.いる ➁ to force コ
弧
弧 弥
弥
1662
Bow 弓 shaped like a gourd plant’s 瓜 コ
1664
hanging stem arc 1665
や
Bow 弓 that is embroidered 尓 relaxing a bow
529
TRIBE NAME USAGE
弦
弦 湾
湾
弥⽣ [やよい]: Yayoi 1666
ゲン
Bow's 弓 dim 玄 part
ゲン つる
string Water’s 氵energy distributed 亦 along
ワン
the coast in the form of a bow 弓 gulf タン
弾
弾
1667
➀ ダン ➀ たま ➁ はず.む ➂ ひ.く
1668
Bow 弓 that is simple 単 ➀ bullet ➁ to be encouraged ➂ to play (an instrument)
NOTE 1. A bow-and–arrow-like weapon simplified to the simplest form: a bullet. 2. A bow that is simple to be handled: a bow whose use is encouraged. 3. A simple bow string: something that plays music. 1669
弱
ジャク
Bows with hairy strings
弱
よわ.い
weak
Some bows (弓×2) whose strings are full of hairs (彡 ➝ ⼎冫×2), that is, bows with frayed strings. Neglected bows whose functionality is weakened. 530
溺
ジャク
デキ
Water 氵 that weakens people 弱
おぼ.れる
to drown
発
発
ハツ ホツ
Hand putting a bow string in motion
1670
1671
launch
Two hands (⼶ ➝ ) grabbing the string of a bow (一), that gets propelled so that the projectile, the arrow, flies upward (癶). A scene that represents the throwing, or launching of an arrow.
引
引
1672
Tense string of a bow
イン ひ.く
to pull
The string (丨) of a bow (弓) being pulled, tightened and stretched. 1673
弓
Loose string of a bow
𢎗
Rope
A string detached from its bow, loose, visibly curved. In modern writing this component takes a form that is virtually identical to the character for “bow” (弓), perhaps due to a semantic association.
531
1674
弟
弟
ダイ Stake being tied with a rope デ テイ younger brother おとうと
A rope (𢎗) being tied to a stake nailed to the ground (⼷ ≈ ). The action of nailing and tying stakes during the establishment of a military camp, a mechanic activity relegated to people with little or none authority. If the activity of distributing the stakes suggests the idea of a leader or family member with authority as an uncle (叔), the activity of tying the stakes firmly suggests the idea of a family member forced to follow orders, as is the younger brother.
第
第
Bamboo slips ⺮ sequentially ordered ダイ
1675
ダイ
as older and younger brothers 弟 ➝ 𢎨 ordinary number
弗
1676
Several stakes being tied together
弗 Two stakes ((⼷ ≈
Annulment )×2 ➝
) tied together by a rope (𢎗), stakes
that cancel out their stabilizing function to each other, because instead of being tied to a tent they happen to be tied among themselves.
532
沸
沸 費
1677
フツ
Water 氵 becoming nullified 弗
わ.かす
to seethe 1678
ヒ
Money 貝 becoming nullified 弗
費 つい.やす
to spend 1679
弔
チョウ
Person hanging from a rope
弔
とむら.う
to mourn
Originally 𢎣 [亻𢎗], a person (人 ➝ 亻 ➝ 丨) hanging from a rope (𢎗), dead due to suicide or execution. Mourning aroused by a violent death.
⽮
矢
1680
シ や
arrow
Ⓡ
A big arrow with a pointed head ( ) on top, two vanes (人) at the bottom, and a shaft that has its thickness marked by a horizontal line (一).
533
Standard arrow
挨
挨 族
族
Hand 扌 making flow the energy 厶 of an
アイ
1681
arrow 矢 in order to make it reach a target
approach 1682
ゾク
Arrows 矢 under the same flag
tribe
NOTE Various people fighting or hunting under the same flag: a specific tribe or clan.
族
1683
タン
Arrow 矢 that fits in a bowl with a lid 豆
短 みじか.い 医
医
short Arrows 矢 being removed from
イ
wounded people and left in a box 匚 doctor
534
1684
知
知
チ し.る
Words penetrating like arrows
1685
to know
The ability to pronounce a few words (口)—on a particular topic— シ
with the speed and penetration of an arrow (矢). Perhaps this compound also referred, in origin, to discussions or conversations about bow hunting, an activity for which a certain knowledge is required.
痴
痴
チ
チ
1686
Illness 疒 of the lack of knowledge 知 foolish
侯
侯
コウ
Person practicing archery on a cliff
1687
marquis
Originally 𥎦 [⼚⽮], an arrow (矢) being shot from a cliff (⼚), referring to the activity of archery, firstly done by hunters that later would be transformed into noblemen or ‘marquises’. Later on, a component for “person” (人 ➝ ⺈) was added to the original glyph, forming the composition 矦, to put the subject’s focus n the person doing the activity. Eventually, the element (厃) were transformed into the composition , probably due to a graphic analogy with the most common form of the component for “person” (亻).
535
Person 亻 checking the cliff conditions
候
候
コウ
1688
from which arrows are going to be shot コウ
そうろう
侯➝ climate Organ that allows to make audible the
喉
喉
コウ のど
1689
words 口 pronounced on a cliff from コウ
which arrows are shot 侯 throat
疾
疾
1690
Illness caused by an arrow
シツ
disease
An illness or disease (疒) derived from infected wounds caused by arrow impacts (矢).
嫉
嫉
シツ
シツ
⾄
至
1691
Woman's 女 disease 疾 jealousy
1692
シ いた.る
Arrow reaching its target to arrive (at)
Pictographic and ideographic representation of an arrow facing downwards (矢 ➝ 𠫔) reaching the soil (土). 536
屋
屋
オク や
Person sitting where he has arrived
1693
salon
A person sitting (尸) in a place where he has just arrived (至), a place where people stay for a while, such as a hall, a house, a salon or any commercial establishment.
握
握
アク
Hand 扌 controlling a salon 屋
にぎ.る
to take hold of
致
致
1694
オク
1695
Hand making a blow in target チ いた.す to accomplish
A hand making a blow (攵) into a specific place, foreseen as the シ
target marked by an arrow that has reached the soil (至): A hit or impact given successfully, an achievement.
緻
緻
チ
チ
Thread 糸 weaving accomplished 致 elaboration
537
1696
備
備
ビ そな.える
Person next to two arrows and a ritual plate
1697
to have ready
Person (人 ➝ 亻) prepared with a ritual dish ( ← 用) and several arrows (矢×2 ➝ 芖 ➝ ), the requirements needed for making an animal sacrifice.
到
到
トウ
Dagger marking the point of arrival of an arrow
1698
arrival
A dagger (刀 ➝ 刂) marking on the ground the exact point at which an arrow has fallen (至).
倒
トウ
倒
たお.れる
Person 亻 falling to the ground like a
1699
トウ
fallen arrow 到 to fall down
中
中
ジュウ チュウ なか
Arrow going through the middle of a ring
1700
middle
A throwing weapon—spear, arrow or dart (丨)—passing through a hoop (⼞) during a military practice session, an arrow passing through the middle of a hoop.
538
仲
仲 忠
忠 沖
沖
チュウ
チュウ なか
Person 亻 in the middle 中 in-between Feeling that goes through the middle
チュウ
衷
1702
チュウ
中 of the heart 心 loyalty チュウ
1703
チュウ Water 氵that forms middle 中 of the sea おき open sea チュウ
衷
1701
What goes through 中 ➝ チュウ
the inside
1704
of the clothes inner
夬
夬
1705
Hand throwing a dart through a ring
Resolute
Originally 㕜 [中又], then 叏, and later 𡗒, an outstretched hand (又 ➝ 㐅 ➝
) throwing a dart (丨) through a hoop (⼞ ➝ ユ), a
sign of decision and resolution.
539
快
快
カイ こころよ. い
1706
Feeling 忄 that is resolute 夬 pleasant 1707
決
ケツ
Water 氵 breaking through 夬
決
き.める
to decide upon
NOTE In reference to the need to make a decision when water has flooded a land. 1708
黄
黄
オウ コウ き
Arrow going towards a bullseye yellow
こ-
A character with a rather complex and blurred graphical evolution, originally 黃 [廿 ], represents an arrow (矢 ➝ 天 ➝ ) that goes through a hoop—linearized as a square (⼞)—and continues towards a target (⼞ ➝ 廿 ➝ 艹). This ideogram, which originally represents an archery scene, was eventually taken to designate the yellow color, by association, most probably, to the bullseyes that were allegedly marked with yellow paint. The idea of yellow color can be mnemonically associated with the component for “sun” (日) that can be imagined in the center of the compound.
540
横
横
オウ よこ
Wood 木 of an arrow that goes
1709
オウ
towards a bullseye 黄 sideways
NOTE Referring to the wooden part of the arrows—the shafts— which move horizontally towards the target. 1710
カン
Arrow missing its target.
Originally [廿 ], an arrow (矢 ➝ 天 ➝ 夫) that has not yet passed through a hoop (⼞) nor reached its target (⼞ ➝ 廿 ➝ 艹).
嘆
嘆 漢
漢
タン なげ.く
カン
Words 口 referring to the missing of a target
1711
カン
to lament Water 氵 not reaching its target
カン
1712
Chinese
NOTE This character actually refers to the Han (漢) ethnic group, a nomenclature that would later be used to describe everything that comes from the territories where the Han people inhabits, that is, China. The Han name comes from the era in which China was ruled by the Han Dynasty (204 BC - 213 AD), which in turn takes its name from the fief of origin of the dynasty's founder, located around the river Han. The name of this river 541
derives, ultimately, from its association with the Milky Way, which was once called Tianhan (天漢), that is: The celestial water that does not reach its target (the sea in the Earth). 1713
難
難
ナン
カン
むずか. Arrow unable to reach a flying bird ⾫ しい difficult かた.い
堇
堇
1714
キン
Arrow lying on the soil Unable to fight
Originally 𡎸 [ 土], an arrow that has been unable to reach its goal ( ➝ ) and lies flat on the soil (土), scene that, by association, also refers to the inability to practice archery or any military activity.
僅
キン
キン わず.か
Person 亻 unable to fight 堇 trifle キン
勤
キン ゴン
勤 つと.める
1715
Someone unable to fight 堇 that is given another strength 力 to be employed (at)
542
1716
謹
キン
謹 つつし.む ⼊
入
Speech 言 that is unable to reach its
1717
キン
target and lays on the ground 堇 discreet 1718
ニュウ
Tip of an arrow
い.れる はい.る
to enter
An arrowhead, something that enters through the surface of what is impacted by it.
Sample of an arrowhead
Person 亻 with an arrowhead 入 ➝
傷
傷
➀➁ ショウ ➀ きず ➁ いた.む
in his body that has made him a ヨウ
wound that shines like sun rays 昜 ➀ wound ➁ to be injured
543
1719
⾦
金
➀➁➂ キン
1720
Material used to make
Ⓡ
weapons ➀ metal
➀ コン ➀ ➂ かね
➁ gold
➀ かな-
➂ money
Material of an indefinite form (丷) wherewith arrowheads (入 ➝ ) and big battle axes (王) are manufactured: Metal with which weapons are made. As a standalone, the character sometimes gets the original meaning of ‘metal’ expanded over time to the more specific meaning of ‘gold’, and this, in turn, also leads to the meaning of ‘money’.
銃
銃 銀
銀 鉄
鉄
ジュウ
ジュウ
Metal 金 that should be set aside 充 gun
コン
ギン
1722
Metal 金 that is looked by a person 艮 silver シツ
テツ
1721
1723
Metal 金 that can be easily be lost 失 iron
NOTE Iron is a type of metal that characteristically corrodes quite fast.
544
釜
Metal object 金 ➝
used by the father
1724
父
かま
iron pot
鍛
ダン
タン
鍛 きた.える 鍋
鍋
Making metal objects 金 step by step 段
to forge Metal object 金 where animal bones
なべ
1725
1726
and vertebrae 咼 are boiled cooking pot 1727
鈴
鈴 鋭
リン レイ すず
レイ
Metal object 金 used to give commands 令
small bell エツ
エイ
Metal of a blade 金 that is exposed 兑
鋭 するど.い 銘
銘
sharp メイ
メイ
1728
Metal 金 with names 名 written on it inscription
545
1729
錯
錯 鋼
鋼
シャク
サク
Metal objects 金 from older times 昔 confusion コウ
コウ はがね
steel ジュ
チュウ
Making a metal 金 with longevity 寿
鋳
い.る
to cast
鎌
Metal object 金 that allows to collect かま
1733
sickle トン
ドン
Metal 金 that is only a sprout 屯
鈍
にぶ.い
dull
鉢
1732
several saplings 兼
鈍
鉢
1731
Metal 金 hard as a mountain ridge 岡
鋳
鎌
1730
ハチ ハツ
Metal object 金 in which roots 本 of plants are buried plant pot
546
1734
1735
1736
錬
レン
錬
Metal 金 in a backpack 東 alchemy ロク
録
ロク
録
1737
Metal 金 pulled from a well 录 record
NOTE Probably referring to metal extractions that need to be recorded in mining actions.
シャク
釣
チョウ
Gold 金 taken with a ladle 勺
釣
つ.る
to lure in
錦
錦
1739
キン にしき
シン はり
針
鎖
Gold 金 decorating white fabric 帛 brocade 1740
針
鎖
1738
サ くさり
NOTE
Metal 金 with the shape of a thick rod 十
needle Metal 金 that is small ⺌ and goes
1741
through money 貝 chain
In reference to the chains of coins that were used in 547
antiquity, as it is explained in the description of the character 貫 (to go through).
鑑
鑑 鎮
カン かんが. みる チン
銅 銭
銭
to heed 1743
Gold 金 that is true 真 to appease Metal 金 used to make plates from
ドウ
1742
Gold 金 overseen by a person 監
シン
鎮 しず.まる 銅
カン
1744
ドウ
which one can eat 同 copper
セン ぜに
Metal 金 piece for which dagger-axe
1745
セン
fights 㦮 are made coin
朿
1746
Tree with arrowheads
朿
Thorns
A tree (木) whose bark is full of spikes or thorns that look like arrowheads (入 ➝ 冖).
548
策
策 刺
刺
Bamboo book ⺮ with written things サク
1747
that can hurt like thorns 朿 scheme
シ
Thorn 朿 penetrating like a dagger 刂
さ.す
to pierce
責
責
Money with thorns
➀ セキ ➁ せ.める
1748
1749
➀ obligation ➁ to condemn
Originally 𧵩 [朿⾙], money (貝) that hurts like thorns (朿 ➝ ), in presumable reference to monetary debt, an inherited obligation and threat of condemnation in the case of non-payment.
債
債 漬
漬
セキ
サイ
1750
Person 亻 tied to his obligations 責 bond 1751
つ.ける
Water's 氵 obligation 責 to moisten
549
積
積 績
績
セキ
セキ
Prosperity 禾 turned into obligations 責
つ.もる
to stack セキ
セキ
Threads’ 糸 obligation 責 spinning
550
1752
1753
REVIEW ON WEAPONS
⼑列召昭分㓞契制利則刃忍 ⽒氐民七切杀勿 1
別剣帰削剰券刻劇解判刷初剥班罰 剛割副剤例烈裂詔招超沼紹照頒雰 粉紛貧盆潔喫製梨痢側測認婚紙低 抵眠叱刈殺刹物
⽭務⼲开刑挿⼷代式必叔⼽ 伐戒戠我義 幾㦮戊蔵成戌 蔑武 2
柔霧肝汗幹岸軒刊形研型弐袋貸拭 試泌秘督淑戦戯賊械職識織餓儀議 犠戴栽裁繊載機残践浅桟箋越茂戚 臓誠城盛威滅歳賦
551
⽄折兵斬斥⼠壮吉王呈 3
4
析質匠断哲誓浜暫漸訴仕荘装詰結 弄旺望皇狂聖程
甲盾 押岬
⼸弱発引𢎗弟弗弔⽮知侯疾 ⾄屋致備到中夬黄 堇⼊⾦ 朿責 5
張強弧弥弦湾弾溺第沸費挨族短医 痴候喉嫉握緻倒仲忠沖衷快決横嘆 漢難僅勤謹傷銃銀鉄釜鍛鍋鈴鋭銘 錯鋼鋳鎌鈍鉢錬録釣錦針鎖鑑鎮銅 銭策刺債漬積績
552
SPACES 1 | THE VERTICAL PLANE
Within sinitic writing, there is a vertical cosmology that takes part in the developing of ideograms. That cosmology mainly addresses the vertical relation Man-God, within which the earthly being that is man is subordinated to the celestial dictation of God. This cosmological relation was the one that legitimized the ruling class of ancient China, because that class was understood as the intermediary between what is ‘above’ earth–, and the people ‘below’
上—heaven above the
下—or earth under heaven.
1754
上
二上
➀ ジョウ ➀ ショウ ➀ うえ ➀ うわ➀ かみ ➁ あ.げる ➂ のぼ.る
➀ above ➁ to raise ➂ to go up Heaven
A vertical space (一) above another vertical space (一), understood also as a simple conceptual and cosmological representation of heaven above earth, what is above superimposed on what is below. Over time the upper and lower line of the original glyph (二) got united by a vertical line (丨), probably due to a necessity of differentiating this character from the character for “two” (二). The 553
original, simpler glyph, nevertheless, remains intact in many primordial compounds. 1755
元
元
ガン ゲン もと
What is above people origin
A person (人 ➝ ⼉) under the sky (二). Heaven understood as the origin or originator of man, or, giving an oxymoron, the conscious man as the originator of heaven: The relationship between heaven and man as the conceptual origin of all things.
頑
頑 玩
玩
1756
ガン
ガン
Origin 元 of thoughts in the head 頁 obstinance 1757
ガン
Origin 元 of jewels 王
ガン
云
云
game 1758
ウン
Energy flowing in heaven to say
Flowing energy (厶) above in heaven (二) or the sky.
554
㊔
伝
伝 魂
魂
デン つた.える
コン たましい
Person 亻 showing the flow of energy
1759
in heaven 云 to transmit 1760
Flowing energy from heaven 云 transformed in a ghost 鬼 spirit キン
1761
Mountains 阝reflecting a retained 今
陰
陰
イン かげ
flowing energy from the sky 云 shade yin (negative principle)
芸
芸
Energy flowing in heaven 云 directed ゲイ
1762
towards the plants 艹 art
NOTE Most probably in reference to the transmission through generations of knowledge and arts related to the cultivation of plants, the backbone of any sedentary society.
555
転
転
テン
Chariot 車 moving like energy flowing in heaven 云
ころ.がる
会
会
1763
to rotate カイ エ
Person encountering energy flowing from heaven
あ.う
to meet (with)
Ideogram that represents a person (人 ➝
1764
) facing the energy of
heaven (云) or divine energy: a transcendental meeting.
絵
絵
カイ
イ カイ
1765
Threads 糸 meeting together 会 picture
NOTE In clear reference to an embroidery or upholstery representing an image.
雲
雲
ウン くも
Flowing energy in the sky generating rain
1766
cloud
Energy flowing in the sky (云) capable of creating rain (雨 ➝ ⻗).
556
曇
曇
ウン
ドン
Sun 日 turning into clouds 雲
くも.る
cloudy 1768
亏
亏
1767
Energy unfolding in heaven
亐于 Energy from heaven (二) that gets unfolded (乙 ➝ ㇉). In some compounds the original form 亏 may appear simplified in the variant 亐 or 于.
Part of the head 頁 that allows the
顎
顎
ガク あご
1769
unfolding of energy into words 口×2 jaw chin
誇
誇
コ ほこ.る
Speech 言 made by a big person 大 as if he were unfolding energy from heaven 亏
to boast
557
1770
汚
汚
芋
芋
➀オ ➀ きたな.い
1771
Water 氵 that gets unfolded 亐 ➀ dirty
➁ よご.す ➁ けが.す
➁ to dirty
1772
いも
Plant 艹 that unfolds energy 于 potato 1773
示
示礻
ジ シ
Heaven communicating downwards
Ⓡ
Divine power
しめ.す
display to show
Heaven communicating with the earth (二 ← 上) by means of a conductive thread (亅) and distributing energy (八 ➝ ハ). An Ideographic representation of divine communication understood as a manifestation and revelations, what is taught by heaven, a display of the heavenly intangible realm in the earthly tangible matter. A connotation that is ultimately expanded to the broad meaning of ‘show’ or ‘display’. This character, when acting as a component and placed to the left in the compounds, adopts the simplified form 礻.
558
奈
奈
1774
Big 大 display of divine power 示
ナ
where
PLACE NAME USAGE
禍
禍 奈
視
奈良 [なら]: Nara カ
カ
1775
Display 礻 of bones and vertebrae 咼 misfortune 1776
シ
What is shown 礻 getting seen 見 sight 1777
祝
祝 祉
祉 礼
礼
シュク Display 礻 made to an elder brother 兄 シュウ to congratulate いわ.う シ
シ
1778
Divine power's 礻 footsteps 止 welfare 1779
レイ ライ
Display 礻 of unfolded energy 乚 courtesy
559
神
神 社
社 祥
祥 祖
祖 禅
禅 福
福
シン ジン かみ
1780 シン
Divine power 礻 expanding energy 申 god
かんこう
1781
シャ Divine power 礻 represented on the soil 土 やしろ society ヨウ
ショウ
1782
Divine power 礻 that is auspicious 羊 blessedness Divine power 礻 manifested in an altar
ソ
1783
ソ
of sacrifice 且 ancestor タン
ゼン
Divine power 礻 that is simple 単 silent meditation (Zen)
Divine power 礻 going through a big フク
1784
ritual vessel
フク
blessing
560
1785
斎
斎
セイ
サイ
祈
キ
祈
いの.う
祭
祭
1786
Divine power 示 made even 斉 ➝ 齐 purification Divine power 礻 with the weight of an
1787
キン
axe 斤 to pray サイ
Hand giving meat to a
1788
divine power
まつ.る
to worship
An extended hand (又 ➝ ) offering a piece of meat (月 ➝ ), a scene depicting a sacrifice as a way of worshiping the numinous.
際
際
サイ きわ
Mountains 阝 where worships are
1789
サイ
made 祭 juncture
尉
尉
イ
Sitting person showing a working hand
1790
military officer
A working hand (寸) transmitting divine power (示) to a soldier who is sitting (尸) due to fatigue or harm. An allusion to military officers as a social group that helps and raises the morale of 561
soldiers.
慰
慰
イ
Feelings 心 provided by military
1791
イ
officers 尉
なぐさ. める
to comfort 1792
Something coming out of the divine power What comes out (㞢 ➝ 士) of divine power (示).
款
款 隷
隷
Divine power emerging カン
in the
1793
exhalation of a person 欠 goodwill Divine power emerging
from a
1794
caught person 隶
レイ
servant
禁
禁
キン
Grove where divine power is shown
1795
prohibition
A grove (林) where the divine power is shown (示), a sacred site reserved for secret rites which access is forbidden to the common 562
people.
襟
襟
キン えり
Part of the clothes 衤 that is closed like
1796
キン
grove where divine power is shown 禁 collar
票
票
1797
Displayed bag
ヒョウ
ballot
A bag (酉 ➝ 覀) that is shown (示), for it has a vote inside. ヒョウ
漂
ヒョウ
Water 氵 carrying displayed bags 票 away
漂 ただよ.う 標
標
to drift ヒョウ
ヒョウ
1798
1799
Tree 木 where ballots 票 are hung signpost 1800
平
平乎
ビョウ ヘイ たい.ら ひら
Energy scattered through Heaven and Earth
flat
Energy distributed (八 ➝ ハ) between heaven and earth (二)
563
through a conductive thread (丨) that unites them: Energy evenly distributed above and below. An ideographic representation of the equitable, or flat distribution of energy. As a component this glyph may take the variant 乎.
呼
呼 評
評 坪
坪
コ
Mouth 口 pronouncing a name clearly ビョウ
and flatly 乎
よ.ぶ
to call ヒョウ
ヒョウ
1802
Speech 言 flatly 票 inspected evaluation Soil 土 flatly 平 extended
つぼ
1801
1803
unit of land measurement [~3 m2]
辛
シン
Person turned upside down under heaven
辛立
から.い
Convict
1804
spicy A person turned upside down (𢆉) under the mandate of heaven and earth (二 ➝ 亠), a person who is out of order and law, a criminal or a convict. In some compounds the original graph gets simplified to the form 564
立, graphically identical to the character for “person standing” (立). The meaning of this character when it appears as a standalone is that of ‘spicy’, as a semantic association with the bitter—or spicy— situation of a condemned person.
辞
辞
1805
ジ
Tongue 舌 of a convict 辛 speaking
や.める
to resign 1806
接
セツ
Hand 扌 touching a convict 立 woman 女
接
つ.ぐ
to be in contact (with)
NOTE This compound is understood as a depiction of the contact with a woman who sells or who is forced to share sexual services. The compound 妾 (convicted woman) is, in fact, a character, albeit now in disuse, with the meaning of ‘concubine’ or ‘mistress’.
辣
辣
1807
ラツ
Spicy flavor 辛 ➝
in a bundle 束
pungent 1808
竟
竟
Convict speaking
キョウ
Suspect キョウ
Originally 竞 [立兄], a person speaking or pronouncing words (兄
➝ ) who becomes a convict (辛 ➝ 立). A suspect who has to face or defend himself against the crime of which he is accused. 565
Eventually the form 竞 derived into 竟, perhaps due to graphic confusion with the component 音 (sound).
境
境
キョウ ケイ さかい
キョウ
1809
Soil 土 approached by suspects 竟 border
NOTE In reference to the everlasting threat of barbaric or rival peoples lurking at the borders, always suspected of being able to carry out an attack.
鏡
鏡
キョウ
キョウ かがみ
SPECIAL READING
1810
Metal 金 that causes suspicion 竟 mirror 眼鏡 [めがね]: glasses
NOTE In ancient times mirrors were made of polished bronze, and they were likely to cause suspicion among the uninitiated because of their ability to reflect images, something which lets them easily be associated with magic or sorcery.
Back of a Chinese bronze mirror
566
1811
競
競
キョウ ケイ
Two suspects
きそ.う せ.る
to compete
キョウ
Two suspects (竟 ← 竞×2) competing to prove their innocence in a trial.
亲
亲
1812
シン
Tree being chopped down
Originally 𣓀 [辛木], a tree (木) turned upside down under heaven (辛 ➝ 立), a tree that has suffered the allegorical condemnation of having been chopped down, as it if were the penalty of a convict of nature.
親
➀ ➁ シン ➀ おや
➁ 親 した.しい
Person looking 見 at the felling of シン
wood 亲 ➀ parent ➁ to be familiar
567
1813
1814
シン
新
あたら. しい
新
Tree chopped with an axe new
あら.た にい シン
A tree chopped (亲) with an axe (斤), a tree felling optimally done: The obtention of new wood useful for the construction of new objects or sites.
薪
薪
シン たきぎ
Plants 艹 that can be chopped down
1815
シン
with an axe 新 to obtain firewood firewood
竜
龍竜
1816
リュウ たつ
dragon
The original version of this character, still present in some compounds, shows a linearization of a pictogram representing a snakelike animal ( ≈ ⾍) with dorsal spikes (三) and a jagged open mouth (⺝) capable of condemning those outside of the law of heaven and earth (辛 ➝ 立). A majestic representation of a legendary animal commonly known as a ‘dragon’ that in Chinese culture is normally associated with imperial sovereignty. The current version of this character when it appears as a standalone—and also as part of some compounds—is a simplification made in the form 竜, which is composed of a variant 568
of the component for “extended energy” (电 ➝ ) below the component for “convict” (辛 ➝ 立), suggesting that the dragon is a symbolic element of an energy capable of condemning or make convicts.
滝
滝
1817
たき
Water 氵 with the force of a dragon 竜 waterfall リョウ
籠
籠 襲
襲
➀ ➁ ロウ Bamboo ⺮ with the force of a dragon 龍 ➀ かご ➀ basket ➁ こ.もる ➁ to seclude (oneself) リョウ
1818
1819
シュウ Clothes 衣 with the force of a dragon 龍 おそ.う succession
NOTE Originally this character had the meaning of ‘several layers of clothing’, a succession of clothes that makes a hard and strong dress.
章
章
1820
badge
ショウ
chapter
A round badge represented pictographically by the element 曰— which can be associated with the component for “speaking” (曰), since a badge “speaks” about the rank or condition of the person wearing it.
569
Over time the components 立 and 十 were added to the original pictogram. The component 十 (thick rod) was probably added to indicate the thickness of the badge, while the component 立, simplification of the component for “convict” (辛) was probably added as a reference to the use of badge as identifiers, in this case in reference to a badge or insignia used to mark a convict. The meaning of ‘badge’ is expanded in Japanese also to the notion of ‘section’ or ‘chapter’.
彰
彰
1821
ショウ
ショウ
障
ショウ
障
さわ.る
NOTE advance.
Badge 章 shiny as hair 彡 distinct Mountains 阝 blocking people with
1822
ショウ
military badges 章 to hinder
Referring to mountains as an impediment to military
童
童
1823
ドウ Convict carrying a heavy load わらべ kid
Originally [立重], a convict (辛 ➝ 立) carrying a heavy load (重 ➝ 里), a convict doing forced labor: a person with no will. The idea of a person without free will was later associated with the idea of ‘kid’, meaning for which the character currently stands.
570
憧
憧 瞳
瞳 鐘
鐘
ショウ あこが. れる
1824
ドウ
Feelings 忄 of a kid 童 to long for 1825
ドウ
Eye’s 目 kid 童
ドウ ひとみ
pupil (of eye) ドウ
ショウ かね
1826
Metal object 金 loud as a kid 童 bell
1827
業
業
ギョウ ゴウ ボク わざ
Person dealing with workers
deal
A character with a rather complex graphic evolution, it represents a person seen from the front (大) dealing with two convicts working in the field (丵): A person dealing with workers. The upper part (丵) is a conjunction of two elements representing a convict working with plants ((辛 + 艹) ➝ 𦭱×2 ➝ 丵), to which the component for “person seen from the front” (大) is added, thus forming the composition 菐. The general meaning of the character, being ‘deal’, is also related to that of ‘work’, ‘business’, or ‘deeds’. When this character acts as a standalone, it takes the form 業, 571
where the component 大 (person from his front) has been transformed into 木 (tree, wood), perhaps due to a conceptual association between ‘wood’—materials—and ‘work’.
僕
僕 撲
撲
Person 亻 who deals with
ボク
Hand 扌 dealing with
ボク
亘
垣
1829
things
相撲 [すもう]: sumo wrestling 1830
Confined energy
コウ
㊔
span
Originally 𠄢, a stream of rotating energy ( between heaven and earth (二).
垣
ボク
slap
亘
恒
things
I (male)
SPECIAL READING
恒
1828
ボク
➝ 回 ➝ 曰) confined
1831
コウ
Feelings 忄 that are confined 亘 permanent 1832
かき
Soil 土 confined 亘 to one particular space
hedge
572
互
互
ゴ たが.い
Two confined intertwining energies
1833
reciprocal
Two streams of unfolded energy currents intertwining (
≈
キュウ
)
within a confined space between heaven and earth (二), trapped in a continuous cycle of reciprocal movement.
五
五
1834
ゴ
Crossing of the five elements
いつ.つ
five
The oldest recorded character referring to the number ‘five’ is the glyph , a reflection of the of the five counting rods used in the rod numeral system. Such a glyph, however, was soon replaced by the form 𠄡, which is more legible and more distinct from other number characters such as 三 (three) or the old form for the number “four” (亖). ゴ
The form 𠄡 is most likely a variation of the character 互 (reciprocal), adopted through a phonetic analogy. A possible subsequent interpretation is that the form 𠄡 is an abstract representation of the crossing (㐅), within the boundaries marked by heaven and earth (二), of the five traditional elements (五行) associated with the five geographical points in the two-dimensional plane: north (water), south (fire), east (wood), west (metal) and center (earth). As time went by, the original graph 𠄡 ended up becoming the current variant 五, wherein one of the diagonal lines is transformed into the stroke 𠃍. 573
吾
吾
1835
Crossing words
ゴ
㊔
Ego ゴ
Words (口) crossing at a central point like the five elements (五), the point of concentration of words, so to say, thoughts, conscience and, ultimately, the ‘ego’.
ゴ
悟
ゴ
Feeling 忄 of the ego 吾
悟
さと.る
to realize ゴ
語
ゴ
Speech 言 of the ego 吾
語
かた.る
to talk
1836
1837
1838
下
下
➀カ ➀ゲ ➀ した ➀ しも ➀ もと ➁ お.りる ➁ さ.がる ➂
➀ below ➁ to go down ➂ to confer
くだ.さる Originally 𠄟, a vertical space (一) below another vertical space 574
(一), understood also as a simple conceptual and cosmological representation of earth bellow heaven. Over time the upper and lower line of the original glyph (𠄟) got united by a vertical line (丨), going downwards, probably due to a necessity of differentiating this character from the character for “two” (二), and also as an analogous but reverse composition to the character for “above” (上).
峠
峠
Mountain part 山 where one can go
1839
up 上 or down 下
とうげ
mountain pass 1840
⼐
Pit
凵
Ⓡ
A hole or pit in the ground. 1841
去
去
キョ コ さ.る
Person in a pit to go away
Originally 㚎 [大凵], a person seen from the front (大 ➝ 土) in a hole (凵 ➝ 厶). Someone buried or hiding, someone who has gone away.
575
法
法
ホウ ハッ ホッ
1842
Water 氵 going away 去 law method
NOTE This composition refers either to the laws established with respect to the distribution of water and irrigation, or to the observable laws of nature, wherein it is established that water is always in motion, always going away.
蓋
蓋
ガイ ふた
却
却
Plants 艹 covering a person that is buried 去 in a vessel 皿
1843
lid Person kneeling 卩 after
1844
going away 去
キャク
retreat
A person kneeling (卩) in the face of defeat after being allowed to go away (去) in retreat. 1845
脚
脚
キャク キャ あし
キャク
Body part 月 used in retreat 却 leg
576
1846
出
出
➀ シュツ Foot coming out of a hole ➀ スイ ➀ to go out ➀ で.る ➁ to get out ➁ だ.す
A foot (止 ← 屮) coming out of a hole (凵), emerging.
拙
1847
シュツ
セツ
Hand 扌 going out 出 of its intended way
拙 つたな.い 屈
屈
clumsy
クツ
Person sitting on someone trying to get out
1848
oppression シュツ
A person sitting (尸) on someone who tries to get out (出), preventing him to do so. A scene depicting a state of oppression.
掘
掘 堀
堀
クツ
クツ
Hand 扌 pressing things down 屈
ほ.る
to dig
1849
1850
ほり
Earth 土 that has been pressed down 屈
ditch
577
2 | THE HORIZONTAL PLANE In contrast to the vertical plane seen in the previous section, there is the horizontal or longitudinal plane, delimited by the existing distances from one point to another on a surface. The longitudinal distance that goes from one point to another establishes a ‘delimited space’ 冂 useful to distinguish a part from the whole wide horizontal space.
⼌
冂冖
1851
Ⓡ
Delimited space
A specific space that extends across (一) until it gets delimited between two ends (丨亅): A delimited horizontal space.
シ
壱
壱
1852
Person 匕 coming out 士 of a イチ
delimited space 冖 one (in legal documents)
瞬
シュン
瞬
またた.く
Eye 目 grabbing 爫 the delimitation 冖 established by a downward movement 舛
to blink
578
1853
夢
夢 塚
塚
ム ゆめ
Eye 罒 growing like plants 艹 under the space 冖 of the evening 夕 dream Soil 土 serving as a delimiting space
つか
hillock シャ
Delimited space 冖 that is given 与
写
うつ.す
to transcribe A long-haired 彡 person 匕 of old age
鬱
1855
冖 for hogs 豕
写
鬱
1854
1856
1857
with an open skull 𠚍≈凶 inside a tin ウツ
can 缶 buried under a space delimited 冖 by trees 木×2 gloom
冠
冠
カン かんむり
Delimited space 冖 put by a hand 寸 ゲン
over a head 元 crown
579
1858
冘
冗
Person within a delimited
1859
space
ジョウ
superfluous
A person (人 ➝ ⼉ ➝ ⼏) within a delimited space (冂 ➝ 冖), without developing his full potential, leading a superfluous life. When this character acts as a component it can take the slightly varied form 冘.
沈
沈 枕
枕
チン
Water 氵 becoming the delimiting space of
1860
a person 冘
しず.む
to sink Piece of wood 木 delimiting the space
1861
where a person 冘 rests
まくら
pillow
NOTE Pillows in ancient times were made of wood.
売
バイ
売
う.る
Person emerging from his delimited space
1862
to sell
Although this character was originally 賣 [士罒貝], a net (冈 ➝ 罒 バイ
➝ 冖) of money (貝 ➝ ⼉) that comes out (㞢 ➝ 士), emerging thanks to the sale of something, it later took the simplified version 580
売, which was a primitive component of its own representing the idea of a person delimited by a space (冗 ➝ ) who emerges out of it (㞢 ➝ 士) thanks to selling products. 1863
読
読
トウ トク ドク
Speech 言 that can be sold 売 to read
よ.む
1864
続
ゾク
Thread 糸 tying sales 売
続
つづ.く
to continue
殻
殻
1865
カク から
Weapon that hits sales husk
A hand holding a weapon (⽎) that metaphorically hits the prospects of sales ( ≈ 売), as the poor quality of grain husks is detrimental to sales.
穀
穀
カク
コク
愛
愛
1866
Prosperous 禾 husks 殻 ➝ cereals 1867
アイ
Hand grabbing a still feeling
love 581
A hand grasping (爪 ➝ 爫) the space delimited (冂 ➝ 冖) by a feeling (心) that is kept still (夂): The captured instant of a deep love.
曖
曖
アイ
Days 日 of love 愛
アイ
憂
憂
1868
not clear ユウ うれ.える う.い
Head delimited by a still feeling
1869
to grieve
A head (頁 ➝ 𦣻) acting as the delimited space (冂 ➝ 冖) of a feeling (心) that is kept still (夂): The head trying to rationalize a deep feeling, an action that leads to a state of anguish and grief. 1870
優
優
person who ➀ ➁ ユウ Person 亻 next to another ユウ ➀ is grieving 憂 やさ.しい
➁
➀ tender
すぐ.れる
➁ to outstrip 1871
隺
Bird flying within a delimited space
582
A bird (⾫) flying within a delimited space (冂 ➝ 冖), a bird whose flight is limited.
確
確 鶴
鶴
カク
Stone 石 hitting a bird whose flight is delimited 隺
たし.か
つる
軍
軍
1872
assurance Poultry bird 鳥 whose flight is limited 隺
1873
crane
グン キ
War chariots delimiting a space
1874
army
A delimited space (冖) protected or conquered by a series of war chariots (車). A group of war chariots, an army, capable of covering a large territory.
揮
揮 輝
キ
キ
1875
Hand 扌 in the army 軍 brandish キ
キ
輝 かがや.く
Light 光 in the army 軍 to sparkle
583
1876
帯
帯
1877
タイ
belt
お.びる
to wear (an object)
The upper part of the compound, 丗, is a pictographic representation of an ornamented belt. The lower part is a later addition made to ideographically specify the meaning of the character, since a belt is a cloth (巾) that acts as a delimiter space (冖) of the upper and lower part of a garment.
滞
タイ
タイ
1878
Water 氵 making a figurative belt 帯
滞 とどこお.る
to stagnate
円
エン
円
まる.い
Delimited space with a center
1879
roundness monetary unit [yen]
A space delimited by two ends (冂) that extends horizontally (一) and vertically (丨): a round space. The meaning of ‘roundness’ was expanded over time to refer to coins and, more specifically, the Japanese national currency: the yen.
⽅
方
ホウ かた
Dagger pointing towards a delimited space direction
584
1880
A dagger (刀 ➝ ) pointing towards a delimited space (冂 ➝ 冖 ➝ 亠), pointing towards a specific direction.
妨
妨 肪
肪
ボウ さまた. げる
Woman 女 pointing something with a
1881
ホウ
dagger 方 to disturb Part of the meat 月 pointed with a
1882
ホウ
dagger 方
ボウ
fatness 1883
ホウ
訪
たず.ねる
訪
おとず. れる
ホウ
Sayings 言 pointing towards 方 someone
to call on to visit ホウ
倣
ホウ
倣
なら.う
Person 亻 going in the direction 方 of the hands that hold weapons 攵 to emulate ホウ
坊
坊
1884
ボウ ボッ
Soil 土 where a monk is directed to 方 monk's dwelling boy
585
1885
防
防 芳
芳
ボウ ふせ.ぐ
ホウ
Mountains 阝 preventing a dagger that ホウ
is pointing towards it 方 to defend Plants 艹 that point to the nose like a dagger 方 fragrant ホウ
ボウ
紡
つむ.ぐ
1887
ホウ
かんば. しい
紡
1886
Thread 糸 pointing towards 方 the
1888
spinner to spin
放
放
Hand holding a weapon hitting a dagger that is pointing towards it
ホウ はな.す
1889
to release
A hand with a weapon (攵) that is able to strike away the dagger ホウ
that was pointing towards it (方), someone releasing himself from the menace of a weapon, someone being released from an external power.
586
激
激 敷
敷 傲
傲
ゲキ
Water 氵 that gets clearly 白 released
1890
放 in a fountain
はげ.しい
violent ホウ
フ
Benefit 甫 being released 放
し.く
to lay out Person 亻 coming out 土 after being
1891
1892
ホウ
released 放
ゴウ
pride
央
央
オウ
Person in the middle of a delimited space
1893
center
A person seen from the front (大) in the middle of a delimited space (冂 ➝ 冖), in the center. 1894
映
映
エイ うつ.す は.える
オウ
Sunlight 日 in the middle 央 to reflect
587
1895
オウ
英
英
Plant's 艹 center 央 エイ
fine England Delimited space from which a foot emerges ➀➁シ ➁ いち ➀ market
市
市
1896
➁ city Originally 巿, a delimited space (冂) from which a foot ((亠 + 丨) シ
← 十 ← 㞢) emerges. A foot coming out of a delimited space, in reference to a person who leaves home and interacts with the outside world—the markets or the city—where social and mercantile relations are carried out.
姉
姉
シ
シ あね
Woman 女 that goes out to the market 市
elder sister
SPECIAL READING
姉さん [ねえさん]: elder sister
Body part 月 from which air comes out
肺
肺
ハイ
1897
as a foot coming out from a delimited space 市 lungs
588
1898
柿
柿
Tree 木 that goes out of its delimited
1899
space 市
かき
persimmon (Diospyros kaki) 1900
Divine power distributed in a delimited space The divine power distributed (((二 ➝ 亠) + (八 ➝ 丷) ≈ 示) within a delimited space (冂), the space where the divine power is manifest, a religious space. ホウ
傍
ボウ
傍 かたわ.ら 帝
帝
Person 亻 going towards 方 the space
1901
where divine power is distributed nearby Distributed divine power テイ
1902
that makes people go back emperor
Divine power distributed in a delimited space ( ➝ ) that makes people always go back to it (帀 ➝ 巾), in reference to an empire ruled by an emperor.
589
諦
諦
テイ あきら. める
1903
テイ
Speech 言 of the emperor 帝 to resign oneself (to)
締
テイ
Threads 糸 of the emperor 帝
締
し.まる
to tighten
啇
1904
テイ
テキ
Old space where divine power is distributed
1905
Custom An old (古) space where divine power is distributed ( ), a religious domain that comes from yesteryear: a custom.
嫡
嫡
テキ
チャク
テキ
摘
つ.む
敵
敵
Woman 女 married by custom legitimate wife テキ
摘
テキ かたき
1906
1907
Hand 扌 taking something by custom
to pick Customary
テキ
1908
target of hits 攵
enemy
590
滴
テキ しずく
滴 したた.る
テキ
Fluid 氵 showing customary habits drop (of fluid)
591
1909
3 | THE CIRCULAR PLANE The enlargement of the longitudinal horizontal space made simultaneously in several directions creates a new type of space: the circular or ‘encircled space’ ⼞, which is not delimited by two points but by a number of infinite points that end up forming a circle. If the perimeter of a circular space is modified, areas of several forms, or polyhedra, arise. One the most basic areas the square, that can be used to represent various functional surfaces such as an underground crypt 亜 where the deceased were buried prepared for a trip to the afterlife or the ‘secondary’ life, or rice ‘fields’ 田, which are represented as a square divided into several parts.
⼞
囗
1910
Encircled space
Ⓡ
A space that is perimetrically delimited, a closed space, originally circular in form (〇 ➝ ⼞).
囚
囚
Person 人 enclosed in an encircled space ⼞
シュウ
captured
592
1911
団
団 困
困 菌
菌
ダン トン
Hands working 寸 within an encircled space ⼞ group
コン
Tree 木 enclosed in an encircled space ⼞
こま.る
to be bothered
キン
1912
Plant 艹 able to be prosperous 禾 inside an encircled space ⼞
1913
1914
fungus germ
圏
圏
1915
カン
ケン
Rolled 巻 encircled space ⼞ sphere ギョク
国
国 囲
囲
コク くに
Jewel 玉 conforming an encircled
1916
space ⼞ country
イ かこ.む
Well 井 surrounded by an encircled space ⼞ to surround 593
1917
1918
⾢
邑
ユウ
Skillful people within an encircled space
阝乡
Ⓡ ㊔
Village
People with big hands (巴), with the meaning of skilled or hardworking people, within an encircled space (⼞). A delimited broad space where hard-working people live: a village. This component most often placed to the right of the compounds and takes the abbreviated form 阝, graphically identical to the abbreviated form of the component with the meaning of “mountains” (阜 ➝ 阝), which, on the other hand, is always located to the left. In the case that the component 邑 has to be placed on the left side of the compounds, it takes the form 乡, thus avoiding any confusion.
郊
郊 郡
郡 邪
邪
Part of the village 阝 were land コウ
1919
コウ
interchanges 交 are made outskirts Part of the village 阝 ruled by a mister
1920
クン
君
グン
district ガ
ジャ
Village 阝 attacked by fangs injustice 594
1921
SPECIAL READING
邦
邦 都
都 郵
郵 邸
邸
風邪 [かぜ]: common cold Lush 丰 village 阝
ホウ
1922
homeland
シャ シ Village 阝 where people do actions 者 ト みやこ metropolis
Part of the village 阝 where messages
1923
1924
droop 垂
ユウ
mail post Part of the village 阝 where one is
1925
テイ
stuck in 氐
テイ
villa
舎
舎
1926
シャ
Remaining encircled space Ⓡ cottage
Originally 舍, an encircled space (⼞) that remains (余) despite the passing of time, a family house or cottage.
595
捨
捨
シャ
Hand 扌 leaving things inside a cottage シャ
舎
す.てる
to dump ホ
舗
舗
1927
Cottage 舎 where gains 甫 can be ホ
1928
obtained store
那
那
1929
Bamboo in a village
ナ
patron
Originally 𨚉 [冄⾢], a village (邑 ➝ 阝) full of constructions made of bamboo (竹 ≈ ➝ 冄 ➝ ). A village full of buildings that have been economically able to be built thanks to the aid of patrons
擁
擁
ヨウ
Hand taking possession of a village with water and birds
1930
embracement
Originally 𢹬 [扌邕⾫], a hand (扌) figuratively taking possession of a village (邑 ➝ 乡) surrounded by river currents (巛 ➝ 亠) and birds (⾫). A village or settlement that is easy to embrace.
596
郎
郎
1931
Good village
ロウ
offspring
A good (良 ➝ ) village (邑 ➝ 阝), a village with offspring that guarantees its survival.
郷
郷
キョウ ゴウ
Towns sharing a bowl filled with rice
1932
town
Several villages ((邑×2) ➝ (乡 + 阝)) around a bowl full of rice (㿝 ➝ ) that is shared among them. An ideographic representation of the economic and social interaction among several communal entities, such as villages, that eventually merge and become a larger entity such a town.
響
響
ギョウ
Sound 音 of towns 郷
キョウ ひび.く
因
因
1933
echo
イン よ.る
Person inside an encircled space
1934
to be caused by
A person (大) within an encircled space (⼞). A figurative representation of an idealist or determinist understanding of causeeffect relationships, since the content—a person—is delimited by the continent—an encircled space. To put it differently: A person’s 597
circumstances caused by his environment (the encircled space).
姻
姻 恩
恩 咽
咽
1935
イン
イン
What a woman 女 causes 因 matrimony 1936
イン
オン
What the heart 心 causes 因 grace 1937
イン
イン
咅
咅
Words 口 causing 因 thing throat
バイ
Person standing out of an encircled space
1938
Surpassing the limits
A person standing (立) outside an encircled space (⼞), a person who has gone outside its boundaries, someone who has surpassed his limits.
倍
倍
バイ
バイ
Person 亻 surpassing his limits 咅 double
598
1939
培
Soil 土 surpassing its limits 咅
バイ
培 つちか.う 陪
陪 賠
賠
1940
バイ
to cultivate Mountains range 阝 that surpasses its バイ
limits 咅
バイ
following バイ
バイ
バイ
剖
compensation Surpassed limits 咅 being cut with a
ボウ
部
1943
dagger 刂 division バイ
部
1942
Past money’s 貝 limits being surpassed 咅
バイ
剖
1941
Land beyond the original limits 咅 of a ブ
SPECIAL READING
village 阝 section 部屋 [へや]: room
599
1944
正
1945
ショウ セイ
正 ただ.しい 疋 ⺪ まさ
Foot entering an encircled space correct
A step (止) taken towards the interior of an encircled space (⼞ ➝ 一), a person entering the established limits, a person who follows the social precepts in a ‘correct’ way. In some components this character takes the variant 疋 or its simplified version ⺪.
婿
婿 証
証 政
1946
セイ
セイ むこ
Woman's 女 entering 疋 body 月 bridegroom ショウ
ショウ
セイ ショウ
政 まつりごと 礎
ソ
礎
いしずえ
1947
Speech 言 that is correct 正 proof 1948
セイ
Correct 正 use of weapons 攵 government Stone 石 sustaining tall structures like ショウ
trees 林 correctly 疋
foundation stone 600
1949
疎
疎
1950
ショウ
ソ
Correctness ⺪ in a bundle 束
うと.い
distant セイ
整
セイ
整
ととの.う
旋
旋
Bundle 束 of correctness 正 sustained by a
1951
hand holding a weapon 攵
to be in order
セン
Flag
セイ
1952
correctly 疋 handled rotation
NOTE A flag that after a victory, since it was not captured by the enemy, is able to turn around—rotate—and return to the base: the correct path of a flag.
症
症
ショウ
ショウ
是
是
1953
Illness 疒 entering 正 signals symptoms 1954
Entering sun
ゼ
being
The Sun (日) entering the day as a foot entering an encircled space セイ
(正 ➝ 𤴓), the Sun beginning the cycle of the day as a figurative representation of the state of being, what is it is because it has been born, it has started like the sun starts the day.
601
題
題
1955
ゼ
ダイ
What is 是 the head 頁 of an argument topic ゼ
提
テイ
Hand 扌 being itself 是
提
さ.げる
to take along
堤
堤
ゼ
疑
1957
Earth 土 being itself 是
テイ つつみ
疑
1956
dike
ギ うたが.う
Person asking where the arrow that struck him comes from
1958
to question
A character with a quite complex graphic evolution, originally represented a man with an open mouth (欠 ➝ ) who holds an arrow (矢), suggesting a scene in which said man is asking the origin of the arrow he is holding. Over time two elements were added to the original character to reinforce the intended meaning. The first of these elements is 疋, a foot entering a space (正 ➝ 疋), which adds the implication that the found arrow has entered the body of the questioner. The second element added is 匕 (person from behind), which adds the representation of the person asked. The current version of the character reflects, then, someone hurt by an arrow, asking another person who is the one that shot him.
602
擬
擬
ギ
ギ
凝
ギョウ
凝
こ.る
各
各
1959
Hand 扌 getting questioned 疑 imitation Ice-like冫 sudden solidification that
1960
ギ
arises questions 疑 to stiffen カク
Still foot in an encircled space
ラク
Stationary
おのおの
each
1961
A foot looking downwards (夂), still, motionless, limited by an encircled space (⼞), representing the state of immobility of each person, at least in ancient societies. 1962
ラク
落
ラク
Each 各 drop of water 氵 in a plant 艹
落
お.ちる
to fall off
格
格
カク
カク コウ
1963
Tree-like 木 stationary thing 各 status
NOTE In the sense that each tree has a different status depending on its height or typology.
603
絡
絡 賂
賂 酪
酪
ラク
ラク
Thread 糸 making things stationary 各
から.む
to entangle ラク
ロ
路
路
1965
Money 貝 becoming stationary 各 bribe
ラク
ラク
1964
1966
Jars 酉 that become stationary 各 dairy products
ロ -じ
Foot and leg moving towards an encircled space
1968
path
ラク
The movement of each (各) foot and leg (足 ➝ ⻊): a path.
露
露
ロ ロウ つゆ
韋
韋
ロ
1968
Path 路 of rain 雨 dew 1969
イ
Feet moving around an encircled space
Two feet (( , 㐄) ≈ 止×2) moving around a circular enclosure 604
(⼞), someone encircling the encircled space, someone moving outside the established limits.
偉
偉
イ
Person 亻 able to move outside the イ
limits 韋
えら.い
韓
韓
1970
excellent Sunshine
カン
カン
around which people
1971
move 韋 Korea
NOTE It originally referred to a tribe of ancient China called Han (different to the current Han people, written as 漢), whose name was similar to the Han tribes of the Korean peninsula to which the same character was assigned. Eventually South Korea took the name of those tribes, and also its character, for the vernacular name of their country. イ
緯
緯
Thread 糸 moving around 韋 イ
1972
weft latitude
㕣
㕣
1973
エン
Energy distributed and moving in an encircled space
Energy distributed (八 ➝ ハ) in an encircled space (⼞), moving within it. 605
沿
エン
沿
そ.う
船
セン ふね
Water 氵 moving in an encircled space
エン
1974
to run along 1975
船 鉛
鉛
Boat 舟 moving in an encircled space
ship
ふな-
エン なまり
四
四
エン
Metal 金 moving in an encircled space
エン
1976
lead (metal) Encircled space being distributed
シ よ.つ
1977
four
An encircled space (⼞) whose area has been distributed (八 ➝ ⼉), a divided space in implicit four parts.
⾕
谷
コク ヨク たに
Water current flowing through an encircled space
1978
valley
Originally 𧮫 [仌⼞], streams of water (仌 ≈ (𠈌 ← 川) ➝
) that
pass through a space encircled (⼞) by implicit mountains: a valley.
606
俗
俗
コク
1979
People 亻 in a valley 谷
ゾク
folk 1980
欲
ヨク ほ.しい
ヨク
Valley 谷 where pure air can be exhaled 欠
欲 ほっ.する
wanted
SPECIAL READING
浴
浴 裕
裕
浴衣 [ゆかた]: yukata (Japanese light robe) ヨク
ヨク
Water 氵 in a valley 谷
あ.びる
to bathe in Clothes 衤 in a quantity that could fill
1981
1982
ヨク
a valley 谷
ユウ
rich
固
固
1983
コ
Old encircled space
かた.い
solid
コ
An old (古) encircled space (⼞), limits or limitations that have been there for ages, something solid and difficult to change.
607
個
個 箇
箇 錮
錮
1984
コ
コ
Person 亻 that is solid 固 individual 1985
コ
カ
Bamboo object ⺮ that is solid 固 article (of) コ
コ
哀
哀
1986
Restraining metal 金 that is solid 固 imprisonment
アイ あわ.れむ
Clothes acting as a limiting space
1987
to pity
Clothes (衣 ➝ ) forming an encircled space (⼞), clothing becoming the essence of its wearer, a person conditioned to his clothes, a figurative image that represents the spiritual subjugated by the domain of the matter: something unfortunate and pitiable.
睘
1988
カン
Eye looking at a material that delimits a space
An eye (目 ➝ 罒) looking at the bounding clothing (哀 ➝ eye looking and desiring the matter.
608
), an
環
環
Jade disk 𤣩materialistically looked after
カン
1989
カン
➝
ring
袁
袁
1990
エン
Foot coming out of the limitations of material things
A foot coming out (㞢 ➝ 土 ➝ 十) of what is delimited by the matter (哀 ➝ ).
猿
猿 園
園
エン さる
Animal 犭 out of the limitations of
1991
エン
material things 袁 monkey
エン その
員
員
Encircled space ⼞ where the limitations of
1992
エン
material things are trespassed 袁 ➝
park 1993
イン
Money in an encircled space employee
A person who earns a money (貝) in a limited quantity that is figuratively represented by an encircled space (⼞).
609
損
損 韻
韻
ソン
Hand 扌 interfering in the salary of an
1994
イン
employee 員
そこ.なう
to harm オン
イン
周
周
イン
1995
Sounds 音 made by an employee 員 rhyme
シュウ まわ.り
Encircled space of a ritual plate
1996
circumference
An encircled or circular space (⼞) determined by the shape of a ritual dish (用 ➝ ): a circumference. シュウ
彫
チョウ
彫
ほ.る
調
Space of a plate 周 wherein hair-
1997
shaped 彡 marks are made to engrave
チョウ しら.べる
調 ととの.う
Speech 言 structured as a シュウ
circumference 周 to be in order
610
1998
1999
或
或
ワク
Encircled space defended by ㊔ halberds or
A halberd (戈) figuratively creating a barrier (㇒) around an encircled space (⼞): a territory defended by weapons.
惑
ウク
Feelings 心 arising while defending a ウク
territory 或
惑 まど.わす 域
域
to bewilder ウク
イキ
咸
咸
2000
2001
Soil 土 liable to be defended 或 region 2002
カン
Territory protected by big halberds
An encircled space (⼞) protected by large halberds (戌): a heavily defended territory.
減
減
ゲン へ.る
Water 氵 flooding over a heavily カン
defended territory 咸 to diminish
611
2003
感
感
2004
Protected feeling
カン
sensation カン
A feeling (心) heavily protected (咸), understood as a sensation that lasts over time as a territory that is heavily defended.
憾
憾
Feeling 忄 that remains a lasting
2005
カン
sensation 感
カン
regret
辟
辟
2006
Incarcerated convict
ヘキ
A convict (辛) sitting (尸) in an encircled space (⼞): an imprisoned convict.
壁
壁 癖
癖
ヘキ かべ
Earth 土 encircling an imprisoned
2007
ヘキ
convict 辟 wall ヘキ
ヘキ くせ
Illness 疒 in an imprisoned convict 辟 tendency
612
2008
璧
璧
Jewel 玉 buried next to sacrificed
2009
ヘキ
imprisoned convicts 辟
ヘキ
ritual jade disc (bi)
極
極
➀ キョウ ➁ ゴク
Person stretching between two extremes
➁
➀ to reach an extreme
きわ.まる
➁ pole
2010
Originally 亟 [二口勹又], an outstretched hand (又) placing a person who leans (勹) constricted by a space delimited (⼞) by two ends (二), one lower and one upper: A person that stretches between two extremes. Over time the component 木 (tree, wood) was added to the compound in order to reinforce the secondary meaning of ‘pole’ that the character eventually adopted, depicting the ‘pole’ as a wood element (木) that reaches two extremes (亟), one lower, the floor, and the other upper, the roof.
図
図
Drawing within an encircled space
➀➁ズ ➀➁ト ➁ はか.る
2011
➀ diagram ➁ to plan
Originally 圖 [⼞啚(⼞+㐭)], an encircled space (⼞) in which a person (人 ➝ 亠) moves from one space to another ((⼞×3) ➝ (⼞ + 回)). In short, a representation within a two-dimensional plane of a route or path: a drawn diagram, a map. 613
Over time the inner strokes (啚) were simplified into the form
凸
凸
. 2012
Convex space
トツ
convex
A space coming out of an encircled space: a convex space.
凹
凹
2013
Concave space
オウ
concave
A space subtracted from an encircled space: a concave space.
亜
亜
2014
ア
Plant of a crypt for burials secondary
Originally 亞, a crypt or underground burial chamber where deceased people of great importance like kings or aristocrats, were buried together with precious belongings, sacrificed animals, and servants that were intended accompany them in the afterlife, or so to say, the ‘secondary’ life. The ground plants of ancient Chinese crypts were in the shape of a cross because of the symbolic implication that comes with adding an entrance door to each of the sides, highlighting the interconnection between the divine and the terrestrial. It is also said that this shape is due to an old belief saying that evil spirits hide in the corners, so eliminating the corners guaranteed a safe journey towards the other world. 614
Early examples of pictographic representations of crypts with objects and living beings buried inside
悪
悪
アク オ
Feeling 心 arising from the sight of a
わる.い
bad
田
田 SPECIAL READING
2015
ア
crypt 亜
2016
rice field
デン た
Ⓡ
Field
田舎 [いなか]: countryside
A cultivated rice field or paddy seen from above, with visible separations (十) within an encircled space (⼞).
界
界
カイ
カイ
Jam 介 of fields 田 world
615
2017
雷
雷 畑
畑
ライ かみなり
2018
Phenomenon produced in a field 田 of rain 雨 thunder
2019
はた Fields 田 that can be burnt with fire 火 はたけ field
NOTE Alluding to fields that can be burned for regeneration, unlike rice fields that cannot be burned due to their watery condition.
奮
奮 畔
畔 累
累
フン ふる.う
Bird unfolding its wings 奞 over a field 田 to be invigorated ハン
ハン
2020
2021
Fields 田 divided in halves 半 paddy ridge
2022
ルイ
Thread 糸 tying fields 田 accumulation
616
町
町 畿
畿 略
略
チョウ まち
Fields 田 around which buildings are
2023
チョウ
nailed 丁 neighborhood Fields 田 where commercial activity is
2024
キ
made 幾 ➝
キ
suburbs of the capital city ラク
2025
Each 各 part of a field 田
リャク
abbreviation 2026
胃
胃
イ
Body part that digests products from the field stomach
Part of the body (肉 ➝ ⺝) in charge of digesting products from the field (田).
膚
膚
Something that ends up in the stomach フ
胃 of a tiger 虍 epidermis
617
2027
曽
曽
ゾ ソウ
Field products distributed in a tasting mouth
2028
former
The rice field (田) thanks to which the food has been distributed (八 ➝ 丷) towards a mouth capable of tasting it (甘 ➝ 曰), a reference to the trace left by the source of things, something that formerly took place.
僧
僧 層
層 憎
ソウ
ソウ
Person 亻 next to former things 曽 monk ソウ
ソウ
(social) stratum
ゾウ
Feelings 忄 focusing on former things 曽
憎
にく.む
to hate
増
ゾウ
増
2030
Person 亻 sitting on former things 曽
ソウ
ふ.える ま.す
2029
2031
2032 ソウ
Soil 土 with a former 曽 history to grow
618
2033
贈
贈
ソウ ゾウ
Money 貝 becoming a former thing 曽
おく.る
to give as a gift
ソウ
2034
男
男
ダン ナン おとこ
Strength of the field man
The working strength (力) in the field (田): the man.
虜
虜
2035
リョ
Man 男 under the jaws of a tiger 虍 captive 2036
Soil next to fields
里
里
Ⓡ
➀
unit of land measurement
➀リ ➁ さと
[~0.5 km2]
➁ hamlet Soil (土) surrounded by fields (田) where people reside: a hamlet. The character takes as its main meaning that of a unit of land measurement equivalent to half a square kilometer, a semantic association probably originating from the approximate size of a typical hamlet.
619
埋
埋 厘
厘 裏
裏 野
野 理
理
2037
マイ
Soil 土 filled with a hamlet 里
う.める
to fill up 2038
リ
リン
Hamlet 里 limited by a cliff ⼚ unit of length [0.3 mm] 2039
リ
リ うら
ヤ の
Hamlet 里 covered by clothes undersurface Hamlets 里 that can be joined like
2040
ヨ
vertebrae 予 plains リ
リ
塁
塁
2041
King 王 going to a hamlet 里 reason Soil surrounded by several
2042
fields
ルイ
(military) base
Originally 壘 [畾⼟], soil (土) encompassing several fields (田×3 ➝ 畾 ➝ (田 + ). An extensive and well-stocked territory, capable of housing a military base. 620
2043
苗
苗
ビョウ なえ
Plants growing in a field seedling
なわ-
Plants (艹) growing in a field (田) thanks to a seedling. ビョウ
描
描 猫
猫
ビョウ
Hand 扌 putting plants in a field 苗
えが.く か.く
to picture
2044
to draw ビョウ
2045
ビョウ Animal 犭 eating the plants of a field 苗 ねこ cat
農
農
ノウ
Person working with a tool over plants in a field
2046
agriculture
The activity professed by people that handle agricultural tools (辰) in order to work with plants in the field (苗 ➝ 曲).
濃
濃
ノウ こ.い
Water 氵being poured over plants in a ノウ
field that is worked on 農 thick 621
2047
果
果
Products coming from fields and trees ➀➁カ ➁ は.たす ➀ fruit
2048
➁ to do completely SPECIAL READING
果物 [くだもの]: fruit
The field (田) and the trees (木) represented as the elements capable of bearing fruit.
課
課 菓
菓 裸
裸
2049
カ
カ
Speech 言 that is fruitful 果 lesson 2050
カ
Plants 艹 and fruits 果
カ
candy カ
ラ はだか
SPECIAL READING
番
番
2051
Clothes 衤 peeled like a fruit 果 naked 裸足 [はだし]: barefoot 2052
バン
Isolated grains from a field number in a series
622
Each isolated grain (⾤) of a rice paddy (田), a metaphorical representation of a particular number extracted from a larger series of numbers. バン
藩
藩
Series 番 of owned lands conformed by ハン
plants 艹 and water 氵 feudal clan バン
翻
翻
2053
ホン ひらがえ. す
弁
彙
Isolated grains of a field 番 flying
2054
away as they had wings 羽 to turn over 2055
イ
Animals, fields and trees same kind
Ideographic composition that reflects a figurative space that delimits (冖) the elements “animal” (彑), “field” (田) and “tree” (木): A group of elements that are capable of producing food, a group of elements of the same typology. The element 彑 is a reduction of the pictogram 彖, similar to the component 豕 (hog), which indicates an animal with a large head, four legs and a tail, probably a wild boar.
畜
畜
2056
チク
Dim thing in the field livestock
623
Something that is dim (玄) within a wide field (田), but that is part of it. Ideographic composition referring to livestock understood as a complementary element to agriculture.
蓄
蓄
チク たくわ. える
チク
2057
Plants 艹 and livestock 畜 to store 2058
畝
畝
うね
Long mark in the field furrow
Originally 畞 [田十久], a thick mark (十) measured longitudinally (久) that is made in a field (田): a furrow.
画
画
➀ カク ➁ガ
Hand making furrows in the field
2059
➀ brush-stroke ➁ picture
Originally 畫 [聿田一], a hand holding a brush (聿 ➝ ➝ 丅) that draws, on a surface, some strokes (一 ➝ 凵) like furrows on a field (田).
624
REVIEW ON SPACES
上元云会雲亏⽰祭尉 禁票平 ⾟竟競亲新竜章童業亘互五 吾下⼐去却出屈 1
頑玩伝魂陰芸転絵曇顎誇汚芋奈禍 視祝祉礼神社祥祖禅福斎祈際慰款 隷襟漂標呼評坪辞接辣境鏡親薪滝 籠襲彰障憧瞳鐘僕撲恒垣悟語峠法 蓋脚拙掘
冂冗売殻愛憂隺軍帯円⽅放 央市 帝啇 2
壱瞬夢塚写鬱冠沉枕堀読続穀曖優 確鶴揮輝滞妨肪訪倣坊防芳紡激敷 傲映英姉肺柿傍諦締嫡摘敵滴
625
⼞⾢舎那擁郎郷因咅正是疑 各路⾱㕣四⾕固哀睘袁員周 或咸感辟極図凸凹亜⽥胃曽 男⾥塁苗農果番彙畜畝画 3
囚団困菌圏国囲郊郡邪邦都郵邸捨 舗響姻恩咽倍培陪賠剖部婿証政礎 疎整旋症題提堤擬凝落格絡賂酪露 偉韓緯沿船鉛俗欲浴裕個箇錮環猿 園損韻彫調惑域減憾壁癖璧悪界胃 雷畑奮畔累町畿略膚僧層憎増贈虜 埋厘裏野理描猫濃課菓裸藩翻蓄
626
CONSTRUCTIONS 1 | WALLS AND ROOFS The primordial part of any type of construction or building is the ‘wall’
廴, which offers protection to the outside world. On top
of the wall, made with a specific material such as the ‘tile’ the ‘roof ’
瓦,
is placed, thus forming a ‘building’ conformed by a
‘wall and a roof ’
广 that will serve to shelter people and things.
2060
⼵
Wall
廴
Ⓡ
A schematic and distorted representation of a wall (㇋) placed perpendicularly to the ground (㇏). 2061
建
建
ケン コン
Hand brushing a wall to build
た.てる
A hand holding a brush (聿) used to paint a wall and the ground (廴), as an allegorical allusion to creation and, consequently, construction and building.
627
健
ケン
Person 亻 able to build 建
健 すこ.やか 鍵
2062
ケン
healthy ケン
ケン かぎ
廷
廷
2063
Metal object 金 made for buildings 建 key
テイ
People guarding the soil behind a wall
2064
court
A person (人 ➝ ㇒) managing the soil (土 ➝ 士) behind a wall (廴). The walls behind which those who manage the land are housed: A government palace or a court.
艇
艇
テイ
テイ
2065
Boats 舟 used around the court 廷 small boat 2066
延
エン
Foot crossing a wall
延
の.ばす
to stretch
A foot entering (正 ➝ 𠂛) or crossing through a wall (廴), representing someone who extends his way beyond physical limits.
628
誕
誕
Speech 言 commemorating the
2067
エン
crossing of a wall 延
タン
nativity
瓦
瓦
2068
ガ かわら
ceramic tile
Ⓡ
Schematic representation of a ceramic roof tile. The outer strokes ( ) represent the edge of the tile, and the inner dot (丶) some kind of decoration or engraving.
瓶
瓶
2069
ビン
Ceramic tiles 瓦 placed side by side 并 jar 2070
⼧
宀
Roof
Ⓡ
Under the roof
Two walls and a two-winged roof of a building. This pictograph is used semantically to reflect the idea of a place ‘under a roof ’. The stroke at the top (丿) represents the top edge of the roof and the lower strokes (冂) represent the wings of the roof and two walls In some compounds this component takes the flattened form 宀.
629
字
字
ジ あざ
What a child 子 learns under a roof 宀
SPECIAL READING
宫
宮 宴
宴 宙
宙 窓
窓
2071
シ
キュウ グウ ク みや
letter 文字 [もじ]: letter 2072
The backbone 呂 of a kingdom protected under a roof 宀 royal residence Men speaking 曰 with women 女
エン
2073
under a roof 宀 banquet ユウ
チュウ
ソウ まど
2074
Figurative roof 宀 that causes things 由
universe Space under a roof 宀 where feelings ソウ
are exposed publicly 忩 window
630
2075
宣
宣
Confined energy 亘 under the roof 宀 of a court
セン
proclamation ケン
寛
寛 宅
宅
Person looking 見 how plants 艹 grow カン
宵 寮
寮
2077
under a roof 宀 leniency Roof 宀 under which the sprout
タク
タク
of a
2078
family can be conceived residence ショウ
宵
2076
ショウ よい
Time when grains and meat 肖 are
2079
stored under the roof 宀 early night Place under a roof 宀 where bonfires
リョウ
リョウ
尞 are made
dormitory
631
2080
蛇
蛇 寄
寄
ジャ ダ へび
Serpent ⾍ from which a person 匕 hides under the roof 宀 snake キ
キ
Something unusual 奇 under a roof 宀
よ.る
to draw near シン
寝
寝 宝
宝
シン ね.る
Broom 𠬶 left on a table 丬 under a
賓
2082
2083
roof 宀 to lie down 2084
ギョク
ホウ たから
Jewels 玉 kept under a roof 宀 treasure Steps 歩 ➝
賓
2081
ヒン
of a person going
2085
towards a roofed 宀 place where he leaves a cauldron 貝 visitor 2086
貯
貯
チョウ
チョ
Money 見 nailed 丁 under a roof 宀 savings
632
寧
寧
Net 罒 of feelings 心 nailed 丁 under a
2087
roof 宀
ネイ
tranquility 2088
富
富
フ フウ とみ
Big wine vessels
フク
kept under a roof 宀
to be rich Person under a roof 宀 thinking with her
寡
寡
カ
2089
head 頁 about her husband partying 分
widow scanty シ
室
室
シツ むろ
Roofed place 宀 where one arrives 至 and stays room シュク
寂
2090
ジャク セキ
寂 さび.しい
Hand distributing stakes 叔 under a roof 宀 lonesome
633
2091
宇
宇 宰
宰 審
審
Roof 宀 from which energy in heaven
2092
unfolds 于
ウ
cosmos Person keeping convicts 辛 under a
2093
roof 宀
サイ
manager Figurative rice grains singled out form シン
2094
a field 番 under a roof 宀 judgement
内
内
ナイ ダイ
2095
Person inside a roofed place inside
うち
A person (人) inside a place covered by a roof ( inside a building.
634
➝ 冂), someone
2096
納
納
ノウ トウ ナッ ナ ナン
ナイ
Threads 糸 kept inside 内 to supply
おさ.める
商
商
Words talking about convicts kept inside
ショウ あきな.う
2097
to trade
A mouth (口) talking about convicts (辛 ➝ 立) who are confined inside (内 ➝ 𦉪) some kind of building in order to be marketed as slave or pseudo-slave labor.
安
安
Woman under a roof
➀ アン ➀➁ やす.い
A woman (女) under a roof (
2098
➀ safe ➁ cheap ➝ 宀), safe from external dangers.
The meaning of ‘cheap’ comes as a phonetic borrowing.
案
案
2099
アン
アン
Safe 安 wooden structure 木 guidance
635
2100
守
守
シュ ス
Hand working under a roof
まも.る も.り
to guard
スン
A hand working (寸) under a roof (
➝ 宀), protecting the
household and the family economy.
狩
狩
シュ
Animal 犭 brought under a roof by a シュ
working hand 守
か.り
官
官
2101
hunting
カン
Someone leaving traces under the roofs
2102
bureaucrat
Someone who leaves footprints (㠯) under the roofs ( ➝ 宀), either of the homes of people or government institutions: a bureaucrat.
棺
棺
Wooden case 木 used for dead カン
カン
bureaucrats 官 coffin
636
2103
管
カン くだ
管 館
館
Bamboo stalk ⺮ used as a brush by
2104
カン
bureaucrats 官 tube カン
カン やかた
⽳
穴宂 A roof (
2105
Place where bureaucrats 官 eat 飠 building
ケツ あな
Roof through which energy is distributed
2016
Ⓡ
hole
➝ 宀) through which energy can be distributed (八), a
roof that allows matter to pass through it, a roof with a hole. When this character appears in the components, it adopts the slightly modified form 宂. 2107
突
ドツ
Big person 大 passing through a hole 宂
突
つ.く
to poke
究
2108
キュウ
キュウ
究 きわ.める
Arm 九 rummaging through a hole 宂
to research
637
窯
窯
ヨウ かま
Hole 宂 with fire 灬 where auspicious ヨウ
𦍌 things are burnt kiln サク
搾
搾 窃
窃
サク しぼ.る
Hand 扌 passing folded clothes 乍 to wring
2111
セツ
セツ
キュウ
窮 きわ.まる
Cut 切 made through a hole 宂 stealth Body 身 bent like a bow 弓 stuck in a to take to the extreme
窒 窟
窟
Arrow reaching 至 a hole 宂 and being チツ
2112
hole 宂
シ
窒
2110
through a hole 宂
キョウ
窮
2109
2113
stuck in there obstruction Hole 宂 in which people sit down and
クツ
クツ
come out 屈 cavern
638
2114
奐
奐
2115
カン
Two hands taken a person out of a hole
Two outstretched hands (⼶ ➝ 大) pulling out a leaning person (勹 ➝ ⺈) who is stuck in a hole (穴 ➝ 宂 ➝ 𦉪).
喚
喚 換
換
Shouting mouth 口 of a person who is カン
2116
カン
taken out of a hole 奐 scream
カン
2117
カン Hand 扌 taking someone out of a hole 奐 か.える to substitute
NOTE It can be interpreted as a representation of assisted childbirth, understood as the substitution of a generation for another.
罙
罙
2118
Wooden branch being introduced into a hole
Originally 穼 [穴木], a wooden bar (木) being introduced into a hole (穴 ➝ 㓁).
639
探
探 深
深
タン
Hand 扌 introducing a wooden branch
さが.す さぐ.る
into a hole 罙
シン
2119
to look for Water-filled 氵 hole into which one can
2120
introduce a stick 罙
ふか.い
deep 2121
空
空
➀ ➁ クウ
Hole made with a hoe
➀ あ.ける ➀ から ➁ そら
➀ to empty ➁ sky
A hoe (工) making a hole (穴 ➝ 宂), creating an empty space. The notion of ‘empty space’ was later taken in Japanese also to designate the concept of ‘sky’.
控
クウ
コウ
Hand 扌 that is empty 空
控 ひか.える 宛
宛
2122
to not do too much
エン あ.てる
Huddled person at night under a roof to address 640
2123
Someone who returns to a place under a roof (
➝ 宀) in which he
エン
can cuddle under the moon (夗) to sleep at night.
腕
腕
2124
エン
ワン うで
奥
奥
Body part 月 able to address 宛 something
arm
オウ おく
Two hands placing rice under a roof
2125
interior
Two hands (⼶ ➝ 大) depositing grains of rice (米) inside a place protected by a roof ( ➝ 宀), referring to the action of keeping something inside, in the interior. 2126
家
家
カ ケ いえ や
Hogs under the roof house
A roof ( ➝ 宀) under which hogs (豕) are raised, in reference to a household capable of sustaining itself through food production: a house able to house a family.
嫁
嫁
カ とつ.ぐ よめ
カ
Woman 女 brought to the house 家 wedding 641
2127
稼
稼
カ
カ
Prosperity 禾 brought to the house 家
かせ.ぐ
to earn
宜
宜
ギ
Altar of sacrifice placed under a roof
2128
2129
appropriate
An altar of sacrifice (且) placed under a roof ( ➝ 宀) to be protected from the elements, something more appropriate or suitable than placing it outside.
畳
畳
ジョウ たたみ
Figurative field 田 that is appropriate 宜 ➝ 冝 to sit on
2130
tatami 2131
𡨄
Two hands storing hoes under a roof Shelter
Two hands (⼶ ➝ ハ) putting several tools like hoes (工×4 ➝ 㠭 ➝ 𠀎) in a place protected by a roof ( ➝ 宀), a shelter that serves as a warehouse.
寒
寒
2132
カン
Ice 冫 making people to seek a shelter 𡨄
さむ.い
cold
642
2133
塞
塞
サイ ソク
Earth 土 mounds before a shelter 𡨄 to stand in the way
ふさ.ぐ
宿
宿
シュク やど
Roof under which one hundred people can sleep
2134
lodging
A roof (宀) under which one hundred (百) people (人 ➝ 亻) can sleep: a lodging or an inn.
シュク
縮
シュク
Thread 糸 tying several lodgings 宿
縮
ちぢ.む
to shrink
宓
ミツ
Stakes distributed under a roof
2135
2136
Concealing Stakes being distributed (必) under a roof ( ➝ 宀), implying some kind of concealment while partaking a necessary action. ミツ
密
密
Something being concealed ミツ
a mountain 山 secrecy 643
behind
2137
ミツ
蜜
蜜
Something produced by concealed ミツ
2138
insects ⾍ honey
寅
寅
2139
Archery practice
イン
㊔
Originally , two hands manipulating an arrow ((𦥑 ≈ ⼶) + 矢) ➝ ), implying the practice of archery. Over time the component for “roof ” ( ➝ 宀) was added to indicate a controlled practice within a figurative or literal enclosure, as it can be found in training, as opposed to archery done in hunting or warfare.
イン
演
演
Archery practice 寅 made in a place エン
surrounded by water 氵 performance
完
完 A roof (
2140
2141
Roof above a person
カン
completion ゲン
➝ 宀) above of a person (元), an image of a building
completed with a roof under which people can stay.
644
カン
Building completed 完 next to the
院
院
イン
2142
mountains 阝 institutional building institution
宗
宗
2143
シュウ ソウ
Divine power under a roof religion
Divine power (示) appearing or being interpreted under a roof ( ➝ 宀), in reference to a building where a connection with the divine is established: a temple dedicated to religion.
踪
踪 崇
崇
Traces left by figurative feet ⻊ in
2144
ソウ
religion 宗
ソウ
clue Sacred mountain 山 important for
2145
ソウ
religion 宗
スウ
adoration
察
察
サツ
Worshipping made under a roof observation
645
2146
サイ
A worshipping (祭) or offering of sacrifices made under a roof ( ➝ 宀), a religious activity that can be done in more detail and attentive observation than if it were performed outdoors.
擦
擦
サツ
Hand 扌 movement made with deep サツ
observation 察
す.る
向
向
2147
to rub 2148
コウ
Roof over an encircled space
む.かう
to face
A roof ( ) facing the ground formed by an encircled space (⼞).
尚
尚𫩠
2149
Open space
ショウ
yet
A roof and an encircled space (向) through which energy can be distributed (八 ➝ 丷), implicitly representing a building with some kind of opening whereby energy or air can pass: A place that is ‘yet’ to be finished. When acting as a component, this graph takes the modified form 𫩠.
党
党
ショウ
トウ
Place open 𫩠 for people ⼉ political faction 646
2150
掌
掌 堂
堂 常
常
2151
ショウ
Open 𫩠 hand 手
ショウ
handling 2152
ショウ
Open 𫩠 soil 土
ドウ
hall
ジョウ つね とこ
2153
ショウ
Open 𫩠 cloth 巾 usual 2154
賞
賞
Open money
ショウ
reward ショウ
Money (貝) that is distributed in an open space (尚 ➝ 𫩠), or open for any participant: a prize or reward. 2155
償
ショウ
ショウ
償 つぐな.う
Person 亻 giving a reward 賞 to compensate (for)
647
定
定
ジョウ Roof under which a foot can enter テイ さだ.める
2156
to establish
A roof ( ➝ 宀) under which there is a space in which a foot can finally enter (正 ➝ 𤴓), in reference to the completion of a building, the establishment of a home or an institution. 2157
綻
綻 錠
錠
タン ほころ. びる
Thread 糸 of established 定 institutions
to begin to open
Metal object 金 put in an established
2158
ジョウ
定 building
ジョウ
lock
客
客
キャク カク
Stationary person under a roof
2159
guest カク
A person who stands still in a space (各) under a roof ( hosted as a guest.
648
➝ 宀),
額
額
ガク ひたい
Part of the head that stands still 頁
2160
キャク
under the roof that is the crown 客 forehead
容
容 A roof (
2161
Valley under a roof
ヨウ
container [fig.] ヨク
➝ 宀) covering a valley (谷), image understood
allegorically as a cavity in which there may be some content, a valley covered with a roof conceived as a figurative container.
ヨウ
溶
ヨウ
Water 氵 poured into a container 容
溶
と.ける
to dissolve
実
実
➀ ジツ ➁み ➂
Fruits kept under the roof
2162
2163
➀ reality ➁ substance
みの.る
➂ to bear fruit
Originally 實 [宀貫], everything that passes through (貫) the roof ( ➝ 宀), interpreted as the celestial roof, the sky, or the universe as it is also reflected in the characters 宙 (universe) and 宇 (cosmos). Everything that happens under the sky: reality. Over time the component 貫 was abbreviated into the form creating the current simplified version 実. 649
, thus
The meaning of ‘reality’ also derives in the notions of ‘what is real', which derives into the concept of ‘substance’, and that of ‘making reality’ or ‘fructifying’. 2164
Originally
, a roof (
エイ
Roof covered by flames
➝ 宀 ➝ 冖) covered by fire flames (火×2 ➝
炏). The meaning of this component may have a figurative sense, which lets interpret the meaning of covering with fire as something like that instigates energy or vigor. Currently this component appears always in its simplified version .
営
エイ
エイ
営 いとな.む 労
労
2165
Backbones 呂 covered by flames to conduct
2166
ロウ
Arm 力 covered by flames labor
650
2167
栄
栄 蛍
蛍
エイ
エイ
Tree 木 covered by flames
さか.える
to flourish
は.える
エイ
2168
An insect ⾍ covered by flames
ケイ はたる
firefly 2169
Originally
Building of a roof
カク
[𦥑⽘冖], two hands (𦥑) laying wooden bars (爻) in
order to build a roof ( figurative way.
➝ 宀 ➝ 冖), sense that is used mainly in a
Currently this component always appears in its simplified version , which looks graphically identical to the also simplified version of the component
学
学 覚
覚
(roof covered by flames).
カク
ガク
Child’s 子 roof being built
まな.ぶ
to learn
カク
Person looking 見 how his roof is being
おぼ.える
built
さ.める
カク
to become aware 651
2170
2171
六
六 SPECIAL READING
2172
ロク
Hut
むっ.つ
six
六日 [むいか]: sixth day of the month
A pictographic representation of a hut with a roof with two protruding wings (亠) and two walls (ハ), leading to a graphic composition quite similar to the component (roof). This character was chosen in ancient times to denote the meaning ‘six’ for its phonetic value, however the pictogram of a hut can be figuratively understood as a place that has six directions: four walls (south, north, east , west), the roof (top), and the floor (bottom).
冥
冥
メイ ミョウ
Hole where no sunlight passes through
2173
dark
The sunlight (日) delimited (冖) by a hut (六) that does not let its light through, sunlight blocked giving way to darkness.
云
2174
Wall and roof
广
Ⓡ
Building
A roof (亠) and a wall (丿), simultaneously representing the exterior and interior part of a building.
652
応
応
オウ こた.える
Feelings 心 aroused by a completed building 广 to respond ヨ
序
序 庁
庁
What is built before 予 the walls and ジョ
preface 2177
チョウ
チョウ
座
ザ
座
すわ.る
Nailed 丁 building 广 government office People working in pottery wheels 坐
2178
inside a building 广 to sit セン
店
2176
roof 广
ザ
店
2175
テン みせ
Building 广 where divinations 占 are
2179
made shop 2180
床
床
ショウ とこ ゆか
Wooden object 木 inside a building 广 bed
653
廉
廉 粧
粧 庫
庫 底
底
People working simultaneously 兼 レン
inside a building 广 integrity Grains 米 and earth 土 decorating the
ショウ
cosmetics
コ ク
Chariots 車 kept inside walls and a
テイ そこ
ハイ
warehouse 2184
Ground 氐 of a building 广 bottom
廊
Something launched 発 inside a
2185
building 广 to die out ロウ
ロウ
2183
roof 广
テイ
廃 すた.れる 廊
2182
walls and roof of a building 广
ハツ
廃
2181
Offspring 郎 of a building 广 outside corridor
654
2186
庭
庭
テイ にわ
Part of a building 广 where the court
2187
テイ
廷 plays garden Building to which people
府
府
2188
are attached
フ
bureaucratic office borough フ
A government building (广) to which people are attached (付) since certain important bureaucratic procedures are carried out there.
フ
腐
フ
Meat 肉 left in a bureaucratic office 府
腐
くさ.る
to decay
広
コウ
広
ひろ.い
Building with flowing energy inside
2189
2190
wide
A building (广) with a large space in its interior through which energy can flow (厶).
655
拡
拡 鉱
鉱
コウ
2191
Hand 扌 widening 広
カク
extension コウ
2192
Metal 金 that is wide 広
コウ
mineral
庶
ショ
庶
Words beside a fireplace inside a building
2193
multitude
Mouths (廿 ← 口) talking around the fire (火 ➝ 灬) of a fireplace inside a building (广): An activity carried out by a multitude of people. When this character acts as a component it takes the abbreviated form .
席
席
Cloth 巾 on which people sit in order to セキ
SPECIAL READING
talk along the fire
ショウ
seat 寄席 [よせ]: entertainment hall
656
2194
度
度
Hand by the fire of a building's fireplace
➀ド ➀ト ➁タク
2195
➀ degree (of)
➁ たび
➁ occasion
An outstretched hand (又) checking the temperature—the degree of heat—of the fire around which people converse inside buildings (庶 ➝ ). ト
渡
ト
渡
わた.る
Water 氵 whose degree 度 of deepness
2196
has been checked to cross over
麻
麻
2197
マ あさ
Trees inside a building hemp
A grove (林) of plants that can be seen inside buildings (广), as hemp was formerly widely used for the manufacture of simple and comfortable clothing that can be wore at home.
摩
摩
マ
マ
Hand 手 touching hemp 麻 friction
657
2198
魔
魔
Ghosts 鬼 emerging from the intake of
2199
マ
hemp 麻
マ
demon
NOTE Hemp can be associated with hallucination thanks to its psychoactive effects.
磨
磨
マ
マ
Stone 石 smoothing hemp 麻
みが.く
to polish
2200
2201
厳
厳
ゲン ゴン きび.しい おごそ.か
Words bravely pronounced inside a building severe
Originally 嚴 [吅广敢], several words (口×2 ➝ 吅 ➝ ⺍) カン
pronounced bravely (敢) inside a building (广), referring to a severe behavior either at home or within government institutions.
658
2 | DOORS If the essential structure of a building was the walls and roofs, it is equally certain that for a building to be truly functional it must have a ‘door’ 戸 that serves as an entrance and exit. If the building is large enough, it will have a matching door, with two panels, a big door or ‘gate’ become an ‘open door’ uninterrupted.
戸
戸
門, which can be opened wide and 卯 so that the flow of people becomes
2202
コ と
door
Ⓡ
Originally , a pictograph of a door, with a jamb (丿) and a single panel (日 ➝ ).
肩
肩 炉
炉
ケン かた
Body part ⺝ that moves like a door panel 戸
2203
shoulder 2204
ロ
Fire 火 behind a door 戸 hearth
659
扇
扇 扉
扉 所
所
セン おうぎ
Wing-shaped 羽 object that moves like a door 戸 fan Door 戸 that has panels flapping against
ヒ とびら
ヒ
each other like two opposed wings 非
2207
ショ ところ
Door 戸 defended by an axe 斤 place 所為 [せい]: consequence ホウ
房 啓
啓
2206
front door
SPECIAL READING
房
2205
ボウ ふさ
Something pointing towards 方 the
2208
threshold of a door 戸 tuft
ケイ
Hand blowing 攵 a door 戸 off and disclosing an encircled open space ⼞
disclosure
660
2209
戻
戻
レイ もど.る
Person walking through a door
2210
to turn back
A person seen from the front (大) coming in through a door (戸), getting back home.
涙
涙
Water drops 氵 emerging when someone
ルイ なみだ
2211
ルイ
returns home 戻 after a long trip
tears 2212
雇
コ
Bird passing through a door
雇
やと.う
to employ
A messenger bird (⾫) that, after being thrown into the air, returns home and passes through the door (戸) of a house: An animal that can be ‘employed’ to perform a certain function.
顧
顧
コ かえり. みる
扁
コ
2213
Returning bird’s 雇 head 頁 to look back 2214
Book beneath a door
ヘン
A book (冊 ➝ 𠕁) introduced under the threshold of a door (戸). 661
偏
偏 編
編
ヘン
Person 亻 leaning to pick up a book left beneath a door
かたよ.る
ヘン
2215
ヘン
to lean (towards) Thread 糸 tying books that are left beneath a door
あ.む
2216
ヘン
to compile
倉
ソウ
倉
くら
Place behind a door where
2217
objects come together storehouse
A place behind a door (戸 ←
) where several objects come
ゴウ
together (合): a storehouse.
ソウ
創
創
ソウ つく.る
Storehouse 倉 wherein material is cut
2218
with a dagger 刂 to prepare
門
門
2219
Two doors
モン かど
Two door panels ((戸 ←
Ⓡ
gate )×2 ➝ (門 ≈ 𨳇) forming a two-panel 662
door: a big door or a ‘gate’. 2220
関
関
カン かか.わる
せき
Knobs 关 and their doors 門 to be related 2221
聞
聞
ブン モン
Ear 耳 attached to the doors 門
き.く
to listen
モン
2222
問
問
モン と.う とん
モン
Words 口 opening doors 門 to ask エツ
閲
閲
Exposure 兑 of what is behind the エツ
doors 門 inspection Sounds 音 heard behind the doors 門
闇
闇
2223
やみ
as a clue of what is behind them and cannot be seen darkness
663
2224
閑
閑
Wooden bar 木 placed against the カン
doors 門 in order to avoid disturbance quiet Wooden element 木 sustaining doors
欄
欄
2225
ラン
2226
門 that stand like a backpack 東 stuck in the ground column サイ
閉
閉
ヘイ し.める と.じる
闘
トウ
闘
たたか.う
Several lifted sticks 才 placed against
2227
the doors 門 as a lock to close Working hand 寸 manufacturing
2228
トウ
bowls 豆 behind the doors 門 to contend
NOTE It can be understood as a depiction of a rudimentary manufacturing group making products that have to compete and contend in the market. 2229
開
開
カイ あ.ける ひら.く
Two bidents
ケイ
pushed against a gate 門
to open
664
閥
閥
Craft link between people felling trees バツ
バツ
伐 and people making doors 門 lineage カク
閣
閣
2230
Space where people are still 各 placed カク
2231
behind a gate 門 chamber カン
間
ケン
間
あいだ
2232
Sunlight passing between the threshold of a gate interval
ま
Sunlight (日) passing through the spatial interval left by the threshold of a gate (門).
簡
簡
カン
カン
2233
Bamboo strips’ ⺮ intervals 間 simple
閏
閏
King passing through the
2234
㊔
gates
ジュン
Intercalation
A king (王) passing through the gates (門) of a palace upon being crowned, succeeding a previous king and preceding a later king, 665
forming part of an intercalation of royal successors.
潤
ジュン
ジュン
Water 氵 intercalations 閏
潤 うるお.う 卯
卯
2235
to moisten 2236 ㊔
Open gate
リュウ
The two panels of a door that is open, turned outwards. The graph 卯 is a simplification of the original form 戼, which is a modification of the component 𨳇 (門, door), with gets its elements reversed.
柳
柳 貿
貿
リュウ やなぎ
Tree 木 whose branches open outwards
2237
リュウ
like doors 卯
willow tree (Salix alba) 2238
ボウ
Gate open 卯 to money 貝 trade 2239
留
留
リュウ ル
Gate open to the rice field to stay put
と.める
666
リュウ
Doors open (卯) to a field (田), where the peasants had to stay put working.
瑠
瑠
ル
ル
Jewel 𤣩 that stays put 留 lapis lazuli
667
2240
3 | TALL BUILDINGS When construction techniques reach a certain level in a society, tall buildings begin to appear. One of the early tall buildings were the watchtowers 京, which were used to defend the population of big cities or the ‘capital cities’ of kingdoms. The watchtower functions, within Chinese characters, as the main element from which several characters related to large-scale constructions derive.
京
京
2241
Watchtower
キョウ ケイ
capital city
A watchtower, placed somewhere to defend a town or a population of significant size where important people live. The upper strokes 亠 reflect the two winged roof of the tower, the central strokes ⼞ show the upper part of the tower, that seems to have a window to facilitate surveillance, and the lower strokes 小 are a depiction of the base of the tower that elevates the structure as a whole. When this glyph appears on its own, it takes the associated meaning of ‘capital city’, related to the notion of a big city protected by watchtowers.
668
Model of a Chinese watchtower
涼
涼 鯨
鯨
リョウ すず.しい
Water flow 氵 surrounding a watchtower 京 refreshing ケイ
ゲイ くじら
2242
2243
Fish 魚 as big as a watchtower 京 whale 2244
就
就
シュウ Arm reaching a watchtower ジュ to attain つ.く
A person raising his arm (尤) to reach a watchtower (京), conquering it: someone attaining an intended goal.
669
蹴
蹴
シュウ
Foot and leg 足 kicking a conquered シュウ
watchtower 就
け.る
景
景 SPECIAL READING
2245
to kick
ケイ
Sun illuminating the views from a watchtower
2246
scenery 景色 [けしき]: scenery
The Sun (日) illuminating a scenery seen from the top of a watchtower (京).
憬
憬 影
影
Feelings 忄 aroused from the view of a
2247
ケイ
scenery 景
ケイ
aspiration 2248
ケイ
エイ かげ
享
享
Scenery 景 view covered by hair 彡 shadow
キョウ
Child playing with a toy watchtower
2249
enjoyment
Ideographic representation of a child (子) playing with a toy 670
キョウ
watchtower (京 ➝
郭
郭
), enjoying himself. 2250
キョウ
カク
Enjoyment 享 of a village 阝 fortification
孰
孰
2251
Person making a toy watchtower
ジュク
A person working with his hands (丸) on the making of a toy watchtower (享). ジュク
熟
熟
ジュク う.れる
Making of toy watchtowers 孰 with
2252
fire 灬 mature
NOTE Denoting, by allusion to fire, some forging or smelting done while manipulating metallic material such as bronze, instead of clay or terracotta, during the toy making process. The making of toys or objects of bronze suggests a greater, more mature skill.
塾
塾
ジュク
ジュク
2253
Toy watchtowers made 孰 of earth 土 cram school
NOTE Unlike the character 熟 (mature), toys made of earth— instead of metal—suggest a simpler manufacturing process and, therefore, a less mature skills like the ones that can be seen in a cram school. 671
厚
厚
コウ
Child playing by the edge of a cliff
あつ.い
serious
2254
thick キョウ
A child playing with a toy watchtower (享 ➝ 㫗) on the edge of a cliff (⼚): a serious matter. 2255
⾼
高 キョウ
コウ
Big tower
たか.い
high
A watchtower (京 ➝
) with a large encircled space (⼞) at its
base, denoting a large size and, consequently, also a great height. When this character acts as a component it may take the abbreviated form .
稿
稿
コウ
コウ
2256
Fruit tree 禾 that is high 高 draft
NOTE It represents, figuratively, the idea of having to draw a plan or write a draft when trying to obtain fruits that are too high.
672
豪
豪
Hog 豕 inside a big tower
ゴウ
喬
喬
2257 コウ
extraordinary 2258
キョウ
Person on top of a tower
㊔
tall
A person wiggling (夭) as he waves his hands or moves on top of a コウ
big tower (高 ➝
橋
橋 矯
矯
キョウ はし
).
Wooden structure 木 on top of which a
2259
キョウ
person 喬 can pass through bridge
キョウ
Arrow 矢 thrown from the top of a キョウ
tower 喬
た.める
复
2260
to straighten 2261
フク
Foot getting in and coming out of a tower
Originally 𡕨 [亯夂], and then 㚆, a foot pointing downwards (夂), coming out of a tower (高 ➝ 亯 ➝ ➝ ) from which it has previously entered. Ideogram suggesting the getting in and coming out of a place. 673
腹
腹
フク
Body part 月 that goes in and out
フク はら
abdomen
SPECIAL READING
複
複
お腹 [おなか]: belly フク
フク
2262
2263
Clothes 衤 going in and out double fold
亭
亭
2264
Nailed tower
テイ
pavilion
A building with a structure similar to that of a watchtower (京 ➝ ), arising above the ground by means of a series of columns with テイ
the appearance of large nails (丁) instead of a stone or earth base that forms an encircled space or enclosure as they depicted in the character 高 (big tower).
Model of an ancient Chinese pavilion
674
停
停
テイ
テイ
壇
壇
2265
Person 亻 stopping by a pavilion 亭 halt Soil over which a tower is built
タン ダン
2266
podium
This character is a derivation of the primitive pictogram 㐭, which schematically represents a raised rudimentary construction, probably a barn, with a pointed roof (亠) and a middle structure with some type of opening (回). タン
Over time, the component 旦 (sun rising over the ground) was added to the pictogram for its phonetic and semantic value, suggesting the notion of height. Eventually another component was added, 土 (soil), in order to specify that the composition refers to a structure placed on the ground. The meaning of this compound finally becomes that of 'podium' or 'platform', associated with the notion of a raised building or place.
675
4 | ROADS After having traveled all over the World of Kanji, we come across an allegorical element that sums up very well the entire journey undertaken so far: the road, since roads 行 on which people ‘go’ serve as figurative or physical guide to a safe journey for both the student and the traveler.
2267
⾏
行
Ⓡ
➀ ギョウ ➀ コウ ➀ アン ➀ い.く ➀ ゆ.く ➁
Roads ➀ to go ➁ to carry out
おこな.う SPECIAL READING
流行る [はやる]: to be popular
Pictogram that represents an intersection between four roads, denoting physical or figurative ways to go. The original pictogram represented said roads with a quadrangular shape:
, but later strokes began to be distorted, shaping a more
slanted form
(行).
When the character acts as a component its compositional elements become more spaced to make room for another component in the middle: .
676
2268
街
街 桁
桁 衝
衝 術
術 衡
衡 衛
衛
ガイ カイ まち
けた
Roads
paved with earth mounds 土 street
Wooden pieces 木 seen on the roads 行
2269
beam ジュウ
ショウ
Roads
2270
getting piled up with earth 重
collision 2271
ジュツ
Roads
separated from the rest
ジュツ
art Roads’
angles 角 ➝
measured by
2272
a person 大
コウ
measuring Roads
on top of which feet can イ
エイ
move around 韋 protection
677
2273
2274
⼻
Ⓡ
A road
彳
One of the roads that intersect at a crossroad (行 ➝ ⼻).
律
律 役
役 徹
徹 得
得
2275
リツ リチ
ヤク エキ
Road ⼻drawn with a brush 聿 regulation People building a road ⼻with sledgehammers ⽎ duty Figurative road ⼻helping a child being
テツ
2276
brought up by blows
2277
テツ
thoroughness トク え.る う.る
Road ⼻ on which a hand works 寸 from dawn 旦 to gain
678
2278
径
径 徒
徒
Road ⼻ going through a potter's wheel ケイ
on which a hand is working 圣
ケイ
diameter Road ⼻used as the path on top of on foot 2281
タイ
Road ⼻to the temple 寺
待
ま.つ
to wait
微
ビ
Person ⼉ ➝ 兀 going through a road ⼻in the mountain 山 while holding a weapon 攵
徐
2282
faint
SPECIAL READING
徐
2280
which feet run 走
ト
待
微
2279
微笑む [ほほえむ]: to smile ヨ
ジョ
Road ⼻becoming remains 余 gradually
679
2283
ヒ
彼
彼
➀ヒ ➀ かの ➁ かれ
Road's ⼻skin 皮
2284
➀ that ➁ he
NOTE The skin of a street serves as a reference to the visible face of things, on the street or not, something—that—which can be easily seen and pointed out. The meaning of ‘he’ is a clear semantic association with the meaning of ‘that’. 2285
後
後
➀ ➁ ゴ Foot turned upside down 夂 figuratively ➀ ➁ コウ hanging like a cocoon 幺 on a road ⼻ ➀ ➁ あと ➀ behind ➀ うし.ろ ➁ のち ➁ later ➂ ➂ to be late おく.れる
SPECIAL READING
往
往 御
御
明後日 [あさって]: day after tomorrow 2286
オウ
Road's ⼻main 主 course journey
ギョ ゴ
Road ⼻where people work using
おん-
honorable
mortars and pestles 卸
680
2287
徳
徳 循
循 征
征
2288
トク
Road ⼻leading to straight feelings virtue ジュン
ジュン
Road ⼻round like a shield 盾 circulation セイ
セイ
2289
2290
Road ⼻entered by a foot 正 conquest
2291
従
従
ジュウ ジュ ショウ
People following footsteps on a road to follow
したが.う
Originally 從, several people (人×2 ➝ 从 ➝ 䒑) following the steps (止 ➝ 龰) of one another on a road (⼻). ジュウ
縦
縦
ジュウ たて
Threads 糸 following 従 each other in a fabric length
681
2292
徴
徴
チョウ
Armed king going towards the mountains
2293
sign
A king (王) holding a weapon (攵) with his hand as he heads down a road (⼻) towards a mountain (山), as a sign or indication of the beginning of a military campaign.
懲
懲
チョウ
チョウ
Signs 徴 of the heart 心
こ.りる
to learn by experience
復
復
フク
Road where people goes in and out
2294
2295
time and again フク
A foot that goes in and out ( ) of a road (⼻), a road that is walked time and again.
履
履
リ は.く
Something put on one’s buttocks 尸 time and again 復 to put on (lower-body clothing)
682
2296
2297
覆
覆
フク おお.う くつがえ. す
Something that is done to a bag 覀 フク
time and again 復 to cover 2298
辶
Foot on a road
⻌
Movement
Originally 辵 [彡龰], a foot (止 ➝ 龰 ➝ walking on a road (⼻ ➝ 彡 ➝ 丶).
迅
迅 迎
迎 逆
Ⓡ
) passing through or
2299
ジン
ゲイ むか.える
ギャク
逆 さか.らう
Movement ⻌ of a person rolling down a cliff 丸 ➝ 卂 Person moving ⻌ to kneel before
2300
another person 卬 to go out to meet Movement ⻌ turned upside down 屰 to go against
683
2301
遇
遇 退
Movement ⻌ incited by a masked
2302
グ
person 禺
グウ
encounter タイ
退 しりぞ.く
Movement ⻌ becoming still 艮
2303
to withdraw 2304
過
➀カ ➀ す.ぎる ➁
過 あやま.ち
カ
Movement ⻌ of a pile of bones 咼 ➀ to go beyond ➁ fault
NOTE A pile of bones that indicates the sense of dying, and a movement that connotes the sense of the afterlife. A pile of bones moving as an allegory of the soul going beyond.
送
送 選
選
ソウ おく.る
セン えら.ぶ
Movement ⻌ instigated by the opening
2305
of a knob 关 to send (off) Movement ⻌ of circulating energies 己 ×2 acting in several hands 共 to choose
684
2306
2307
遡
巡
巡 返
返
ソ さかのぼ. る
ソ
Movement ⻌ of the new moon 朔 to go back
ジュン
Movement ⻌ of a river 巛
めぐ.る
to go around
2308
ハン
ヘン かえ.す
2309
Movement ⻌ of an arching hand 反 to turn over 2310
逃
トウ に.げる
逃 のが.れる 途
途
チョウ
Movement ⻌ incited by a bad omen 兆
to escape Footsteps on a road ⻌ that always
ト
2311
remain 余 route 2312
速
ソク はや.い
ソク
Movement ⻌ in a bundle 束
速 すみ.やか
quick
685
遭
遭
ソウ
ソウ
Movement ⻌ of converging fellows 曹
あ.う
to meet シュウ
透
トウ
Movement ⻌ that is excelling 秀
透
す.ける
to show through
述
ジュツ
述
の.べる
迫
迫
Movement ⻌ of a hand separating a grain of rice from the rest
2315
ジュツ
ハク
ハク
Movement ⻌ that is clear 白
せま.る
to be imminent
シン
Moving ⻌ bird ⾫
進
すす.む
to advance
逐
2314
to state
進
逐
2313
2316
2317
2318
チク
Moving ⻌ hog 豕 pursue
686
遂
遂
スイ
Movement ⻌ of distributed hogs 㒸
と.げる
to consummate コク
造
ゾウ
Movement ⻌ announced 告
造
つく.る
to create
逸
逸 達
達 遅
遅 逮
逮
Movement ⻌ made by a person that is イツ
2319
2320
2321
about to hide 免 deviation Movement ⻌ that is big 大 ➝ 土 and
タツ
2322
auspicious 羊 achievement
チ
Movement ⻌ made while sitting 尸 on
おく.れる
a sheep 羊
おそ.い
slow
タイ
Movement ⻌ caught 录 apprehension
687
2323
2324
縫
縫 遜
遊
遊 遺
遺
ホウ ぬ.う
Threads 糸 moving ⻌ and forming ホウ
something like lush plants to sew ソン
ソン
ユウ ユ あそ.ぶ
2326
Movement ⻌ of the descendants 孫 humility
2327
Children 子 moving ⻌ flags to play キ
イ ユイ
2325
2328
Movement ⻌ that is valuable 貴 bequest 2329
連
➀ ➁ レン ➀ つら.なる
連 ➁ つ.れる 遷
遷
Moving ⻌ chariots 車 ➀ to stand in a row ➁ to take along with Someone moving ⻌ and circulating 己
セン
with a big 大 bag 覀 relocation
688
2330
遵
遵
ソン
ジュン
2331
Movement ⻌ that is precious 尊 obedience 2332
通
通
ツウ ツ
Movement ⻌ done while passing
かよ.う とお.る
to go through
SPECIAL READING
辺
辺
ヘン あた.り -べ
through 甬 some place
融通 [つゆずう]: loan 2333
Moving ⻌ dagger 刀 proximity
NOTE Analogy taking into consideration the dagger as a shortrange weapon, which must be close to the target, in proximity, in order to reach it.
近
近
キン
キン
Moving ⻌ axe 斤
ちか.い
near
2234
NOTE In a similar fashion to the character 辺 (proximity), the axe in this character denotes a short-range non shootable weapon, which is associated with the concept of closeness or vicinity.
689
逝
逝 迭
迭 込
込 運
運 適
適
セイ
Person moving ⻌ after having
い.く ゆ.く
grabbed an axe 折
セツ
to depart シツ
テツ
こ.む
dismissal Movement ⻌ of arrowheads 入
Moving ⻌ army 軍
はこ.ぶ
to carry
イ
違
ちが.う
2337
to raid
ウン
違
2336
Movement ⻌ that is dropped 失
2338
グン
テキ
2335
Movement ⻌ that is customary
テキ
2339
aptness Movement ⻌ of two feet encircling a イ
space 韋 to differ
690
2340
Movement ⻌ made by a person looking
還
カン
カン
還
back at a material thing
➝
return Movement ⻌ of a person that comes エン オン
遠
遠
2341
とお.い
2342
out of the limitations of material エン
things 袁 ➝ far
週
週
シュウ
シュウ
避 遮
Movement ⻌ like a circumference 周 week
NOTE time.
避
2343
In clear reference to the circular nature of a measured
ヒ さ.ける
Movement ⻌ of an incarcerated ヘキ
convict 辟
to obstruct ショ
シャ
2344
Movement ⻌ of a multitude 庶
遮 さえぎ.る
to block
691
2345
遍
遍
People moving ⻌ towards books left beneath a door
ヘン
2346
ヘン
throughout 2347
道
道
ドウ トウ みち
Head guiding movement road-way
The head (首) that guides the movement (⻌) in a road, an idea prosaically interpreted as a path with a head, a road-way with a beginning and an end.
導
ドウ
ドウ
Working hand 寸 marking the way 道
導 みちび.く 迶
2348
to guide 2349
ズイ
Held meat moving off
A hand grasping flesh (有) that moves (⻌) down and slips away.
髄
髄
Bone 骨 holding meat and making it ズイ
move 迶
ズイ
marrow
692
2350
随
随
2351
Hand and meat moving ズイ
down a mountain range accompaniment
A hand figuratively holding the meat of the body (有) together, ズイ
accompanying it, while moving down (迶) a mountain range (阜 ➝ 阝). 2352
Hand and meat moving down a mountain
堕
ダ
堕
range 随 ➝ 陏 and falling into the soil 土
degeneration
追
追
Movement following
ツイ
2353
footprints
お.う
to chase スイ
A movement (⻌) that follows the traces (
) left by someone, a chasing
movement.
遣
ケン
遣
つか.う
Someone grabbing a person putting him to chase 追 ➝
to undertake
693
and something
2354
2355
迷
迷
メイ
Movement tiny as rice
まよ.う
to lose one's way
SPECIAL READING
迷子 [まいご]: lost child
Movement (⻌) that is undertaken on a road that becomes tiny and ベイ
indistinguishable like rice grains (米), when the intended paths become blurry and one gets lost.
謎
2356
なぞ
逓
逓
Speech 言 that make people get lost 迷 riddle Tiger moving on a cliff to
2357
capture a person
テイ
relay
Originally 遞 [⼚虎⻌], a cliff (⼚) on top of which there is a tiger (虎 ➝
) moving (⻌) in order to catch a person, suggesting a relay
in the food chain, the completion of one's life cycle and continuing of another, thus complying with the unity of the universe through the eternal cycle. All that has a beginning has and end, and the end is also the beginning.
Congratulations for having completed the journey through the World of Kanji
694
REVIEW ON CONSTRUCTIONS
廴建廷延⽡宀内商安守官⽳ 奐罙空宛奥家宜𡨄宿宓寅完 宗察向尚賞定客容実 六 冥广府広庶度⿇厳 1
健鍵艇誕瓶字宮宴宙窓宣寛宅宵寮 蛇寄寝宝賓貯寧富寡室寂宇宰審納 案狩棺管館突究窯搾窃窮窒窟喚換 探深控腕嫁稼畳寒塞縮密蜜演院踪 崇擦党掌堂常償綻錠額溶営労栄蛍 学覚冥応序庁座店床廉粧庫底廃廊 庭腐拡鉱席渡摩魔磨厳
戸戻雇扁倉⾨間閏卯留 2
肩炉扇扉所房啓涙顧偏編創関聞問 閲闇閑欄閉闘開閥閣簡潤柳貿瑠
695
3
京就景享孰厚⾼喬复亭壇 涼鯨蹴憬影郭熟塾稿豪橋矯腹複停
⾏⼻従徴復辶道迶随追迷逓
4
街桁衝術衡衛律役徹得径徒待微徐 彼後往御徳循征縦懲履覆迅迎逆遇 退過送選遡巡返逃途速遭透述迫進 逐遂造逸達遅逮縫遜遊遺連遷遵通 辺近逝迭込運適違還遠週避遮遍導 髄堕遣謎
696
APPENDICES & INDICES
697
Syllabaries Hiragana PRIMARY PHONEMES ∅
A
I
U
E
O
N
K
S
T
N
H
M
Y
R
W
あ か さ た な は ま や ら わ a
ka
sa
ta
na
ha
ma
ya
い き し ち に ひ み i
ki
shi
chi
ni
hi
ra
wa
り
mi
ri
う く す つ ぬ ふ む ゆ る u
ku
su
tsu
nu
fu
mu
yu
え け せ て ね へ め e
ke
se
te
ne
he
ru
れ
me
re
お こ そ と の ほ も よ ろ を o
ko
so
to
no
ho
mo
yo
ro
ん n
VOWEL LENGTHENING & CONSONANT DOUBLING
• Sounds ending in ‘o’ get lengthened to ‘ō’ by adding う • Sounds ending in ‘u’ get lengthened to ‘ū’ by adding う • Consonants double by having a preceding っ (a dwarfed つ)
698
o
DERIVED PHONEMES
A
I
U
E
O
G
Z
D
B
P
が
ざ
だ
ば
ぱ
ga
za
da
ba
pa
ぎ
じ
ぢ
び
ぴ
gi
ji
ji
bi
pi
ぐ
ず
づ
ぶ
ぷ
gu
zu
zu
bu
pu
げ
ぜ
で
べ
ぺ
ge
ze
de
be
pe
ご
ぞ
ど
ぼ
ぽ
go
zo
do
bo
po
DIPTHONGS KI A
U
O
GI
SHI
CHI
NI
HI
BI
PI
MI
きゃ ぎゃ しゃ ちゃ にゃ ひゃ びゃ ピャ みゃ kya
gya
sha
cha
nya
hya
bya
pya
mya
きゅ ぎゅ じゅ ちゅ にゅ ひゅ びゅ ぴゅ みゅ kyu
gyu
ju
chu
nyu
hyu
byu
pyu
myu
きょ ぎょ しょ ちょ にょ ひょ びょ ぴょ みょ kyo
gyo
jo
cho
nyo
699
hyo
byo
pyo
myo
Katakana PRIMARY PHONEMES ∅
A
I
U
E
O
N
K
S
T
N
H
M
Y
R
W
ア カ サ タ ナ ハ マ ヤ ラ ワ a
ka
sa
ta
na
ha
ma
ya
イ キ シ チ ニ ヒ ミ i
ki
shi
chi
ni
hi
ra
wa
リ
mi
ri
ウ ク ス ツ ヌ フ ム ユ ル u
ku
su
tsu
nu
fu
mu
yu
エ ケ セ テ ネ ヘ メ e
ke
se
te
ne
he
ru
レ
me
re
オ コ ソ ト ノ ホ モ ヨ ロ ヲ o
ko
so
to
no
ho
mo
yo
ro
ン n
VOWEL LENGTHENING & CONSONANT DOUBLING
• Vowels get lengthened by adding ー • Consonants double by having a preceding っ (a dwarfed つ)
700
wo
DERIVED PHONEMES
A
I
U
E
O
G
Z
D
B
P
ガ
ザ
ダ
バ
パ
ga
za
da
ba
pa
ギ
ジ
チ
ビ
ピ
gi
ji
ji
bi
pi
グ
ズ
ヅ
ブ
プ
gu
zu
zu
bu
pu
ゲ
ゼ
デ
ベ
ペ
ge
ze
de
be
pe
ゴ
ゾ
ド
ボ
ポ
go
zo
do
bo
po
DIPTHONGS KI A
U
O
GI
SHI
CHI
NI
HI
BI
PI
MI
キャ ギャ シャ チャ ニャ ヒャ ビャ ピャ ミャ kya
gya
sha
cha
nya
hya
bya
pya
mya
キュ ギュ ジュ チュ ニュ ヒュ ビュ ピュ ミュ kyu
gyu
ju
chu
nyu
hyu
byu
pyu
myu
キョ ギョ ショ チョ ニョ ヒョ ビョ ピョ ミョ kyo
gyo
jo
cho
nyo
701
hyo
byo
pyo
myo
Semantic Components Humans
執
51
舌
129
力
257
水
380
艹
560
人
1
老
55
言
131
尤
268
㳄
412
卉
579
欠
2
而
57
曰
139
止
269
沃
413
丰
588
匕
4
文
58
替
146
走
274
419
麦
590
北
7
久
59
音
147
足
276
氷
425
奉
597
尸
10
冎
61
156
夂
279
川
431
12
肉
62
手
167
癶
281
雨
442
埶
604
勹
14
骨
67
又
187
舛
282
火
451
世
615
⺋
15
歹
68
右
188
帀
291
灰
458
竹
616
卩
16
死
69
急
192
光
460
木
628
卬
17
林
651
色
22
異
71
女
23
心
母
27
乃 身
Nature
601
193
厶
294
赤
461
有
199
鬼
301
土
466
83
丈
203
乙
306
圭
477
耒
681
思
90
吏
204
八
312
丘
487
本
684
30
目
91
聿
209
亦
313
山
488
頼
699
31
見
93
殳
214
夋
321
阜
493
禾
714
33
臣
100
攵
218
乞
328
厂
502
歩
752
子
35
臥
102
敏
220
回
338
丸
504
米
756
大
37
首
103
寸
229
日
348
厄
505
娄
762
天
39
頁
104
廾
238
晶
368
产
507
歯
765
立
40
自
109
臾
239
夕
371
石
518
康
771
夭
47
耳
111
243
多
372
万
536
釆
775
𢆉
49
彡
113
爪
247
夜
376
厉
537
虫
792
幸
50
口
118
孚
249
月
377
屮
539
蜀
797
70
702
668
魚
801
𢆶
949
両
1239
用
1436
再
803
糸
955
車
1241
舟
1454
隹
809
維
982
井
1252
朕
1470
集
825
显
990
冈
1257
奞
826
𤰔
993
卓
1270
鳥
836
恵
995
皿
1292
羽
840
血
1299
翟
845
易
犬
854
片
1031
臭
862
疒
1037
豸
868
斗
豕
875
㒸
1792
六
2172
辛
1804
广
2174
亘
1830
戸
2202
Territory
下
1838
門
2219
刀
1475
凵
1840
行
2267
1514
去
1841
彳
2274
矛
1546
冂
1851
辶
2298
1305
弋
1563
冗
1859
随
2351
1312
戈
1577
売
1851
追
2353
豊
1317
戊
1608
1871
迷
2355
1044
㿝
1319
戌
1618
1900
串
1056
即
1321
斤
1625
囗
1910
877
缶
1060
食
1326
斥
1638
邑
1918
馬
889
卸
1065
臼
1336
弓
1661
哀
1987
能
896
巾
1082
鼎
1342
𢎗
1673
田
2016
虎
899
帛
1089
鬲
1350
弗
1676
胃
2026
虚
902
帚
1091
酉
1353
矢
1680
男
2034
兔
904
衣
1101
1367
夬
1705
廴
2060
角
905
牛
907
羊
Matter 1017
1122
西
1372
入
1718
瓦
2068
一
1130
匚
1390
金
1720
宀
2070
914
十
1135
匹
1392
朿
1746
穴
2016
鹿
929
居
1148
㥁
1406
上
1754
罙
2118
隶
934
貝
1157
1408
云
1758
宜
2129
革
940
玉
1182
風
1422
亏
1768
𡨄
2131
幺
942
1207
南
1434
示
1773
向
2148
703
Phonosemantic Components Humans
呂
79
200
Nature
冬
430
荅
571
435
若
574
次
3
咼
81
取
202
以
299
比
5
予
82
君
204
台
302
州
437
荒
576
化
6
艮
95
父
208
也
310
昔
438
莫
581
介
8
面
99
𠬶
212
兑
317
需
449
亡
9
毛
115
221
公
324
炎
455
寿
595
尼
11
㐱
117
友
224
忩
326
黒
459
舞
608
辰
13
司
122
丑
228
气
327
免
19
兄
125
付
235
己
329
坐
480
屯
612
⺋
20
呉
127
射
236
包
335
尭
482
瓜
626
巴
21
旨
140
共
240
申
339
圣
485
𠩵
652
毎
28
曷
143
保
245
342
反
509
乗
656
充
34
意
148
爰
250
句
345
厓
513
采
657
夹
38
甘
152
253
昆
354
段
516
相
661
並
42
由
153
𢚩
254
普
355
卜
525
某
665
太
44
155
争
256
旦
358
占
530
者
671
亢
45
令
157
加
261
昜
363
兆
532
尞
677
交
46
合
160
劦
262
旬
366
余
541
朱
686
夫
53
今
161
九
265
参
369
早
545
末
689
長
54
念
164
此
272
夗
373
546
未
691
孝
56
㑒
165
先
273
名
375
朝
548
束
697
尺
60
失
186
㞢
283
朔
378
生
551
東
701
禺
72
及
189
志
284
明
379
告
556
曹
705
凶
75
奴
196
寺
286
永
416
星
557
重
707
77
妻
198
292
攸
422
不
558
動
710
704
592
464
610
量
713
隊
878
将
1035
全
1191
秀
725
亥
880
勺
1048
朋
1194
委
727
象
885
升
1051
工
1197
兼
729
為
887
与
1053
左
秋
732
半
912
午
1058
垂
734
善
924
䍃
1062
小
738
敬
926
且
肖
739
皮
935
少
744
波
巻
767
暴 唐
1369
召
1499
1370
昭
1505
要
1376
分
1507
1210
栗
1378
契
1516
1215
卑
1380
制
1518
壬
1219
品
1382
利
1520
1066
任
1222
1384
則
1523
冊
1074
巨
1224
甚
1393
刃
1526
938
侖
1077
丁
1227
区
1396
忍
1527
楽
944
布
1086
丙
1232
直
1401
氏
1529
769
玄
946
敝
1094
更
1235
凡
1411
氐
1532
772
兹
951
爾
1098
录
1255
同
1414
民
1535
777
系
984
表
1107
岡
1265
斉
1419
七
1537
白
778
孫
986
1109
単
1267
受
1424
切
1540
皆
782
県
987
卒
1113
离
1272
青
1427
杀
1541
泉
786
乍
1118
𠀠
1275
甬
1437
勿
1544
原
788
997
冒
1123
敢
1284
勇
1440
務
1548
属
799
考
1000
曼
1125
害
1285
甫
1442
干
1550
冓
804
可
1002
最
1128
良
1288
焦
823
何
1006
二
1132
監
1301
溥
1450
刑
1560
828
奇
1008
古
1142
豆
1307
般
1459
代
1565
833
才
1013
支
1151
登
1310
兪
1462
式
1568
非
850
主
1020
貴
1173
既
1323
前
1468
必
1571
然
864
几
1025
賁
1176
貞
1343
騰
1473
叔
1574
貇
870
処
1028
貫
1180
具
1345
Territory
伐
1581
求
873
丬
1033
玨
1188
真
1347
列
戒
1582
Matter
705
尊
1447
1495
1557
戠
1584
屋
1693
出
1846
我
1588
致
1695
屈
1848
義
1590
到
1698
殻
1854
1594
中
1700
愛
幾
1600
黄
1708
㦮
1602
蔵
1612
成
1983
宛
2123
卯
2236
1988
家
2126
留
2239
袁
1990
宿
2134
京
2241
1867
員
1993
2136
就
2242
憂
1869
周
1996
寅
2139
景
2245
1710
軍
1874
或
1999
完
2141
享
2247
堇
1714
帯
1877
咸
2002
宗
2143
孰
2251
1614
責
1749
方
1880
感
2004
察
2146
高
2255
武
1623
元
1755
放
1889
辟
2006
尚
2149
喬
2258
折
1630
会
1764
央
1893
亜
2014
賞
2154
兵
1633
雲
1766
市
1896
曽
2028
定
2156
亭
2264
斬
1635
祭
1788
帝
1902
里
2036
客
2159
従
2291
士
1640
尉
1790
1905
苗
2043
容
2161
徴
2293
壮
1642
禁
1795
舎
1926
農
2046
2164
復
2295
吉
1645
票
1797
郎
1931
果
2048
2169
道
2347
王
1648
平
1800
郷
1932
番
2052
府
2188
迶
2349
呈
1654
竟
1808
因
1934
畜
2056
広
2190
甲
1657
亲
1812
咅
1938
建
2061
庶
2193
盾
1660
新
1814
正
1945
廷
2064
度
2195
弱
1669
竜
1816
是
1954
延
2066
麻
2197
発
1671
章
1820
疑
1958
内
2095
戻
2210
弟
1674
童
1823
各
1961
安
2098
雇
2212
知
1685
業
1827
路
1968
守
2100
侯
1687
五
1834
韋
1969
官
2102
倉
2217
疾
1690
吾
1835
1973
奐
2115
間
2232
至
1692
却
1844
1978
空
2121
閏
2234
谷
固
706
2214
2261
Strong Phonetic Components
AI
mō 妄盲
朝 潮
愛曖
冒帽
AN
某謀
丁頂 町庁
安案
BOKU
徴懲
僕 撲
CHOKU
BU
shoku
沿 鉛
舞 無
殖植
ETSU
chi 値置
兑悦
我餓
GŪ
閱
GAI
F
夫抹
圭街 厓涯 崖
禺偶 隅遇
亥骸 該劾
A
B BA
馬罵 BAI
貝買 咅倍 培賠 陪 BAKU
暴爆 BATSU
伐閥 BO
莫慕 募暮 墓
BYŌ
苗描 猫
FUN
永詠 泳
賁憤 噴墳
EN
分雰 粉紛
袁猿 園遠
直
CHŪ
五
芽 雅
CHI
知痴
DO
付符 附
致緻
奴怒 努
府腐
害
普譜
katsu 轄割
畜蓄 CHŌ
DŌ
卜訃 赴
動働 同胴 洞銅 童瞳
BŌ
兆挑 跳眺
亡忘 忙望
tō 桃逃
布怖 FUKU
幅 副福
shō 憧鐘
腹 複 復覆
道導 E
707
GO
GA
D
CHIKU
疑擬
G
C
FU
義儀 議犠
呉娯 誤
中仲 忠沖
長帳 張
baku 漠幕
EI
GEN
吾悟 語
具惧 GUN
軍 gi 揮輝 GYO
魚漁 H
原源
HA
玄舷 弦
波破
元 gan 頑玩
白伯 拍泊 舶迫
GI
HAN
HAKU
⺋氾 犯範
非悲 扉
反坂 阪板 版販 飯
hai 俳排 輩
半伴 判畔
皮披 疲被 彼
bō 妨肪 訪坊 防紡 房傍 HYŌ
表俵
凡汎 帆
HITSU
票漂 標
必泌
I
般搬
HO
I
玨斑 班
甫捕 哺浦 博補 舖
委萎
HEI
并併 塀 丙柄 病 敝弊 幣 HEKI
辟壁 癖璧 HEN
偏 編遍 HI
比批 卑碑
HŌ
包抱 泡砲 胞飽 峰 蜂縫
甚
术術
kan 勘堪
述
乗剰 嬢 譲壌 醸 定錠 JU
需儒 受授
尉慰
JŪ
韋偉 緯違 IN
因姻 咽
JUTSU
JŌ
衣依
方訪 芳 放倣
JIN
女如
oku 億臆 憶
員韻
旬殉
JO
意
奉俸
兹慈 滋磁
J
寺侍 持時
化貨 花靴 咼渦 禍過 加架 可河 苛歌 何荷 果課 菓
十汁
KAI
重
介界
shu 腫種
皆諧 陛楷
従従
褱懐
JUN
708
KA
充銃
孰塾 熟
耳
K
家嫁 稼
JUKU
JI
盾循
穫 獲 各格 閣 raku 落絡 酪 KAN
乾 韓 歓 観勧 貫慣 環 還 監艦 鑑 ran 覧濫 藍 干肝 汗幹 刊 感憾
懐
奐換 喚
戒械
完冠
会絵
官棺 管館
KAKU
間簡
建健
KATSU
曷喝 渇 褐 KEI
吉詰 KO
KI
己忌 記紀 起
瓜孤 弧 古故 枯湖
頃傾 渓 鶏 敬警
气汽 気
固個 錮
義儀 議儀
雇顧
圣茎 経軽 径
奇騎 寄
交効 校絞 郊
系係 形 刑型 景憬 KEN
几机 飢 其期 基棋 旗机 飢
君 gun 群郡
求救 球
熏勲 薫
M
工 攻 江 紅
項 功 虹 貢
KUTSU
屈掘 堀窟
九究
MA
麻摩 魔磨 MAI
KYAKU
每
高稿
却脚
亢抗 坑航
KOKU
KYO
kai 悔海
告酷
孝酵
谷
巨拒 距
口后
yoku 欲浴
更 硬
険検 験剣
gai 慨概
厶勾
堅 賢
幾機 畿
公
堇
侯候 喉
及扱 吸級
KUN
KYŪ
広鉱
既
拳 劵圏
ō 欧殴
岡綱 鋼
KŌ
㑒倹
KIN
冓講 溝構 購
兼嫌 謙
謹勤
巧 考
斤近
荒慌
犬献
禁襟
県懸
KITSU
MATSU
艮恨 根痕
共供 恭
MEI
貇懇
劦脅 協
明盟 面麺
KOTSU
竟境 鏡
骨滑
郷響
民眠
KU
喬嬌 橋矯
未味 魅
墾
shō 訟松
昆混
区駆
凶胸 709
曼慢 漫
夹挟 狭峡
KON
広鉱
KYŌ
MAN
末抹 名銘 MEN
MI
mai 妹昧
農濃
RO
O
路露
MIN
Ō
ROKU
民眠
央
录緑
MITSU
ei 映英
録
密 蜜
黄横
RYO
MŌ
王旺
虍慮 虜
毛耗
R
RYŌ
MON
REI
文紋 矛
令冷 零齢 鈴
尞僚 瞭療 寮
務霧
REKI
N NEN
𠩵歴 暦
念捻
RETSU
量糧
然燃
列烈 裂
RYŪ
MU
NI
二仁 弐 NIN
忍認 𡈼妊 任 NŌ
脳 悩
RI
利梨 痢
shō 正証 政症
尺釈
栽 裁載
so 疎礎
SHI
祭際
SEKI
SAKU
昔惜 籍
乍作 搾昨 酢
良
参惨
占
SATSU
ten 点店
支肢 枝
泉腺 線
ki 伎岐
㦮践
止歯 祉
郎廊
生姓 性牲 星醒 青静 情請 晴清 精
SA
左佐
里裏 理
采彩 採菜
成誠 盛
SAI
制製 正政 整征
才
侖倫 輪
浅箋 銭 SETSU
切窃 SHA
此雌 紫 氏紙 士仕
射謝
志誌
者煮
市姉
sho 諸署 暑緒 舎捨 SHAKU
710
司伺 詞嗣 飼 旨指 脂
SEI
S
次姿 恣諮 資
SEN
察擦
流 硫
責積 績
taku 択沢
SAN
rō 朗浪
离離 璃
RIN
zai 在材 財
SHIN
辰娠 唇振 震 心芯
𠬶侵
昭照
浸寝
SHOKU
申伸 紳神
戠職 織
且阻 租粗 狙組 祖
則側 測
帝諦 締
U
SON
孫
廷艇 庭
于芋 宇
SŌ
SOTSU
亭停
羽 yoku 翌翼
真慎
SHU
亲親
取趣
争
卒率
TEKI
新薪
shō 浄静
SUI
SHITSU
朱殊 株珠
垂睡
失
主
tetsu 鉄迭
chū 注柱 駐
忩総 窓
卆粋 酔
嫡 摘敵 滴適
疾嫉
捜 痩
SHŌ
守狩
早草
升昇
SHŪ
焦礁
州酬
相想 霜
章 障
秋愁
小
chō 彫調
少省 抄
周週
就蹴
肖消 硝宵
SHUKU
将奨
宿縮
尚掌
SO
賞償
朔塑
召招 詔沼 紹
叔淑
T TAI
代貸 袋 帯滞
操 燥藻
台怠 胎
壮荘 装
TAKU
託 宅
倉創 曽僧 層
TAN
旦胆 担壇
zō 憎増 贈 SOKU
足促 捉
TŌ
荅搭 搭 唐糖 東凍 棟 朕謄 騰藤 豆頭 痘闘 到倒
YO
予預 余 jo 敘除 徐 to 塗途 YŌ
昜揚 陽瘍 羊洋 様養 shō 詳祥
TON
要腰
氐低 抵邸 底
屯頓
䍃摇
TSŪ
謡
甬痛 通
用庸
呈程 711
撤 徹
Y
TEI
貞偵
束速
TETSU
U
容溶
YU
由油
katsu 括活 ZŌ
chū 抽宙
象像
俞愉
蔵臓
喩諭 輸癒
ZUI
YŪ
迶髄 随
勇湧 憂優 Z ZA
坐挫 座 ZAN
斬暫 ZE
是 tei 提堤 ZEN
善膳 繕 全 sen 栓 ZETSU
舌
712
Onyomi Readings Index A
陪 賠
A
亜
2014
AI
挨 愛 曖 哀
1681 1867 1868 1987
AKU
握 悪
1694 2015
AN
暗 安 案 行
351 2098 2099 2267
ATSU
圧
503
B BA
馬 婆 罵
889 939 1260
BACHI
罰
1490
BAI
梅 媒 貝 買 売 倍 培
631 666
1941 1942
BAKU
漠 麦 暴 爆 幕 縛 博
586 590 769 770 1085 1448 1449
BAN
晩 万 板 蛮 伴 盤 判 番
349 536 643 794 913 1461 1485 2052
BATSU
抜 末 罰 伐 閥
226 689 1490 1581 2230
BEI
米
756
BEN
1862
勉 弁 便
1939
BETSU
1940
別
1157 1264
258 298 1236
1476
望 妨 肪 坊 防 紡 傍 剖 房 貿 忙
1622
眉 尾 美 鼻 備 微
98 116 915 1282 1697 2282
BIN
敏 便 貧 瓶
220 1236 1512
目 墨 睦 木 朴 牧 僕 撲
27 583 584 585 587 648 1452
BŌ
亡 妄 忘 乏 棒 某 謀 暴 貌 冒 帽 膨
1881 1882 1885
煩 凡 盆
24 84
仏 物
2238 85
91 476 602 628 644 909
1123 1124 1315
713
295 1545
BYAKU
白
778
BYŌ
秒 病 苗 描 猫
751 1234 2043 2044 2045
C
1829
CHA
453 1411 1513
398 594
BU
869
58
1828
没 勃 侮 不 奉 舞 無
BUN
2208
649
769
CHIKU
1944
BUTSU
BOTSU
667
2221
1623
1943
290
665
1507
質 知 痴 致 緻 遅
1507
1901
1888
BON 9
分 武 部 文 分 聞
1886
BOKU
2069
BO
母 慕 暮 募 墓 模 簿
1651
29 558 597 608 609
茶
570
916 1906
CHI
恥 持 治 池 地 稚 値 置
1685 1686 1695 1696 2323
616 1209 2056 2057 2318
CHIN
陳 珍 賃 朕 鎮
703 1183 1223 1470 1743 1860
CHAKU
着 嫡
竹 築 畜 蓄 逐
1627
112 289 406 407 473 821 1402 1405
CHITSU
秩 窒
718 2113
CHO
著 貯
675 2086
CHŌ
長 腸 兆 眺 挑 跳 朝
54 364 532 533 534 535 548
549
潮 重 鳥 帳 貼 丁 頂 澄 聴 超 張 弔 釣 彫 調 町 庁 徴 懲
550 707 836
1704
脱 奪
1732 2074
DA
1227 1228 1311 1407 1502 1662 1679 1738 1997 1998 2023 2177 2293 2294
698
1401
183 360 792 1022 1023 1024 1355 1700 1701 1702
妥 唾 駄 惰 打 蛇 堕
248 735
1212 1230 2081 2352
37 302 1565 1674 1675 1955 2095
DON
318
貪 鈍 曇
827
1674
1162 1734 1767
電 伝 田
447 1759 2016
殿
516 1434 1629
2266
1102 1764 1765
永 詠 泳 鋭 映 英 営 栄 影 衛
DO
奴 怒 努 土 度
196 197 259 466 2195
DŌ
毒 独
456
995
EI
1030
2034
358
338
DEN
DOKU
352
回 恵 依 会 絵
1670
1912
798
E
DEKI
1668
575
E
382
動 働 同 胴 洞 銅 童 瞳 堂 道 導
DAN
暖 旦 談 段 南 断 弾 団 男 壇
泥
890
DAKU
諾 濁
1863
DEI
DAI
大 台 代 弟 第 題 内
読
DE
弟
1167
CHŪ
抽 昼 虫 注 柱 駐 酎 中 仲 忠
DATSU
D
754
直
1703
1083
CHOKU
勅
沖 衷 鋳 宙
710 711 1414
416 417 418 1728 1894
液 駅 疫 益 易 役
1416 1744 1823 1825 2152 2347
媛 援 怨 炎
589 858
714
1296 1318 1374 1879
1976 1991 1992 2066 2073 2140 2342
ETSU
謁 悦 越 閲
145 319 1609 2223
2165
FU
2167 2248 2273
411 891 1039 1298 1305 2276
251 252 374 455
夫 扶 父 付 普 譜 浮 阜 附 訃 赴 不 符 歩 布
怖 婦 負 風 賦
1974
F
EN
2348
983
1895
EKI
1415
縁 塩 艶 煙 円 沿 鉛 猿 園 延 宴 演 遠
53 176 208 235 355 356 401 493 497 526 527 558 620 752 1086
1087 1092 1175 1422 1624 1724
敷 膚 富 府 腐 封
1891 2027 2088 2188 2189 479
FŪ
夫 豊 風 富
53 1317 1422 2088
FUKU
服 伏 幅 副 福 腹 複 復 覆
195 855 1371 1493 1785 2262 2263 2295 2297
FUN
憤 噴 墳 分 雰 粉 紛
1177 1178 1179 1507 1509 1510 1511
奮
565
丸 顔 岩 願 岸 元 頑 玩
813
GATSU
2020
FUTSU
払 沸
297 1677
G GA 155
芽 雅 賀 我 餓 画 瓦
1166 1588 1589
2068
514 515 528 881 882 883 1285
1843 2268
GAKU
岳 楽 顎 額 学
492 944 1769 2160 2170
GAN
眼 含
97 163
GETSU
523 789 1553 1755
160 377
155
夏 外 解 下
280 528 1484 1838
GEI
芸 鯨 迎
1762 2243 2300
GEKI 743
1324 1325
1757
508
GE
2059
GAI
涯 崖 外 骸 該 劾 害 慨 概 蓋 街
合 月
1756
幻 現 舷 弦 元 減 厳
504
撃 劇 激
1245 1483 1890
GEN
眼 言 限 嫌 原 源 験 玄
97 131 495 730 788 790 893 946
月
語 後 御
948 1184 1457
合 号 拷 剛 強 業 傲 郷 豪
1755 2003 2201
377
888 1154 1276 1579 1590 1591
160 998 1001 1491 1663 1827 1892 1932 2257
1958 1959 2129
偶 隅 宮 遇
128 137 834 1058
2010
2287
GYŌ
仰 暁 形 業 凝 行
18 483 1558 1827 1960 2267
1182
GYŪ
牛
907
832
1345
把 派 破 波 覇
1346
HACHI
1716 2201
88
73 494 2072 2302
1836
GYAKU
715
802
HA
1834
1833
801
131
群 軍 郡
1279
魚 漁 御
H
GUN
1277
GYO
玉
860
GŪ
127
2301
獄 極
愚 具 惧
1722
903
GOKU
GU
162
虐 逆
GYOKU
言 権 勤 厳
1593
GO
呉 娯 誤 護 午 期 碁 互 五 悟
2287
GON
1592
GIN
吟 銀
2285
GŌ
1666
GI
偽 技 欺 戯 義 儀 議 犠 疑 擬 宜
1837
918 1874 1920
八 鉢
171 421 937 938 1375
312 1735
HAI
背 妃 拝 杯 俳 排 敗
63 330 596 647 851 853 1165
輩 配 肺 廃
1250 1358 1898 2185
HAKU
白 伯 拍 泊 博 薄 舶 剥 迫
778 779 780 781 1449 1451 1456 1488 2316
HAN
氾 煩 反 坂 阪 板 犯 半 伴 繁 版 販 斑 範 飯 凡 汎 帆 般 搬
383 453 509 511 512 643 856 912 913 966 1032 1168 1189 1249 1332 1411 1412 1413 1459 1460
判 班 頒 畔 藩
1485 1489
2021 2053
225 1671 1735 1842
HEI
並 併 塀 陛 弊
42 43 467 501 1095 1096
幣 丙 柄 病
1097 1232 1233 1234 1328
兵 平 閉
1633 1800 2227
HEKI
壁 癖 璧
2007 2008 2009
HEN
変 片 偏 編 返
316 1031 2215 2216 2309
2333 2346
HI
1508
HATSU
髪 発 鉢 法
辺 遍 比 肥 批 妃 否 飛 非 悲 皮 披 疲 被 罷 卑 碑 泌 秘 費 扉 彼 避
5 64 168 330 559 849 850 852 935 936 1043 1106 1261 1380 1381 1572 1573 1678 2206 2284 2344
HIN
頻 品 貧 浜 賓
753 1382 1512 1634 2085
HITSU
筆 匹 必 泌
621 1392 1571 1572
HO
保 歩 哺 捕 浦 補 舗
HON
1444
反 奔 本 翻
1445
HOTSU
1446
払 発 法
245 752 1443
1928
HŌ
報 包 胞 抱 泡 封 砲 峰 奉 俸 蜂 褒 崩 豊 飽 法 方 訪 倣 芳 放 邦 宝 縫
580 684 2054
297 1671 1842
194
HYAKU
335
百
1131
HYŌ
336
氷 拍 表 俵 兵 票 漂 標 平 評
337 409 479 522 593 597 598 796 1103 1195
425 780 1107 1108 1633 1797 1798 1799 1800 1802
1317
I
1331
I
位 異 畏 意 以 移 委 萎 唯 為 維
1842 1880 1883 1884 1887 1889 1922 2084 2325
HOKU
北
509
7
716
椅 施 衣 依 易 威 医 尉 慰 囲 偉 緯 胃 彙 遺 違
1011 1018 1101 1102 1305
74
723 725 726 811 887 982
ITSU
一 逸
1130 2321
1684
JA
1790 1791 1917 1970 1972 2026
邪 蛇
2328 2340
ICHI
一 壱
1130 1852
IKI
域
2001
IKU 65
音 印 隠
147 255 498 1221
飲 引 陰 因 姻 咽 員
1327 1672 1761
若 弱 寂
1937 1993
2081
574 1669 2091
JI
次 一 耳 詞 事 寺 侍 持 似 時 治 地 除 慈 滋 磁 璽
3 1130 111 136 211 286 287 289 300 353 406 473 544 952 953 954 1187 1329
1934 1935
1921
JAKU
2055
148 299
2142
J
IN 71
1995
1619
育 41
韻 院
児 仕 示
1337 1641 1773
辞 字
1805 2071
JIKI
食 直
1326 1401
JIKU
軸
1244
JIN
人 臣 腎 尽 仁 尋 陣 甚 刃 神 迅
1 100 201 426 1133 1213 1248 1393 1526 1780 2299
JITSU
日 実
348 2163
条 乗 縄 状 嬢 譲 壌 醸 静 情 剰 成 城 盛 上 冗 畳 常 定 錠
638 656 981 1034 1216 1217 1218 1364 1428 1429 1480 1614 1616 1617 1754 1859 2130 2153 2156 2158
JOKU
辱
JO
230
女 如 叙 除 助 序 徐
JU 23
121 542 544 1067 2176 2283
JŌ
丈 浄 場 蒸
203 403
呪 訟 需 儒 寿 樹 受 授 就 従
126 325 449 450 595 1316
578
1021 1135 1138 1268 1547 1700 1721 2291 2292
JUKU
熟 塾
2252 2253
JUN
旬 殉 順 准 純 準 盾 潤 循 巡 遵
366 367 432 817 977 1139 1660 2235 2289 2308 2331
JUTSU
術 述
2271
KA
184
加 夏 渦 火
478 510 517 561 637 737 941 1002 1003 1004 1005 1006 1007 1046 1159 1373 1775 1838 1985 2048 2049 2050 2089 2126 2127 2128 2304
KAI
介 悔 拐 改 回 海 灰
2315
1425
JŪ
拾
707
K
2291
佳 仮 暇 花 架 華 靴 可 歌 河 苛 何 荷 科 貨 価 禍 下 箇 果 課 菓 寡 家 嫁 稼 過
415
1424
2244
474
渋 重 住 十 汁 獣 柔 中 銃 従 縦
261 280 389 451
717
8 87 178 333 338 384 458
塊 怪 皆 諧 階 楷 懐 壊 潰 解 戒 械 快 会 絵 界 開 街
472 486 782 783 784 785 1110 1111 1174 1484 1582 1583 1706 1764 1765 2017 2229 2268
KAKU
嚇 穫 獲 核 角 革 較 隔 殻 確 各 格 画 客 覚 拡
462 835 859 884 905 940 1243 1351 1865 1872 1961 1963 2059 2159 2171 2191
閣 郭
2231 2250
KAN
甘 看 乾 巻 歓 観 勧 緩 患 缶 貫 慣 敢 監 陥 勘 堪 艦 干 肝 汗 幹 刊 甲 漢 鑑 款 冠 韓 環 感 憾
152 179 547 767 829 830 831 967 1057 1060 1180 1181 1284 1301 1339 1394 1395 1458 1550 1551 1552 1554 1556 1657 1712 1742 1793 1858 1971 1989 2004 2005
寛 官 棺 管 館 喚 換 寒 完 関 閑 間 簡 還
2077 2102 2103 2104 2105 2116 2117 2132 2141 2220 2225 2232 2233 2341
KATSU
喝 合 括 滑 活 渇
144 160 180 388 391 392 564
褐 轄 割
1104 1286 1492
KE
化 仮 華 気 懸 家
6 510 737 774 988 2126
KEI
傾 兄
106 125
憩 詣 掲 渓 茎 稽 携 鶏 敬 警 慶 経 系 係 恵 計 軽 継 契 形 刑 型 境 競 蛍 啓 京 景 憬 径
130 142 182 402 568 720 810 838 926 927 933 975 984 985 995 1136 1247 1409 1516 1558 1560 1561 1809 1811 2168 2209 2241 2246 2247 2279
KEN
見 倹 堅 険
検 兼 嫌 謙 拳 権 犬 験 件 絹 県 懸 顕 繭 賢 憲 献 舷 剣 券 軒 研 圏 建 健
93 166 470 496
決 穴
634 729
KI
規 企 鬼 己 忌 記 起 汽 危 季 気 亀 紀 奇 騎 机 希 伎 岐 貴 軌 期 基 棋 旗 棄 喜 既 飢 毀 器 帰
731 768 832 854 893 908 961 987 988 991 1100 1164 1287 1435 1457 1477 1481 1555 1559 1915 2061 2062
2203 2232 2354
KETSU
欠 傑 血 潔 結
2016
730
2063
肩 間 遣
1707
2 639 1299 1515 1647
718
94 270 301 329 331 332 334 408 506 715 774 808 970 1008 1012 1027
幾 機 祈 揮 輝 畿 寄
1155 1173 1246 1277 1278 1280 1281 1283 1313 1323 1335 1338 1389 1478
1601 1787 1875 1876 2024 2082
KICHI
吉
1645
KIKU
菊
760
KIN
今 均 筋 緊 巾 琴 斤
161 475 622 965 1082 1190 1625 1715
1088 1152
1600
勤 謹 金 錦 禁 襟 菌 近
1716 1717 1720 1739 1795 1796 1914 2334
KITSU
喫 吉 詰
1517 1645 1646
KO
股 己
215 329
孤 虎 虚 拠 古 故 湖 枯 鼓 弧 誇 呼 去 固 個 錮 戸 雇 顧
627 899 902 1029 1142 1144 1145 1147 1314 1664 1770 1801 1841 1983 1984 1986 2202 2212 2213
KŌ
仰 好 交 幸 孝 口 后 抗 教 効 脅 尻 肯 勾 孔
18 36 46 50 56 118 124 174 219 260 263 266 271 296 307
公 拘 洪 港 光 坑 降 荒 慌 校 耗 香 康 講 溝 構 絞 考 購 工 項 攻 功 巧 江 紅 貢 更 硬
324 347 399 400 460 468 499 576 577 630 682 717 771 805 806 807 958 1000 1170 1197 1198 1199 1200 1201 1202 1205 1206 1235 1237 1238
耕 綱 酵 興 航
1253 1266 1354 1418 1455
皇 甲 侯 候 喉 黄 鋼 恒 郊 格 控 向 庫 広 鉱 厚 高 稿 行 衡 後
2148
混 根 懇 墾 紺 痕 献 婚 金 魂 困 建
2183
KOTSU
1652 1657 1687 1688 1689 1708 1731 1831 1919 1963 2122
2190 2192 2254 2255 2256 2267 2272 2285
KOKU
黒 石 告 克 酷 刻 穀 国 谷
459 518 556 1143 1361 1482 1866 1916 1978
KON
恨 今 昆
96 161 354
骨 滑
632
薫 勲
871
KUTSU
872
屈 掘 窟
394
962 1038
KYOKU
1226
局 曲 極
1849 2114
脚
1720
KYAKU
1760
却 脚 客
1913 2061
1845
1844 1845 2159
KYO
虚 拠 挙 許 居 巨 拒 距 去
67 388
59 118 2072 241 265 345
902 1029 1055 1059 1148
1841
KYŌ
1146
凶 胸 兄 挟 教 共 供 恭 脅 脇 叫 況
1197 1200 1205 1206 1396 1400 2183
2121
KUN
君 訓
1225
1848
1530
KŪ
空
1224
712
KYA
1435
KU
久 口 宮 供 九 句 苦 工 功 紅 貢 区 駆 庫
峡 香 狭 驚 経 協 恐 興 狂 強 境 鏡 競 郷 響 京 享 橋 矯
709
206 433
719
75 76 125 172 219 240 241 242 263 264 343 390
490 717 857 928 975 1137 1208 1418 1653 1663 1809 1810
873 874 963 964 972 999 1186 1336 1661 2072 2108 2112
1811
M
1932
MA
1933 2241 2249 2259 2260
346 1410 2010
KYŪ
久 及 吸 急 脅 九 旧 泣 丘 休 嗅
求 救 給 級 糾 朽 球 臼 弓 宮 究 窮
59
麻 摩 魔 磨
2197 2198 2199 2200
MAI
毎 枚 妹 昧 米 埋
28 635 692 695 756 2037
189
MAKU
190
膜 幕
192 263
582 1085
MAN
487
万 慢 漫 満
629
MATSU
863
末
265 357 385
536 1126 1127 1240
689
抹
375
耗 網 猛 望
379
MOKU
837
目 墨 木 黙
690
MEI
命 名 明 鳴 盟 銘 冥 迷
159
1293 1729 2173 2355
MEN
免 面 麺 綿
19 99 591 1090
METSU
滅
1620
MI
眉 未 味 魅
1262 1297 1651
91 476 628 866
MON
文 紋 門 聞 問
58 959 2219 2221 2222
MOTSU
物
1545
MU 98
691 693 694
MIN
民 眠
682
1535 1536
無 謀 矛 務 霧 武 夢
609 667 1546
模 茂
648 1610
MŌ
妄 盲 毛
24
内
420
MYŌ 159 375 379 745 2173
92
N
115
NA
脳 悩 能 農 濃 納
NAN
軟 南 難 男 納
1242 1434 1713 2034 2096
185
896 2046 2047 2096
574
23 121
女 尿
864 865
23 381
NYŪ
1141
乳 柔 入
1242
606
309 1547 1718
皇 押 黄 横 央 凹 奥 応 往
和 汚 悪
1132 1133 1337
翁 桜 欧 殴 王 旺
NICHI 348
NIKU 62
NIN 1
720
1708 1709 1893 2013 2125 2175 2286
億 臆 憶 屋
1771 2015
1693
147 374 719 1295 1936 2342
306
173 1263 2051
RAI 843
1172 1397 1398 1648 1650
来 頼 礼 雷
696 699 1779 2018
RAKU
楽
1966
RAN
乱 卵 覧 濫 藍 欄
308 791 1302 1303 1304 2226
辣
OTSU
拉 羅 裸
1964
150 151
乙
1962
RATSU
ON
音 怨 穏 温 恩 遠
落 絡 酪
149
RA 716
Ō
1564
1658
R
O
11
1652
OKU
O
NI
人
89
NYŌ
759
肉
78
女 如
164
日
1528
NYO
NEN
尼 二 仁 児 弐
1527
若
2087
念 捻 粘 然 燃 年 軟
1222
NYAKU
NEI
寧
1220
NŌ
2095
熱
密 蜜
命 名 明 妙 冥
NAI
1623
脈
MO
2096
NETSU
MYAKU
2138
1929
1549
1854
妊 任 忍 認
1774
1548
MITSU 2137
奈 那 納
944
1807
REI
令 冷 霊 零 励 齢 麗 例 鈴 礼 隷 戻
157 427 444 445 538 766 931 1496 1727 1779 1794 2210
REKI
歴 暦
653 654
REN
恋 練 錬 廉 連
314 979 1736 2181 2329
RETSU
劣 列 烈 裂
748 1495 1497 1498
RI
吏 離 璃 利 痢 里 裏 理 履
204 1273 1274 1520 1522 2036 2039 2041 2296
2275
RIKI
力
257
RIKU
陸
603
RIN
林 隣 倫 輪 臨 鈴 厘
651 758 1078 1251 1383 1727 2038
RITSU
立 率 慄 律
40 947 1379 2275
RO
呂
1965 1967 1968 2204
RŌ
RICHI
律
賂 路 露 炉 老 漏 糧 楼 朗 浪 弄 籠 郎 露 労 廊
55 448 761 764 1290 1291 1649 1818 1931 1968 2166 2186
ROKU
麓 緑 録 六
930 1256 1737 2172
RON
論
1079
RU
流 留 瑠
436 2239 2240
RUI
類 累 塁 涙
867 2022 2042 2211
RYAKU 79
略
2025
RYO
侶 慮 旅 虜
SA
唆 茶 沙 砂 再 査 作 詐 差 左 佐 鎖
80 901 1019 2035
RYŌ
了 領 霊 陵 僚 瞭 量 糧 漁 猟 療 料 両 良 寮 涼
32 158 444 607 678 679 713
殺 妻 捉 災 采 彩 採 菜 再 催 細 才 砕 最 財 西 済 切 栽 裁 載
802 861 1041 1045 1239 1288 2080 2242
257 1256
RYŪ
立 流 硫 隆 粒 竜 柳 留
570 749 750 803 1069 1119 1120 1204 1210 1211 1741
SAI
761
RYOKU
力 緑
323
40 436 520 554 757 1816 2237 2239
S 721
1542 198 278 454 657 658 659 660 803 819 960 1013 1114 1128 1171 1372 1420 1540 1596 1597 1599
歳 債 斎 祭 際 宰 塞
1621 1750 1786 1788 1789 2093 2133
冊 撮 刷 殺 刹 察 擦
1074 1129 1486 1542 1543 2146
SAKU
2147
索 冊 柵 作 昨 酢 削 錯 策 搾
989 1074 1076 1119 1121 1366 1479 1730 1747 2110
SAN
参 惨 山 産 算 散 蚕 傘 三 賛 酸 桟
369 370 488 555 624 625 793 1081 1134 1160 1356 1606
SATSU
拶 早 札
434 545 640
SE
世 施
615 1018
SECHI
節 刹
1322 1543
SEI
凄 声 生 姓 性 星 勢 世 省 牲 井 丼 醒 西 斉 青 静 情 請 晴 清
428 524 551 552 553 557 605 615 746 911 1252 1254 1362 1372 1419 1427 1428 1429 1430 1431 1432
精 制 製 成 誠 盛 歳 誓 聖 正 婿 政 整 征 逝
1433 1518 1519 1614 1615 1617 1621 1632 1655 1945 1946 1948 1951 2290 2335
SEKI
脊 跡 夕 昔 惜 赤 石 籍 隻 戚 析 斥 責 積 績 寂 席
315 371 438 440 461 518 683 815 1611 1626 1638 1749 1752 1753 2091 2194
273
393 404 431 489 530 642 786
栓
1630 1806 1847 2111
SHA
SHAKU
1607
尺 昔 借 赤 石 釈 爵 酌
932 973 994 1140
1193
1578 1598
1745 1952 1975 2076 2205 2306 2330
SETSU
設 摂 説 雪 節
1542
1605
923
216 227 320 446 1322
思 自 司 伺 諮 詞 旨 脂
1540
1604
921
1469
戦 繊 践 浅 箋 銭 旋 船 宣 扇 選 遷
切 殺 折 接 拙 窃 射 謝 赦 者 煮 砂 斜 車 社 写 舎 捨 遮
787
1192
66
SEN
先
潜 洗 川 仙 占 染 泉 腺 羨 鮮 薦 線 専 千
236 237
269
SHICHI
284
七
109 122 123 135 136 140 141 175
指 使 史 止 志 誌 寺 詩 師 始 私 歯 雌 糸 紫 施 嗣 支 肢 枝 資 賜 飼 氏 紙 試
463 671 674 750 1047 1241 1781 1856 1926 1927 2345
60 438 439 461 518 776 1320 1363
SHI
次 姿 子 死 恣
207
質 士 仕 矢 至 刺 示 視 祉 市 姉 四
90
3 26 35 69 86
722
181 205
285 286 288 293 303 721 765 816 955 968 1018 1075 1151 1153 1156 1158 1306 1330 1529 1531 1570
1627 1640 1641 1680 1692 1748 1773 1776 1778 1896 1897 1977
1537
SHIKI
色 式 識 織
22 1568 1586 1587
SHIN
娠 身 心 臣 唇 信 診 振 侵 申 伸 津 浸 震 芯
25 31 83 100 120 132 134 169 213 339 340 396 397 443 563
森 紳 真 慎 針 神 辛 親 新 薪 寝 審 深 進
655 971 1347 1348 1740 1780 1804 1813 1814 1815 2083 2094 2120 2317
SHITSU
執 失 漆 湿 叱 質 疾 嫉 室
51 186 670 992 1538 1627 1690 1691 2090
SHO
書 暑 諸 緒 処 署 初 庶 所
210 672 673 978 1028 1258 1487 2193 2207
SHŌ
承 訟 唱 晶 焼 声 生 姓 性 星 笑 松 相 小 肖 消 硝 少 省 抄 渉 焦 礁 象 詳 将 奨 升 昇 称 井 丼 青 請 清
246 325 350 368 484 524 551 552 553 557 617 641 661 738 739 740 741 744 746 747 755 823 824 885 917 1035 1036 1051 1052 1099 1252 1254 1427 1430 1432
精 勝 召 詔 招 沼 紹 昭 照 匠 装 傷 上 祥 章 彰 障 憧 鐘 正 政 証 症 宵 商 尚 掌 賞 償 床 粧 衝 従
1433 1472 1499 1500 1501 1503 1504 1505 1506 1628 1644 1719 1754 1782 1820 1821 1822 1824 1826 1945 1948 1947 1953 2079 2097 2149 2151 2154 2155 2180 2182 2270 2291
SHOKU
色
22
属 嘱 触 食 飾 殖 植 拭 職 織
秋 愁 集 習 臭 羞 終 袖 衆 醜 酬 舟 祝 襲 囚 周 宿 宗 就 蹴 週
799 800 906 1326 1334 1403 1404 1569 1585 1587
SHU
首 手 取 走 趣 修 朱 殊 腫 種 主 珠 衆 酒 守 狩
103 167 202 274 275 424 686 687 708 724
733 825 844 862 919 974 1105 1300 1357 1360 1454 1777 1819
1996 2134 2143 2244 2245 2343
SHUKU
1185
粛 叔 淑 祝 宿 縮
1300 1359 2100 2101
1421 1574 1576 1777 2134 2135
SHUN
34
424
俊 旬 春 瞬
437
SHUTSU
727
出
51 184 344
723
SO
措 塑 想 素 阻 租 粗 狙 組 訴 祖 礎 疎
322 366 614 1853
1846
441 469 662 976 1068 1070 1071 1072 1073 1639 1783 1949 1950 2307
1911
1020
SHŪ
充 執 拾 収 修 州 秀
732
SŌ
爽 双 争 喪 走 趣 捜 早 葬 草 奏 相 想 霜 桑 曹 槽 騒 総
52 223 256 267 274 275 465 545 566 569 599 661 662 663 680 705 706 895 969
痩 掃 巣 操 燥 藻 挿 壮 荘 装 曽 僧 層 贈 窓 宗 踪 倉 創 送 遭
1040 1093 1269 1385 1386 1387 1562 1642 1643 1644 2028 2029 2030 2033 2075 2143 2144 2217 2218 2305 2313
SOKU
息 趣 足 促 捉 束 即 則 側 測 塞 速
110 275 276 277 278 697 1321 1523 1524 1525 2133 2312
SON
村 孫 存 尊 損
636
T
1014
TA
1369 1994
SOTSU 947 1113
SU
子 須 数 素 主 守
35 114 763 976 1020 2100
SŪ
数 枢 崇
763 1399 2145
SUI
吹 水 炊 垂 睡 推 穂 帥 衰 粋 酔 出 遂
229
986
2326
率 卒
寸
119 380 452 734 736 814 996 1084 1112 1116 1365 1846 2319
SUN
太 他 多 汰
44 311 372 386
TAI
大 太 替 耐 対 胎 台 怠 泰 体 堆 隊 態 代 袋 貸 戴 帯 滞 待 退 逮
37 44 146 231 232 304 302 305 600 685 818 878 897 1565 1566 1567 1595 1877 1878 2281 2303 2324
TAKU
択 沢 拓 託
177 387 521 611
濯 卓 宅 度
帝 諦 締 邸 提 堤 廷 艇 定 底 庭 亭 停 逓
848 1270 2078 2195
TAN
旦 胆 担 淡 炭 反 端 丼 単 丹 短 嘆 鍛 誕 探 綻 壇
358 361 362 457 491 509 540 1254 1267
笛 的 摘 敵 滴 適
1683 1711 1725 2067 2119 2157
1904 1925 1956 1957 2064 2065
天 添 点 殿 典 展 填 転 店
2322
685 1227 1229 1343 1344 1533
2184 2187 2264 2265 2357
618 1049 1907 1908 1909 2339
39 414 531 1030 1080 1214 1349 1763 2179
TETSU
1534
撤 哲 鉄
1654 1656 1674
724
徹 迭
222 1631 1723
2277 2336
TO
土 吐 妬 塗 斗
466 471 519 543 1044 1169
2156
TEN
2266
TEI
体 丁 訂 貞 偵 低 抵 呈 程 弟
1903
TEKI
1426
TATSU
達
1902
登 都 図 度 渡 徒 途
1310 1923 2011 2195 2196 2280 2311
TŌ
投 討 踏 湯 冬 搭 塔 答 等 桃 東 凍 棟 当 唐 糖 島 統
217 234 405 410 430 572 573 619 623 645 701 702 704 742 772 773 839 957
陶 灯 悼 盜 豆 頭 痘 登 稲 筒 謄 騰 藤 刀 到 倒 読 納 党 闘 逃 透 道
1061 1231 1271 1294 1307 1308 1309 1310 1340 1417 1471 1473 1474 1475 1698 1699 1863 2096 2150 2228 2310 2314 2347
TOKU
篤 特 匿 督 読 得 徳
894 910 1391 1575 1863 2278 2288
TON
屯 頓 豚
612 613 876
団
1912
TOTSU
凸 突
2012
WAN
湾 腕
都 通
1923 2332
TSŪ
痛 通
1439 2332
TSUI
対 椎 墜 追
232 820 879 2353
U U
右 有 雨 羽 宇
188 199 442 840 2092
UN
雲 運
1766 2338
UTSU
鬱
1857
W WA
話 和
138 716
WAI
賄
1163
WAKU
惑
2000
2124
Y
2107
TSU
1667
YA
夜 冶 野
376 429 2040
YAKU
訳 厄 躍 薬 疫 約 益 役
133 505 846 945 1039 1050 1298 2276
YO
予 預 余 与 誉
82 108 541 1053 1054
YŌ
妖 揚 陽 葉 曜 羊 洋 様 幼 瘍 謡
48 365 500 650 847 914 920 922 943 1042 1063
揺 養 要 腰 用 踊 庸 擁 窯 容 溶
幽 融 猶 勇 湧 憂 優 郵 裕 遊
1064 1333 1376 1377 1436 1438 1453 1930 2109 2161
由 唯 遺
170 413
1440 1441 1869 1870 1924 1982 2327
1981
在 材 財 罪 剤
395 1463 1464 1465
2328
481 2178
1015 1016 1171 1259 1494
153
惨 残 斬 暫
188
ZATSU
199
雑
1467 2327
370 1603 1635 1636
1117
ZEI
224
是
423
1954
ZEI
728
説
822
725
864 924 925 980 1191 1242 1468 1637 1784
129 956
ZO
ZAN
1466
然 善 膳 繕 全 軟 前 漸 禅 舌 絶
ZAI
153
ZEN
811
ZA
挫 座
722
ZETSU
842 1980
税
153
Z
YŪ
由 右 有 友 悠 誘 雄
1368
841
YU
由 油 愉 諭 喩 癒 輸 遊
1352
YUI
2162
YOKU
抑 沃 翌 翼 欲 浴
950
320
曽
2028
ZŌ
象 像 雑 蔵 臓 憎 増 贈 造
885 886 1117 1612 1613 2031 2032 2033 2320
ZOKU
属 賊 族 続 俗
799 1580 1682 1864 1979
ZON
存
1014
ZU
事 豆 頭 図
211 1307 1308 2011
ZUI
髄 随
2350 2351
Kunyomi Readings Index
A abareru
暴 abiru 浴 abunai 危 abura 脂 油 ageru 揚 挙 上 ago 顎 ai 相 藍 aida 間 aji 味 akai 赤 akari 明 akarui 明 akatsuki 暁 akeru 空 開 aki 秋 akinau 商 akiraka 明 akirameru 諦 akiru 飽 akogareru 憧 ama 尼 amai 甘 amaru 余 ame 天 雨 ami 網
編 ana 穴 anadoru 侮 ane 姉 ani 兄 ao 青 aogu 仰 arai 粗 arashi 嵐 arasu 荒 arata 新 aratameru 改 arau 洗 arawareru 現 arawasu 著 表 aru 有 在 aruku 歩 asa 朝 麻 asai 浅 ase 汗 aseru 焦 ashi 上 足 脚 asobu 遊 ataeru 与 atai 価 值
2216
atarashii
2016
atari
頭
1308
amu 769 1981 506 141 395 365 1055 1754 1769 661 1304 2232 693 461 379 379 483 2121 2229 732 2097 379 1903 1331 1824 11 152 541 39 442 1262
atama 726
29
atatakai
1897 125
ateru
1427 18 1071
ato
1423 576 1814
atsui
333
atsui
404
atsui
1184 675 1107
atsukau atsumeru au
199 1015 752
awa
548
awai
2197
awaremu
1605
awaseru
1552
awateru
823
ayamachi
269
ayamaru
276 1845
ayashii
2327 1053 1373 1402
ayatsuru ayaui ayumu aza
新 辺 暖 温 充 当 宛 跡 痕 後 熱 暑 厚 扱 集 合 会 遭 泡 淡 哀 併 慌 過 誤 謝 妖 怪 操 危 歩 字
1814 2333 352 1295 34 742 2123 315 1038 2285 606 672 2254 191 825 160 1764 2313 409 457 1987 43 577 2304 137 237 48 486 1385 506 752 2071
azakeru
549
azamuku azayaka azukeru
欺 鮮 預
泥
doro E
923 108
場 化 辺 豚
bakeru be buta
474 6 2333 876
fune
江 柄
e
eda
枝 描 笑 選 偉 襟 獲 得
egaku emu erabu erai eri
C chi
chichi chigau chigiru chiisai chijimu chikai chikara chikau chirakasu
乳 千 血 父 乳 違 契 小 縮 近 力 誓 散
309
eru
1140 1299
esa
damaru dare dasu deru donburi dono
fureru
1329
furu
1156 2044
2340
fuchi
1516
fuda
738
fude
2135
fue
2334
fueru
257
625
337
furueru
617
furui
2306
furuu
1970
fusa
1796
fusagu
859
fusegu
2278
fushi
1329
fusu
F
309
fuji fukai
D
抱 黙 誰 出 出 丼 殿
1233
futa
fukeru daku
1202
208
1632
麓 踏 舟 船 触 振 降 震 古 奮 房 塞 防 節 伏 双 蓋 再 二 太 懐 冬
fumoto fumu
1276
B ba
382
fuku
866 812 1846
fukumu
1846
fukuramu
1254
fukuro
1030
fumi 727
縁 札 筆 笛 殖 増 藤 深 老 更 吹 拭 噴 含 膨 袋 文
983
futatabi
640
futatsu
621
futoi
618
futokoro
1403
fuyu
930 405 1454 1975 906 169 499 443 1142 2020 2208 2133 1886 1322 855 223 1843 803 1132 44 1110 430
2032
G
1474 2120
gake
55
gara
1235
崖 柄 側
gawa
515 1233 1524
119
H
1569 1178 163 1315 1566 58
ha
端 葉 歯 羽 刃
540 650 765 840 1526
幅 阻 省 蜂 肌 裸 生
1371
映 栄 hagane 鋼 hagemu 励 hageshii 激 hagu 剥 hagukumu 育 haha 母 hai 灰 hairu 入 haji 恥 hajimaru 始 hajime 初 haka 墓 hakaru 諮 謀 量 計 測 図 hako 箱 hakobu 運 haku 吐 掃 履 hama 浜 hana 花
1894
haneru
2167
hara
haba habamu habuku hachi hada hadaka haeru
1068
hana
746
hanahada
796
hanareru
1026
hanasu
2051 551
hane
1731 538
harau
1890
hareru
1488 65
hari
27
haru
458 1718 112 303
hasamu hashi
華 鼻 甚 離 話 放 羽 跳 原 腹 払 腫 晴 針 春 貼 張 挟 端
1487 587 135 667 713 1136 1525 2011 664 2338 471 1093 2296 1634 561
橋 hashira 柱 hashiru 走 hata 旗 機 畑 hatake 畑 hataraku 働 hatasu 初 果 hayai 早 速 hayashi 林 hazukashii 恥 728
1282
hazukashimeru
1393
hazumu
1273
hazusu
737
138 1889 840
hebi hedateru heru
535 788
hi
2262 297 708 1431
hibiku
1740
hidari
614
hieru
1167
higashi
1662
hiideru
172
hiji
540
hikaeru
676
hikari
2259
hiki
1023
hikiiru
274
hiku
1281 1601
hikui
2019
hima
2019
hime
711
himeru
1487
hira
2048
hiraku
545
hiroi
2312
hirou
651 112
hiru
辱
230
弾 外 蛇 隔 経 減 日 氷 火 灯 響 左 冷 東 秀 肘 控 光 匹 率 弾 引 低 暇 姫 秘 平 開 広 拾 昼 干
1668 528 2081 1351 975 2003 348 425 451 1231 1933 1210 427 701 727 233 2122 460 1392 947 1668 1672 1533 517 101 1573 1800 2229 2190 184 360 1550
翻 hisashii 久 hisomu 潜 hitai 額 hitasu 浸 hito 人 hitomi 瞳 hitori 独 hitoshii 等 hitotsu 一 hitsuji 羊 hiza 膝 ho 穂 帆 hodo 程 hodokosu 施 hogaraka 朗 hoka 他 外 hoko 矛 hokorobiru 綻 hokoru 誇 homare 誉 homeru 褒 hōmuru 葬 hone 骨 honoo 炎 hoo 頬 hora 洞 hori 堀 horobiru 滅 horu 掘 彫 hoshi 星 hirugaesu
2054 59 393 2160
欲 細 欲 干 蛍 仏
hoshii hosoi hossuru hosu
397
hotaru
1
hotoke
1980
ina
960
ine
1980
inochi
1550
inoru
2168
inu
295
iro
1825
I
858 623 1130 914 669 996 1413 1656 1018 1290 311 528 1546 2157 1770 1054 1103 566 67 455 107 1416 1850 1620 1849 1997 557
ireru
i
irodoru
井
ibara
1252
iru
562
市 ichijirushii 著 idaku 抱 idomu 挑 ie 家 ieru 癒 ikaru 怒 ike 池 iki 息 粋 ikidooru 憤 ikioi 勢 ikiru 生 ikoi 憩 iku 行 逝 戦 ima 今 imashime 警 imashimeru 警 戒 imawashii 忌 imo 芋 imōto 妹 ichi
729
1896
否 稲 命 祈 犬 入 色 彩 射 居 要
337
isagyoi
2126
isamu
1466
ishi
197
ishizue
407
isogashii
110
isogu
1116
ita
1177
itadaku
605
itai
551
itamu
130 2267
itaru
2335
itasu
1578
ito
161
itoma
927
itonamu
927
itsukushimu
1582 331 1772 692
1340 159 1787 854 1718 22 658 236 1148 1376 1469
675
534
559
itsutsu itsuwaru iu iwa
鋳 潔 勇 石 礎 忙 急 板 頂 痛 悼 傷 至 致 糸 暇 営 慈 五 偽 言 岩
1732 1515 1440 518 1949 85 192 643 1228 1439 1271 1719 1692 1695 955 517 2165 952 1834 888 131 523
祝 嫌 卑 泉
iwau iya iyashii izumi
1777 730
kakawaru kakeru
kabe kabu kado kaerimiru kaeru
kaesu kagami kagayaku kage
日 香 蚊 鹿 壁 株 角 門 顧 替 変 帰 換 返 鏡 輝 陰 影
kagi kagiru kago kagu kai kaiko kakaeru kakageru kakari kakaru
限 籠 嗅 貝 蚕 抱 掲 係 架
2220 2
掛
786
348
kaki
717 795
kakomu
929
kaku
2007 688
kakusu
905
kama
駆 垣 柿 囲 描 書 隠
337
kaneru
182
kangaeru
鎌 窯 構 亀 髪 紙 上 神 雷 醸 奏 要 必 悲 芳 金 鐘 兼 考
kangamiru
鑑
2219 2213 146
kamaeru
316
kame
1478
kami
2117 2309 1810 1876
kaminari
1761
kamosu
2248
kanaderu
2063
kaname
495
kanarazu
1818
kanashii
863 1157
kanbashii kane
793
985 637
kanmuri kano kao
1380
K ka
関 欠
730
529
kaori
1169
kaoru
1400
kara
1832 1899
karada
1917
karai
2044
karamu
210
karauta
498
kare
1724
kareru
1733
kari
1742
2109 807
kariru
808
karoyaka
225
karu
1531
karui
1754
kasa
1780
kasaneru
2018
kasegu
1364
kashikoi
599
kashira
1376
kasu
1571
kata
852 1887 1720 1826 729 1000
katachi katai
冠 彼 顔 香 薫 殻 空 体 辛 絡 詩 彼 枯 仮 狩 借 軽 刈 軽 傘 重 稼 賢 頭 貸 片 潟 形 型 方 肩 形 堅 硬
1858 2284 508 717 709 1865 2121 685 1804 1964 288 2284 1147 510 2101 439 1247 1539 1247 1081 707 2128 1164 1308 1567 1031 1341 1558 1561 1880 2203 1558 470 1237
難 固 kataki 敵 katamari 塊 katamuku 傾 katana 刀 kataru 語 katawara 傍 katayoru 偏 kate 糧 katsu 且 勝 katsugu 担 kau 買 飼 kawa 川 皮 革 河 kawaku 渇 乾 kawara 瓦 kawaru 代 kawasu 交 kayou 通 kazaru 飾 kaze 風 kazoeru 数 ke 毛 kegasu 汚 kemono 獣 kemuru 煙 keru 蹴 kesu 消
1713
keta
1983
kewashii
1908
kezuru
472
ki
106 1475 1837
kiba
1901
kibishii
2215 761 1066 1472 362 1264 1330 431 935 940 1004 392 547 2068 1565 46 2332 1334 1422 763 115 1771 1268 1374 2245 740
桁 険 削 生 木 黄
2269 496 1479 551 628 1708 155
厳 kieru 消 kiku 効 聴 利 聞 kimeru 決 kimi 君 kimo 肝 kinu 絹 kirau 嫌 kiri 霧 kiru 着 切 斬 kishi 岸 kisou 競 kita 北 kitaeru 鍛 kitanai 汚 kiwa 際 kiwamaru 極 窮 kiwameru 究 kiyoi 清 kizamu 刻 kizashi 兆 731
2201 740 260 1407 1520 2221 1707 206 1551 961 730 1549
傷 kizuku 築 ko 子 小 粉 kō 神 kobamu 拒 kobushi 拳 koe 声 koeru 肥 koeru 超 koeru 越 kogeru 焦 kogoeru 凍 koi 恋 濃 koinegau 希 kokonotsu 九 kokoro 心 kizu
1719 1209 35 738 1510 1780 1225 768 524 64 1502 1609 823 702 314 2047 1088 265 83
1540
kokoromiru
試
1570
1635
kokoroyoi
快
1706
kokorozasu
志
284
koma
駒 細 困 米 籠 混 込 被 粉 好
892
916
1553 1811 7 1725
komakai
1771
komaru
1789
kome
2010
komoru
2112
komu
2108 1432
kōmuru
1482
kona
532
konomu
960 1913 756 1818 394 2337 1106 1510 36
koori kooru koriru koro korogaru koromo korosu koru koshi kotaeru kotaeru koto
kotobuki kou kowai kotowaru kowasu koyomi kubaru kubi kuchi kuchibiru kuchiru kuda kudaku kuasaru kuiru kujira kuki
氷 凍 懲 頃 転 衣 殺 凝 腰 答 応 異 言 事 殊 琴 寿 乞 請 怖 断 壊 暦 配 首 口 唇 朽 管 砕 下 悔 鯨 茎
425 702 2294 105 1763 1101 1542 1960 1377 619 2175 71 131 211 687 1190 595 328 1430 1087 1629 1111 654 1358 103 118 120 999 2104 1114 1838 87 2243 568
熊 kumo 雲 kumoru 曇 kumu 組 酌 kuni 国 kura 蔵 倉 kurasu 暮 kuraberu 比 kurai 位 暗 冥 kurenai 紅 kureru 暮 kuroi 黒 kuru 来 繰 kuruma 車 kurushii 苦 kuruu 狂 kusa 草 kusai 臭 kusari 鎖 kusaru 腐 kuse 癖 kushi 串 kusuri 薬 kutsu 靴 kutsugaesu 覆 kuu 食 kuwa 桑 kuwadateru 企 kuwaeru 加 kuma
732
898
kuwashii
1766
kuyashii
1767
kuzu
1073
kuzusu
詳 悔
917 87 564
崩
1195
真 間 maboroshi 幻 machi 町 街 mado 窓 madowasu 惑 mae 前 magaru 曲 magireru 紛 mago 孫 mairu 参 majieru 交 makanau 賄 makaseru 任 makeru 負 maki 牧 makoto 誠 maku 巻 makura 枕 mame 豆 mamoru 守 manabu 学 manako 眼 maneku 招 manukareru 免 mare 希 maru 丸
1347
1363
M
1916 1612 2217 584 5 41 351 2173 1205 584 459 696 1388 1241 1146 1653 569 862 1741 2189 2008 1056 945 941 2297 1326 680 270 261
ma
2232 948 2023 2268 2075 2000 1468 1410 1511 986 369 46 1163 1222 1175 909 1615 767 1861 1307 2100 2170 97 1501 19 1088 504
円 正 勝 升 増 又 股 瞬 的 松 待
1879
政
1948
祭 全 舞 周 回 迷 眉 繭 混 貧
1788
女
23
目 芽 megumu 恵 meguru 巡 meshi 飯 mesu 雌 召 mezurashii 珍 mi 身
91
marui masa masaru masu mata matataku mato matsu matsurigot o matsuru mattaku mau mawari mawaru mayou mayu mazaru mazushii me
1945
michi
1472
michibiku
1051
michiru
2032
midara
187
midasu
215 1853 1049 641 2281
1191 608 1996 338 2355 98 1100 394 1512
565 995 2308 1332 816 1499 1183 31
実 道 導 満
乱 midori 緑 migaku 磨 migi 右 mijikai 短 mijime 惨 miki 幹 mikotonori 詔 mimi 耳 mina 皆 minami 南 minamoto 源 minato 港 mine 峰 minikui 醜 minoru 実 miru 見 診 misaki 岬 misao 操 misasagi 陵 mise 店 mitasu 満 mitomeru 認 mitsu 三 mitsugu 貢 miya 宮 miyako 師 都 733
2163
mizo
2347
mizu
2348
mizukara
1240
mizūmi
1221
mo
308 1256
mochi
溝 水 自 湖 喪 藻 持
1683 370 1554 1500 111 782 1434 790 400 593 1357 2163 93 134 1659 1385 607 2179 1240 1528 1134 1206 2072 293 1923
380 109 1145 267 1387 289 1328
2200 188
806
mochiiru
用 mōderu 詣 modoru 戻 moeru 燃 moguru 潜 momo 桃 mono 者 物 moreru 漏 mori 森 moru 盛 守 mōsu 申 moteasobu 弄 moto 本 基 元 下 motoi 基 motomeru 求 motsu 持 mottomo 最 moukeru 設 moyoosu 催 mugi 麦 mukaeru 迎
1436 142 2210 865 393 645 671 1545 448 655 1617 2100 339 1649 684 1278 1755 1838 1278 873 289 1128 216 819 590 2300
mukashi mukau muko mukuiru mune
mura murasaki muro musaboru mushi musu musubu musume mutsu muzukashii
昔 向 婿 報 胸 旨 棟 村 群 紫 室 貪 虫 蒸 結 娘 六 難
438 2148 1946
nabe nae naeru nagai nagameru nagareru nageku nageru nagomu nagusameru
naka
194 76 140
nakaba naku
704 636
nama
918
namakeru
968
namari
2090
nameraka
1162
nami
792 578
namida
1647
naname
1289
nanatsu
2172
nani
1713
naosu narabu
N na
nai
名 菜 鍋 苗 萎 長 永 眺 流 嘆 投 殴 和 慰
375
narau
660 1726
nareru
2043
naru
726
nasake
54
nashi
416
natsu
533
natsuku
436
nawa
1711 217 1398
nayamu
亡 無 中 仲 半 泣 鳴 生 怠 鉛 滑 並 波 涙 斜 七 何 治 直 並 習 倣 慣 成 情 梨 夏 懐 縄 悩
nazo
9 609
nebaru negau
1700
neko
1701
nemuru
912
nengoro
385
nerau
837
neru
551 305 1976
netamu ni
388
nibui
42
nigai
938
nigeru
2211
nigiru
1047
nigoru
1537
nii
1006
niji
406 1401 42
nikumu ninau niou
844 1884
niru
1181 1614
nise
1429
nishi
1521
nishiki
280 1110 981 89
niwa niwatori no nobasu
2356
音 根 値
ne
716 1791
734
147
noberu
632
noboru
1402
粘 願 猫 眠 懇 狙 練 寝 妬 荷 鈍 苦 逃 握 濁 新 虹 憎 担 匂 臭 似 煮 偽 西 錦 庭 鶏 野 伸 延 述 昇 登
759 789 2045 1536 871 1072 979 2083 519 1007 1734 1146 2310 1694 798 1814 1203 2031 362 15 862 300 674 888 1372 1739 2187 838 2040 340 2066 2315 1052 1310
上 nochi 後 nodo 喉 nogareru 逃 noki 軒 nokoru 残 nomu 飲 nonoshiru 罵 norou 呪 noru 乗 noseru 載 nozoku 除 nozomu 臨 望 nugu 脱 nuguu 拭 nuku 抜 numa 沼 nuno 布 nuru 塗 nushi 主 nusumu 盜 nuu 縫
1754 2285 1689 2310 1555 1603 1327 1260 126 656 1599 544 1383 1651 318 1569 226 1503 1086 543 1020 1294 2325
O o
obiru oboeru
尾 雄 緒 帯 覚
oboreru obyakasu ochiiru ochiru
116 822 978 1877 2171 1670
脅 陥 落
263 1339 1962
穏 odorokasu 驚 odoru 躍 踊 odosu 脅 ogamu 拝 ōgi 扇 oginau 補 ogosoka 厳 oi 老 oka 丘 岡 okasu 侵 犯 冒 oki 沖 okiru 起 okonau 行 okoru 怒 okosu 興 okotaru 怠 oku 置 奥 okureru 後 遅 okuru 贈 送 omo 主 omoi 重 omomuki 趣 omomuku 趣 赴 omote 面 表 odayaka
735
719
omou
928
on
846
onaji
1438
oni
263
onna
596
onoono
2205
onore
1446
ooi
2201
ookii
55 487 1265
ooyake ore oriru
213 856
oroka
1123
oroshi
1703
oru
334 2267
osaeru osameru
197 1418 305 1405
osanai
2125
oshieru
2285
oshii
2323
osoi
2033
osore
2305
osoreru
1020 707
osou
275
osu
275 527 99 1107
oto otoko
思 御 同 鬼 女 各 己 多 大 公 俺 降 下 愚 卸 折 抑 収 治 修 納 幼 教 惜 遅 虞 畏 恐 襲 推 雄 押 音 男
90 2287 1414 301 23 1961 329 372 37 324 341 499 1838 88 1065 1630 170 344 406 424 2096 943 219 440 2323 900 74 1208 1819 814 822 1658 147 2034
衰 otoru 劣 otoshiireru 陥 otōto 弟 otozureru 訪 otto 夫 ou 生 負 追 ōu 覆 owaru 終 oya 親 oyobu 及 oyogu 泳 otoroeru
1112 748
sabishii sachi sadameru saegiru sagaru sagasu sageru
sakazuki
1674
sake
1883
sakebu
53
sakeru
551
saiwai saka sakaeru sakai sakana sakanobor u
saki
1175 2353 2297
saku
974 1813 189
sakura
418
sama sameru
裁 寂 幸 定 遮 下 捜 探 提
sagesumu saguru
sakaru
1339
S sabaku
sakarau
探 幸 坂 栄 境 魚
1597 2091 50 2156
samui samurai sara
2345 1838
saru
465 2119
sasaeru
1956
sasou
1622
sasu
2119 50 511 2167
sato
1809
satoru
801
satosu
2307
sawa sawagu 736
逆 盛 杯 酒 叫 避 先 埼 崎 咲 割 裂 桜 様 妨 冷 覚 寒 侍 更 皿 去 猿 支 誘 指 差 挿 刺 里 悟 諭 沢 騒
2301
sawaru
1617 647
sawayaka
1359
sazukeru
343
se
2344 273
sei
1009
seki
1010
semai
244
semaru
1492 1498 1172 922 1881 427
seru shiawase shiba
2171
shibaru
2132
shiboru
287 1235
shibui
1292
shigeru
1841
shiiru
1991
shiitageru
1151
shika
728
shikaru
181
shiku
1204
shima
1562
shimaru
1748
shimeru
2036 1836 1464 387
shimesu
895
shimo
触 障 爽 授 背 瀬 背 関 狭 促 迫 攻 責 競 幸 芝 縛 絞 搾 渋 茂 強 虐 鹿 叱 敷 島 締 占 絞 湿 閉 示 霜
906 1822 52 1425 63 700 63 2220 857 277 2316 1199 1749 1811 50 567 1448 958 2110 415 1610 1663 903 929 1538 1891 839 1904 530 958 992 2227 1773 663
下 1838 shina 品 1382 shinobu 忍 1527 shinu 死 69 shio 潮 550 塩 1296 shiraberu 調 1998 shiri 尻 266 shirizoku 退 2303 shiro 白 778 代 1565 城 1616 shiru 汁 1138 知 1685 shirushi 印 255 shirusu 誌 285 記 332 shita 舌 129 下 1838 shitagau 従 2291 shitashii 親 1813 shitataru 滴 1909 shitau 慕 583 shizuka 静 1428 shizuku 滴 1909 shizumaru 鎮 1743
somuku
shizumu
1860
suji
sodateru
育 袖 1105 添 414 底 2184 損 1994 染 642 初 1487
sode soeru soko sokonau someru
65
sonaeru sono sora sōrō soru sosogu sosonokas u soto sou su
suberu subete sudeni sue sueru sugata sugi sugiru sugureru sui sukeru
背 供 備 園 空 候 反 注
sukoyaka suku sukunai sukuu 737
1697 1992
sumiyaka
2121
sumu
1688 509 1022 323
外 沿 州 巣 酢 滑 統 全 既 末 据 姿 杉 過 優 酸 筋 透
528
少 健 好 少 救
sumi
241
唆
suki sukoshi
63
1974 437
suna suru suru surudoi suso susumeru
1269 1366
susumu
388
sutareru
957
suteru
1191
suu
1323
suwaru
689 1149
suzu suzushii
墨 炭 隅 速 住 澄 済 砂 刷 擦 鋭 裾 勧 薦 進 廃 捨 吸 座 鈴 涼
476 491 494 2312 1021 1311 1420 750 1486 2147 1728 1150 831 932 2317 2185 1927 190 2178 1727 2242
26
T
633 2304
ta
1870
taba
1356
taberu
622
tabi
2314 743
tadachini
744
tadashi
2062
tadashii
36
tadayou
744 874
taeru
田 束 食 旅 度 直 但 正 漂 耐 絶
2016 697 1326 1019 2195 1401 359 1945 1798 231 956
堪 tagai 互 tagayasu 耕 tagui 類 taira 平 takai 高 takara 宝 take 丈 岳 竹 taki 滝 takigi 薪 taku 炊 takumi 巧 takuwaeru 蓄 tama 霊 玉 球 弾 tamago 卵 tamashii 魂 tamau 給 tamawaru 賜 tameru 矯 tamesu 試 tami 民 tamotsu 保 tana 棚 tane 種 tani 谷 tanomu 頼 tanoshii 楽 taoreru 倒 tareru 垂
1395
tashika
1833
tasu
1253
tasukeru
867
tatakau
1800 2255
tatami
2084
tate
203 492
tatematsuru
616
tateru
1817
tatoeru
1815
tatsu
452 1201 2057
tatsu
444
tattoi
1182 1186
tawamureru
1668
tawara
791
tayori
1760
tayoru
963
tazuneru
1306 2260
tazusaeru
1570
te
1535
tera
245 1196 724 1978 699
terasu to tobira toboshii tobu
944 1699 734
tochi todokeru 738
確 足 助 戦 闘 畳 盾 縦 奉 建 例 立 裁 断 竜 貴 尊 戯 俵 便 頼 尋 訪 携 手 寺 照 戸 扉 乏 跳 飛
1872
栃 届
646
276
todokooru tōge
1067
togeru
1578
togu
2228
tōi
2130
tojiru
1660
tokeru
2292
toki
597
tobu
2061 1496 40
tokoro toku
1597 1629
tomaru
1816 1173 1369
tomi
1579
tomo
1108 1236 699
tomonau
1213 1883
ton
810
tonaeru
167
tonaru
286
tono
1506
too
2202
tora
2206
toraeru
290 535
tori
849
toru
154
滞 峠 遂 研 遠 閉 溶 時 常 床 所 説 解 止 泊 留 富 友 共 供 伴 弔 問 唱 隣 殿 十 虎 捉 捕 鳥 執 取 採
1878 1839 2319 1559 2342 2227 2162 353 2153 2180 2207 320 1484 269 781 2239 2088 224 240 241 913 1679 2222 350 758 1030 1135 899 278 1444 836 51 202 659
tōru toshi tōtoi totonou totsugu tou tsu tsuba tsubasa tsubo tsubu tsubureru tsuchi tsuchikau tsudou tsugeru tsugi tsugu tsugunau tsuiyasu tsuka tsukamaeru
tsukaeru tsukareru tsukau tsukeru tsuki tsuku
撮 通 年 貴 尊 整 調 嫁 問 津 唾 翼 坪 粒 潰 土 培 集 告 次 継 接 償 費 塚 捕 仕 疲 使 遣 漬 月 付 着
1129 2332 1141 1173 1369 1951 1998 2127 2222 396 735 842 1803 757 1174 466 1940 825 556 3 1409 1806 2155 1678 1855 1444 1641 1043 205 2354 1751 377 235 916
突 就 tsukue 机 tsukurou 繕 tsukuru 作 創 造 tsukusu 尽 tsuma 妻 tsume 爪 tsumeru 詰 tsumetai 冷 tsumi 罪 tsumoru 積 tsumu 摘 tsumugu 紡 tsuna 綱 tsune 常 tsuno 角 tsunoru 募 tsura 面 tsuranaru 連 tsuranuku 貫 tsureru 連 tsuru 弦 釣 鶴 tsurugi 剣 tsutaeru 伝 tsutanai 拙 tsutomeru 勉 努 務 勤 739
2107
tsutsu
2244
tsutsumi
1027
tsutsumu
980
tsutsushimu
1119 2218
tsuya
2320
tsuyoi
426
tsuyu
198
tsuzuku
247
tsuzumi
筒 堤 包 慎 謹 艶 強 露 続 鼓
1417
奪 内 腕 上 飢 植 動 初 憂 氏 伺 受 請
827
1957 335 1348 1717 1318 1663 1968 1864 1314
1646
U
427 1259
ubau
1752
uchi
1907
ude
1888
ue
1266
ueru
2153 905
ugoku
585
ui
99 2329
uji
1180
ukagau
2329
ukeru
1666 1738 1873
uketamaw aru
1477
uku
1759
uma
1847
umareru
258 259
ume
1548
umeru
1716
umi
2095 2124 1754 1335 1404 710 1487 1869 1529 123 1424 1430
承
246
浮 馬 生 産 梅 埋 海
401 889 551 555 631 2037 384
促 une 畝 uo 魚 ura 浦 裏 uramu 恨 uranau 占 urayamu 羨 ureeru 憂 urei 愁 ureru 熟 uru 売 得 uruou 潤 urushi 漆 uruwashii 麗 ushi 牛 ushinau 失 ushiro 後 usu 臼 usui 薄 uta 唄 utagau 疑 utai 謡 utau 歌 utoi 疎 utsu 討 打 撃 utsukushii 美 utsuru 移 utsusu 写 映 utsuwa 器 unagasu
277 2058 801 1445
訴 uyamau 敬 uyauyashii 恭 uzu 渦 uttaeru
1639
242 389
2039
W
96
輪 我 wakai 若 wakareru 別 wakaru 分 wakasu 沸 wake 訳 wakeru 分 waki 脇 waku 枠 湧 warabe 童 warau 笑 ware 我 wareru 割 warui 悪 wasureru 忘 wata 綿 watakushi 私 wataru 航 渡 watashi 私 waza 技 業 wazawai 災
1251
1856
wazuka
1715
1894
wazurau
530 921 1869 733 2252 1862 2278 2235 670 931 907 186 2285 1336 1451 1161 1958 1063 1003 1950 234 1230 1245 915 723
wa
1389
740
煩 患
Y
926
1588 574 1476 1507 1677 133 1507 264 1115 1441 1823 617 1588 1492 2015 84 1090 721 1455 2196 721 1154 1827 454
453 1057
弥 矢 屋 家 yabureru 敗 yaburu 破 yado 宿 yakata 館 yaki 焼 yaku 焼 yama 山 yamai 病 yameru 辞 yami 闇 yamu 病 yanagi 柳 yasashii 易 優 yaseru 痩 yashinau 養 yashiro 社 yasui 安 yasumu 休 yatou 雇 yatsu 八 yawaragu 和 yawarakai 軟 柔 yo 夜 世 代 yō 八 ya
1665 1680 1693 2126 1165 937 2134 2105 484 484 488 1234 1805 2224 1234 2237 1305 1870 1040 1333 1781 2098 629 2212 312 716 1242 1547 376 615 1565 312
yobu yogosu yoi
yoko yome yomu yorokobu yoru
yoshi yosoou yotsu you yowai yu yū yubi yudaneru yue yuka yuki yuku yume yumi yureru
呼 汚 佳 善 良 宵 横 嫁 詠 読 喜 夜 依 因 寄 由 装 四 酔 弱 湯 夕 指 委 故 床 雪 行 逝
1801
yurui
1771
yurusu
478
yutaka
924
yuu
努 夢 弓 揺
259
1288
緩 許 豊 結 譲
yuzuru
967 1059 1317 1647 1217
2079
Z
1709 2127
銭
zeni
417 1863 1313 376 1102 1934 2082 153 1644 1977 1365 1669 410 371 181 725 1144 2180 446 2267 2335
1854 1661 1064
741
1745
Radicals’ Main Meanings
3
一 丨 丿亅 ㇒ 𠃌乛
4
丶
5
𠃍 𡿨
upper corner
-
6
𠃊
lower corner
-
7
slash & line
-
8
dot & line
-
cross
-
person
1
exhaling
2
1 2
9 10 11
亠 㐅 人 亻儿 欠
line
1130
column
-
slash
-
dot
-
25
骨
bones
67
26
歹
remaining bones
68
27
異
masked person
71
28
heart
83
29
心 忄⺗ 目 罒
eye
91
30
見
looking person
93
31
頁 耳 彡 口 舌 言 音
head
104
ear
111
hair
113
mouth
118
tongue
129
words
131
sound
147
talking mouth
156
32 33 34
12
匕
reverse person
13
尸
sitting person
10
14
勹
leaning person
14
15
卩
kneeling person
16
39
手 扌
hand
167
16
woman
23
40
又 𠂇⺕
187
child
outstretched hand
35
18
女 子 大
big person
37
41
殳
hand & hammer
214
19
立
standing person
40
42
攵
hand & weapon
218
20
fortune
50
43
寸
old person
55
working hand
229
21
幸 老 耂
廾
two hands
238
文
tattooed person
44
22
58
45
爪 爫
grabbing hand
247
46
争
fighting hand
256
17
4
23
尺
calf
60
24
肉 ⺝
meat
62
35 36 37 38
742
47
力
arm
257
75
艹 丰 麦
48
尤
outstretched arm
268
footstep
269
76
奉
walking foot
274
leg
276
77
竹 ⺮
still foot
279
78
木
tree
628
79
耒
branched tree
681
80
bundle
697
fruit tree
714
rice
756
teeth
765
white rice
778
serpent
792
fish
801
small bird
809
big bird
836
wings
840
dog
854
fierce animal
868
horse
889
tiger
899
horn
905
cattle
907
sheep
914
deer
929
caught animal
934
leather
940
coccon
942
thread
955
73 74
49
止 龰
50
52
走 足 夂
53
癶
ascending feet
281
54
舛
descending feet
282
footprint
292
82
ghost
301
83
乙 乚
unfolded energy
306
84
58
八 ハ丷
distributed energy
312
86
59
日 曰
sun
348
87
60
夕
crescent moon
371
61
full moon 月 water 水 氵 ice 氷 冫 rain 雨 ⻗ fire 火 灬 light 光 earth 土 mountain 山 阜 阝 mountains cliff 厂 stone 石 sunshine
51
55 56 57
62 63 64 65 66 67 68 69 70 71 72
鬼
377
90
380
91
425
92
442
93
451
94
460
95
466
96
488
97
束 禾 米 歯 白 虫 魚 隹 鳥 羽 犬 犭 豸 馬 虎 虍 角 牛 牜 羊 鹿
98
隶
99
革 幺 糸
81
85
88 89
493 502 518
100
546
101
743
plants
560
lush plant
588
barley
590
two hands & pant
597
bamboo
616
102
stick
997
131
矢
arrow
1680
flaming flag
1017
132
金 釒
metal
1720
table
1031
133
divine power
1773
bed
1037
134
示 礻 凵
pit
1840
ladle
1044
135
冂 冖
1851
cloth
1082
delimited space
clothes
1101
136
囗
1910
thick rod
1135
encircled space
money
1157
137
邑
village
1918
jewel
1182
chariot
1241
cottage
1926
vessel
1292
field
2016
bounty vessel
hamlet
2036
1317
wall & floor
2060
roof tile
2068
roof
2070
open roof
2106
wall & roof
2174
door
2202
gates
2219
roads
2267
way
2274
movement
2298
103
㫃
104
113
片 疒 斗 巾 衣 衤 十 貝 玉 車 皿
114
豊
115
㿝 艮
food vessel
1319
116
食 飠
mouth & vessel
1326
117
jar
1353
145
bag
1372
146
products
1382
147
box
1390
148
boat
1454
149
dagger
1475
150
spear
1546
stake
1563
halberd
1577
big halberd
1608
axe
1625
128
酉 西 覀 品 匚 舟 刀 刂 矛 弋 戈 戊 斤 士
big axe
1640
129
王 𤣩
battle axe
1648
130
弓
bow
1661
105 106 107 108 109 110 111 112
118 119 120 121 122 123 124 125 126 127
乡 阝
138 139 140 141 142 143 144
744
舎 田 里 廴 瓦 宀 穴 宂 广 戸 門 行 彳 ⻌
Radicals Index 凵
1
1840
一 丨亅 ㇒ 丶
1130
3
-
一
𠃍𠃌
-
𠃊𡿨
-
乙乚
306
-
2 一
十 厂 匚
1135 502 1390 997
丨
冂冖
1851
㇒ -
㐅 人亻
1
儿 八ハ 312
丷 勹 力 匕
土 士 艹 廾 寸 大 弋
4
丶
亠
560 238 229 37 1563
口 囗 巾 山
118 1910
488
彳 彡
2274 113 156
夕 夂
371 279
丶
广 宀 ⻌
2298
𠃍 1661 35
23
1475
4
又𠂇
185
一
廴
2060
𠃊
942
丰 王
268 68 1577
588 1648
矢 禾 白
2068
269
手扌 牛牜 攵 斤 爪爫 欠 殳 心忄
377
167
癶 穴宂 矛 6
2 214
耳 耂老 米 西覀
83
451 1044
5
111 55 756 1372
耒 舌 竹⺮ 舟 行
681 129 616 1454 2267 292
1182
舛 争
518 1608
282 256
丶
㫃
1017
衣衤
1101
745
羽
金
840
糸
隶
7 一 131 590 274 1241 697 1353
一
革 頁
1157 93 276 1918
㇒
㿝艮
1319
豸 角
868
鬼 食飠
1326
音
147
10
馬
889
11
異 鳥 魚 鹿
71 836 801 929
12 765
13 597 50 546 442 899
2036 2219
㇒
隹 阜阝 舎
301
丶
歯
丨
里 門
67 1382
㇒
一
奉 幸 雨⻗ 虍虎
104
骨 品
905
8
940
丨
丨
貝 見 足 邑阝
934
9 955
言 麦 走 車 束 酉
1720
𠃍
𠃊
62
㇒
1773
425
1546
460
肉⺝
丨
氷冫
281 2016
丨
光 58
60
示礻 玉 石 戊
40
一
𠃍
尺
1037
𠃍
丶
文 火灬 斗
778
218
247
1292
914
𠃍
714
907
1625
792
1680
疒 立
345
羊𦍌
2016
丶
1031
380
91
㇒
2202
一
𠃊
女 幺
854
㇒
10
尸 弓 子
卩 刀刂
16
止 片 日曰 月 水氵
2174 2070
目罒 田 虫 皿
628
丨
1082
㇒
-
𠃍
1640
丨
14 257
466
木 犬犭 尤 歹 戈 戸 瓦
809 493 1926
豊
1317
2136 Characters Index 弐
1 一
1564
7
1
一
1130
2
二 丁 七
1132 1227 1537
更 豆 亜
1307 2014
8
武 画
1623 2059
9 203
面
99
536
丨
1013
2
1053
九
1550 1838
4
天
39
不 五 井 元 互
558 1834 1252 1755 1833
5
世 丙 平 正
615 1232 1800
再 百 両
803 1131
乙 孔 乱 乳
306 307
8 850
㇒
309
290 612
2一
1529
6 437 1336
十
丶 1254 1411
了
1135
冊 写
1074
8 1265
503
6
灰
458
9
冠 軍
1858 1874
千
1140
1142
巨 匹 区
1224 1392
8 1113 1137 1270 1401
単 南
1267 1434
10
真
32
博
冥
2173
2㇒
臣 匠
100
1058 551 28 1060 1141
気 希
医
774 1088
人 2
1684
10
匿
1391
巧
1201
2丨 4
丹 冗
人 入
1426 1859
1 1718
4
化 介 仏 以 仁
6 8 295 299 1133
5
付
311 489 1565 1641
6
充 企 似 仮 兆 休 伏 件 伎 任 伐 仲 伝 充
34 270 300 510 532 629 855 908 1151 1222 1581 1701 1759 34
7
㐅
7
1347
746
328
1628
冂
1449
乞 午 生 毎 缶 年
1396
6 1143
卒 協 卓 直
2201
匚
7
克
788
4 1151
古
2252
16
4
支
10 2038
他 仙 代 仕
1856
岡
圧
厳
12
𠃍
1239
5
9 734
丼 凡
2095
509
原
3
8
垂
1879
10
2
744
州 臼
505
厘 厚
5
4
乏 屯 少 氏
厄 反
308
十
1754
1945
6
乙
2
504
155
円 内 5
4 2055
431
非
1139
厂
𠃊
3
川 丸 上
準
82
彙
13
9
265
1134 1197
329
1235
3
丈 万 才 与 三 工 干 下
己 予
235
位 伺 伸 但 余 体 伯 伴 何 住 作 佐 児
41 123 340 359 541 685 779 913 1006 1021 1119 1211 1337
低
1533
8
併 使 供 侍 佳 依 価 例
43 205
倍 個 健 党
1939
287 478 1102 1373 1496
9
侮 侶 信 侵 保 促 俊 修 係 便 侯 俗
29
213 245 277 322
1236 1687
偶 偽 偵 側 偉 偏 停
倹 俺 借 俸 俳 倫 俵 値 候 倒 倣
166
598 851 1078 1108 1402 1688
1524 1970 2215 2265
12
傑 傘 備 傲 傍
312
小
738
4
父 公 分 六
208
1507 2172
5 912
共
1697
1901
13
働 催 像
711
886 1715
傷 債
1719 1750
1345
14
僚 僕 僧
678 1828 2029
15
億 儀
1468
10 729
11
黄 曽
2028
16
16
儒
勹
17
優
3 59
4 450
1870
匂 勾
885
5 261 1200
6
259 538
2166
旨
140
296
5
747
動 勘
1844 1065
刀
刀
1475
刃
1526
4 896
11
頃
260
14
疑
1958
1440
710 1394
1540
5
召 刊
1499 1556
6
刑
亠
1560
7
3
亡
9
4
方
別 判
1476 1485
1880
5
市
1896
交
46
8
夜 京
376 2241
594 698
1539
2丶
883
258
刈 切
105
6
11
15
1321
3
6
1067
勉 勃 勅 勇
791
2 7
754
効 劾
255
5
能 257
努 励 助 労
印 卵 即 却 卸
10
2
劣
卩
5
808
9 1418
久
4
8 1708
興
1716
北
7 767
149 1591
亀 象
9
兼
831
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11
1080
巻 前
605
1175
加 功
42
819
勢 勧 勤
19
力
8
並 典 具
募
匕
9
1978
1892
506
力
7
谷
366
負
2𠃍 585
13 22
免
240
1081
335
色 旬 危
324
半
12
345
7
6 639
1699 1884
八
句 包 6
3
1344
341 439
2
888
1979
10
2062
73
424 985
八
11
80 132
2155
1984
2150
241
償
9
亭
2264
10
畝 高
2058 2255
14
豪
2257
8
券 刻 刷 制 刹 到 刺
1481 1482 1486 1518 1543 1698 1748
9
削
1479
10
剣 帰 剥
1477 1478 1488
班 剛 剤 剖
1489 1491 1494 1943
11
剰 副
廷 延 建
2064 2066 2061
2𠃊 1480 1493
12
割 創
1492 2218
15
劇
1483
凵
凶 出
75 1846
3 3一 3
2 187
3
及
189
4
双 友 収
223 224 344
5
右 皮 布 左
188 935 1086 1210
6
有 当
199 742
土
466
5
主 去
1020 1841
6
寺 地 在 至
286 473 1015 1692
7
赤 坑 均 坂 坊
461 468 475 511 1885
8
事 叔
8 211
坪
1803
1574
9
叙 度
542 2195
9
型 城 垣
1561 1616 1832
12
尋
10 1213
埋
堅 堆 埼 基 堀 堕 培 域 堂
470 818 1009 1278 1850 1922 1940 2001 2152
12
土
又
又
11
廴
2037
塀 塊 場 塔 堪 堤
467 472
573 1395
543 587 1296
1855 2133
14
墜 境 増 塾
879 1809 2032
2007 2266
1640 1642 1645 524 1851 1852
芝 芋
567 1772
花 芯 芽 芸 芳
563 565 1762 1887
16
748
華 荷
藻
1387
廾
1007
11
菜 著 曹 萎 菌 菓
660 675 705 726
升 弁 飛 弊 鼻
1051 298 849 1095 1282
1914
寸
2050
3
寸
12
葬 葉 落
566 650 1962
13
蒸 夢 蓋 蓄
578
229
7
寿
595
9
耐 封 専 将
231 479 994 1035
1854 1843 2057
10
辱 射
230 236
14 568 574
1146
蔵
2043
569
尉
1790
12
1612 1622
菊
760
16
1610 1895
11 1096
1005
9
草 茶
2053
19 737
8
茎 若 苛 苦 茂 英 苗
1474
10
561
562
1179
1643
藤 藩
564
7
2254
466
576
1218
6
15
墨 墳
荒 荘
艹
1314 1349
1111
士 壮 吉 声 売 壱
1957
469
872
士
474
13
塑 塗 墓 塩 鼓 填 塚 塞
墾 壊 壌 壁 壇
薫 薦 薬 薄 薪
709
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1369
14
奪 導
827 2348
大
932 945
3
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1451 1815
18
570
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1100
37
4
太 夫
44 53
失
186
叱
5
1538
央
6 1893
8
奔 奇 奈
580 1008 1774
9
契
1516
10
臭
862
11
爽
52
12
奥
2125
13
奨
1036
16
器
1389
弋
式
1568
3丨
后 吸 吏 吐 同 向
124 190 204 471 1414 2148
7
呂 吹 呉 吟 含 君 局 告 否 串 呈
79 119 127 162 163 204 346 556 559 1056
口
1654
8
3
口
118
4
中
1700
5
司 兄 史 台 叫 占 号 可 民
122
呪 味 呼 周 尚
126 693 1801 1996 2149
9
125 207 302 343 530 998 1002 1535
咲 咽
244 1937
10
唇 唆 唄 害
120
哺 哲 員
1443 1631 1993
11
唱 唾 唯 商 営 啓
735 811
2165 2209
12
喝 喪 善 喜 喩 喫 喉 喚
267 924 1313 1465 1517 1689 2116
13 863 1075
14
鳴 嘆
837 1711
15 549
嘱 噴
800 1178
17
嚇
462
囗
1285
母 囚
338 1912
27 1911
749
山 3
山
488
7
岐
1155
1934
困 囲 図
1913 1917 2011
8
国 固
1983
12
圏
1915
13
園
1992
巾 3
巾
8
岳 岩 岸 岬
492 523 1553 1659
9 1916
峡 炭 幽 峠
490 491 950 1839
6
帆
1413
9
帥 帝
1084 1902
10
帯 席
1877 2194
11
帳 常
593 839
13
幕
1085
2275 2281 2285
10
徒 徐 従
2280 2283 2291
11
得
2278
12
御 循 復
2287 2289 2295
13
微
2282
徳 徴
2288 2293
崖 崎 崩 密 崇
15 515
徹
2277
19
1010 1195
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2294
彡
2137 2145
12
嵐
4
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115
7 1423
3㇒ 彳
形
1558
8
参
369
7
役
11 2276
8 1371
律 待 後
11
12 1124
9
14
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1083 2153
2290
10
1082
帽 幅
5
幣
征 1097
2013
7
144
嗅 嗣
2012
回 団 因
2097
14
1977
6 350
323 1161
四 凸 凹
径 彼 往
彩 彫
658 1997
2279 2284 2286
12
須
114
14
髪 彰 影
225 1821
底 府
2184
9
庭 161 157 160 1764 159 2217
夕
夕 外 多 名
371
2187
10
唐 座 庫
772 2178 2183
11
庸 廊 庶 麻
1453 2186 2193 2197
528 372
12
廃
2185
13
375
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冬 処 各 条 変 夏 憂
430
廉 慶
2181 933
宀
1028 1961 638 316 280 1869
3丶 广
庁 広
2190
7 2175 2176 2180
8
店
2071 2078 2092 2098 2100
7 2141
8 2177
応 序 床
字 宅 宇 安 守
2179
宙 宝 官 宛 宜 宗 定
2074 2084 2102
宣 室 客
2090 2159
2143
返 述 近
2072 2073 2079 2093 2099 2126 2161
11
寄 寂 宿
2082 2091 2134
12 2088
13
寛 寝
2077 2083
14
賓 寧 寡 察
2085 2087 2089 2146
15
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2080 2094
⻌ 5
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2156
2299 2337
6
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2309 2315 2334
8
10
宮 宴 宵 宰 案 家 容
2308
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2123 2129
巡
9
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5
2163
2188
2249
今 令 合 会 命 倉
実
2300
750
逆 迫 迭
2301 2316
遅 遊 運 違 遍 道
2323
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2303 2305 2310 2311 2353 2355
2338
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2346 2347
2314 2318
遭
2313
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2333 2342
遇 進 逸 逮 週
選 適 遮
2339
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799
15
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2030 2296
子 3
子
35
6
存 2330 2331 2341
16
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2344
1014
8
承 孤 学 享
246 627 2170 2247
10
孫
986
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5
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3
11 266
弓
尾 尿
116 381
引 弔
2319 2322
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1672 1679
7
8 2307
1661
4
7
2321
12
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2328
2357
2343
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2345
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1214
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15 2312
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10 2304
1848
2327
2336
9
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154
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1674
8
1148
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1664
弥 弦
1665 1666
1669
11
張 強
1663
12 1668
女 3 23
5
奴
196
6
妄 好 如 妃
24 36 121 330
娠 娯 娘
4
王 128 1289
11
婆 婦 婚
939 1092 1530
媛 媒 婿
251 666 1946
13
嫌 嫉 嫁
730 1691 2127
14
嫡 嬢
1216
幺 48 745 1220 1881 1897
幻 玄 幼 率 幾
946 1491 947 1600
4
303
4一
519
丰
692
9
姿 姫
26 101
表 青 毒 責 素
全
1191
7
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1649
8
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1757
9
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1652
10
珠
1185
11
現 球 望 理
1184 1186 1651 2041
斑 琴
1189 1190
聖
1655
14
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1274 2240
17
環
1989
4
木
628
5 1107 1427 589 1749 976
朴 朱 朽 机
札 本 末 未
640 684 689 691
6
751
644
999 1027
杉 村 来 材
633 636 696 1016
8
枚 松 板 杯 林 東 枠 枝 枢 析 枕
635 641 643 647
2237
10
校 根 桃 桑 株 核 桜 栓 栽 桟 格 桁
630
701
645 680 688
1399 1626
1172 1193 1596 1606 1963 2269
11
梅
631 1238
巣 梨 械
1269 1521 1583
12
1861
637 642 646 656 661 665 1023 1069 1076 1147 1233
検 棒 森 棟 椎 椅 棚 棋 棄 植 極 棺
1325 1827
14
模 構 様
648 807 922
15
槽 権 横 標
706 832 1709 1799
16
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1209 1316 1601 2259
21
欄
2226
29
鬱
1857
犬
634 649
4
犬
854
655 704
5
犯
856
7
820 1011 1196 1280 1283 1404 2010 2103
13
1899 2167
944
884
1115 1156
楽 概 業
632
651
9
架 染 栃 乗 相 某 柱 査 柵 枯 柄 柿 栄
柳
686
7
1183
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198
552
6
13 948
8
妻 始 妬 姓 妹
1648
12 1906
7
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1935
12
3𠃊
女
王
25
1662
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1619
10
10
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威 姻
楼 楷
状 狂
1034 1653
8
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1072
9
狭 独 狩
857 858 2101
11 764 785
猟
861
猛 猫
1297 2045
瓶
2069
4丨
12
猶
止 1368
13
献 猿
1435 1991
14
獄
860
止 肯 歩 歳 歴
269 271 752 1621 653
獲 獣
859
版
1032
日
1268
4
尤
就
2242
歹
死 列 残 殉 殊 殖
69 1495 1603
日 5
367 687 1403
357 358
早 曲
545 1410
良
1578 1579
戸 2202 2210 2203 2207 2208 2205 2206 2212
1288
8
1588
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339
7 1582
戸 戻 肩 所 房 扇 扉 雇
152
6
戈
戒 我 戦 戯
348
甘 申 旧 旦
昆 明 昔 者 昇 易 旺
352 379 438 671 1052 1305 1650
9
星 春 昧 重
1121
1505 1894 1954
10
書 時
210 353
替 晩 普 晶 暁 暑 量 最 晴 景
146 349 355 368 483 672 713 1128 1431 2245
13
暗 暖 暇 誉 農
352 517 1054 2046
14
暮 暦
584 654
15
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769 1636
614 695 707
曇
1767
5
用
勝 腕
1472 2124
1436
6
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1026
7
肘 肖 肝
233 739 1551
8
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64 195
13
腸 腫 腺 腰 腹
364 708 787 1377 2262
14
膜
1153 1882
15
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669
16
膳 膨
925 1315
17
1898
9
胎 胞 胆
304
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150 1471
18
336 361
胸 脂 脇 脈 朗 胴 朕
臓
1613
20 76
420 1290 1415 1470
11
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847
月 4
752
朝 期
騰
1473
水
141 264
沢 汽 沃 没 沙 求 沖 決
4
水
380
5
氾 永 汁
383 416 1138
318 876 1845
548 1277
池 江 汎 汗 汚
413 398 755 873 1703 1707
泥 泣 況 油 治 泡 泳 泊 波 河 注 沼 泌 浅 沸 法 沿
382 385 390 395 406 409 418 781 938 1004 1022 1503 1572 1605 1677 1842 1974
9 407 1202 1412 1552 1771
7
汰
408
8
6 78
387
1860
582
215
12
18
曜
377
10 351
16 557
月
1123
12
片
16
昨 冒 昭 映 是
386
活 津 洪 浄 洗 派 洋
391 396 399 403 404 421 920
洞
1416
10
海 浸 浮 流 消 浪 酒 浦 浜 浴 涙
384 397 401 436 740 1291 1359 1445 1634
滋 湿 湖 満 温 湧 測 湾 滞 減 渡
953 992 1145 1240 1295 1441 1525 1667 1878 2003 2196
1981 2211
11
渦 渇 混 渓 液 添 渋 淡 涯 渉 康
389 392
13
漠 源 溝 滅
586
411
806 1620 1670
滝 溶
1817 2162
414 415 457 514 755 771 1221
済 清 淑 深 涼
1420 1432 1576 2120
滑 港 湯
388 400 410
1515 2235
16
濁 激 濃
798 1890 2047
17
濯 濫
848 1303
18
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700
4㇒ 手 4
手
漏 漆 漁 漫 漸 漢 漬 漂 滴 演
払 打
297
扱
802 1127 1637 1712 1751 1798 1909 2140
15 393 550 1174 1311
191
7
670
拉 拘 拐 抽 抱 担 拓 拝 抹 拍 披 拠 招 抵 押 拙 拡
批 抑 把 抗 扶 択 投 抜 抄 技 拒 折
168 170 171 174 176 177 217 226 747 1154 1225
179 183
振 捉 捜 挫
挙 捕 挿 挨
1055 1444 1562
362 521 596 690 780 936 1029 1501 1534 1658 1847 2191
172 180 181
434 534 1001 1569
169 278 465
掲 捻 措 掛 採 推 排 掃 据 授 接 掘 捨 描 探 控
768
1994 2110
14 1907
182
15
185 441 529 659 814 853
175
撤 撮 撃 撲 摩
222 1129 1245 1829 2198
1093 1149 1425
16
操 擁
1385 1930
1806 1849 1927
17
擬 擦
1959 2147
2044 2119 2122
12
援 揚 搭 揺 握 揮 提 換 掌
252 365 572 1064
牛
牛 先 牧 物 牲 特 犠
907 273 909 1545 911 910 1593
1694
攵
1875
7
1956 2117
改 攻
2151
481 754
1460
摘
11
184 289
搬 損 搾
1681
337
10
拳 753
347
挟 括 指 拾 持 拶 挑 拷 拭
1630
8
173
9
1230
6 448
潜 潮 潰 澄
167
5
14
2243
12
1341
790
394 402
潟 潔 潤
1199
8
放
13
摂 携
333
227 810
1889
9
故
1144
政
1948
10
致
1695
11
教 敏 赦 救 敢
219 220
欧 欲 欺 款 歌 歓
1397 1980 1276 1793 1003
463
829
874 1284
12
散 敬
625 926
13
数
殳
殴 段 殺 殻 殿 毀
1398 516 1542 1865 1030
763
1338
心
15
敵 敷
4 1908
心
1891
5
必
斤
斤 丘 斥 兵 断 新
1625 487
1633 1629 1814
爪 247
忙
1424 1867 1320
欠
欠 次
忘 志 忌 忍 快
84 284 331 1527 1706
念 怪 性 怖 忠
164 486 553 1087 1702
9
恨
192 197 305 374 1831
10
恣 悔 悩 息 恭 恋 悦 恵 悟 恐 恩
86 87 89 110 242 314 319 995 1836 1208 1936
11
惨 悠 惜 患 悼 惧 情 悪
96
慌 悲 惰 慨 愉 惑
愚 意 想 愁 慈 慎 慄 感
88
斎
1786
148
火
662
4
733
火
952 1348
370 423 440 1057 1271 1346 1429 2015
慕 態 慢 慣
灯
897 1126
憤 慰 憧 憎 憬
1177 1791
災
憩 憶 懐 憲 憾
1110 1287 2005
852
20
懸
1324
文
2000
13
754
点 為 畑
887 2019
10
烈
文 対 斉
斗
斗 斜
1044 1047
尺
尺 昼 釈
60 360 776
11
5 459
5一
12
焼 無 煮 然
示 484 609 674
5
示 礼
1773 1779
864
煩 煙
7
社
1781
453 1374 1469
8
祉 祈
1778 1787
1506
14
熊
898
232 1419
770
1497
照 58
19
531
988
4丶
1386
4𠃍
9
13
1212
1463
2204
17 871
17
爆 455
130 151
865
452
黒
懇 577
炊 炎 炉
2248
16
16
454
1824 2031
2253
燥
7
1181
15
866
1231
8 583
712
燃
6
1379 2004
勲 黙 熟
451
14
12
8
2 3
85
7
248 657
1571
6
1638
爪 妥 采 受 愛 爵
83
急 怒 怠 怨 恒
15
熱
606
9
祝 神 祖
1777 1780 1783
10
祥
1782
確
11
1872
視 祭
16 1776
磨 17
1784
18
礎
1949
13
福 禁
戊 1785 1795
玉
玉 璧 璽
成 戚
1614 1611
5丨 1182
氷
2009
5
1187
氷
425
石
尽
石
426
518
9
砂 砕 研
750
7
冷 冶
427 429
1114 1559
10
砲 破
522
10
凄 凍 准
428 702 817
937
12
硫 硝 硬
12
寒
2132
520 741
16
凝
1960
1237
目
13
碁 碑
1381
14
磁
目 且
15
91 1066
6
954
自
103
5
746 987
1660
1264
13
睦 睡 署 罪 置 督
602 736 1258 1259 1405 1575
109
罰
1490
15
罵 罷
皿
1261
17
755
血
1299
10
益
1298
盛
715 716 717 725
秋 秒 科
732 751 1046
12 1294
74 90
13
盟 監
1070 1099 1573
11 723
1301
15
盤
1461
2056 2239
718
移
14
10 2021
秩 租 称 秘
1293
2017 2026
10 1617
盜
9
12
税 程
722
17
1656
藍
13 1304
稚
821
5㇒
11
塁 番 畳
季 和 香 委 9
1513
2048
累 略
1520
11 1380
畔 畜 留
727
9
盆
2022 2025
12 1260
6
2023
畏 思 界 胃
721
8
1292
2016
2034
私 秀 利
皿
8
533
12
2020
5
1657
卑 果
97
16
153
町 男
7 2024
奮
7
1536
11
買
由 甲 田
1393
畿
1263
田
179
15
1853
98
10
眼 眺
1825
羅
9
眉 首 看 省 県 甚 盾
679
19
14
5 1279
92
眠
6
5
8
824
1775
31
盲
礁
12
禍 禅
身 2200
1788
瞭 瞳 瞬
7
2042 2052 2130
矢
矢 知 短 矯
1680
14
種 稲
724
1685
1340
1683 2260
禾
15
稽 穂 穀
720 996 1866
稼 稿
2128 2256
療
1041
16
穏 積
18 719 1752
癒 癖
1466
立
穫
835
白 778 1049 782 786
5丶 疒
疫
立 辛 竜 産 章 童 端 競
40 1804
疲 病 疾 症
1043
発 登
1690
5
1547 1548
穴
1823
耳
2016
究
耳 取 恥 聴 職
111 202
老 考 孝
1309 1439 1522
9
突 窃
2107
13
2111
11 1686
14 1042
窓 窒
2113
13
糖
56
6 756
10
料 粋 粉
1045
粒 粘 粗
西 要 票 覇
12
1375
蜂 15
触
906
虫
1417 1747
13 1322
14 624 676
箋 箇 管
1607 1985 2104
2138
1876
耒
耗 耕
15
箱 範
664 1249
682 1253
16
篤
894
舌
65
6
623
796
6㇒
舌 辞
18 129
簡
2233
1805
263
竹
201
6
2189
622
算
14
460
66
621
1203
蜜
63
619
節
13
16
62
答 筆 筋 等 筒 策
2081
1797
1510
756
2168
虹 1376
肉 育 背 脊 脅 腎 腐
竹
19
簿
1452
20 616
籍
683
10
笑
794 1422
22 617
792
9
蛮 風
793
1372
光 輝
757
蚕 蛍
761
虫
1071
1352
蛇
18
1116
759
795
773
肉
11 2075
16
光
1000
米 2121
1433
1407
55
蚊 融
12
11
6丨
老
10
14
112
1585
2108
空
2182
西
米
8
粧
糧
7
1040
瘍
1546
1310
12
痴
矛 柔 務
1421
精
矛
5一
1671
穴
1038
痩 痘 痛 痢
2112
1820
癶
11
痕
2109
6
1811
1234
1953
窯 窮
粛 12
555
540
1039
10
15
1816
5𠃍
9
2114
2008
18
白 的 皆 泉
窟
17
籠
1818
舟
11
笛 符 第
618 620 1675
舟 航 般
1454 1455 1459
舶 舷 船 艇 艦
1456
長
1457
54
1975
行
行 術 街 衝 衛 衡
2267 2271
10
褐 被 衰 初
1104 1106 1112 1487
2268 2270
袋
1566
師
293
争
争 静
256
12
裾 衆 裁 裕 裏
1150 1300 1597 1982 2039
1428
舛
舞
608
6丶
1019 1682
褒 装 裸
1103 1644 2051
袖 補 裂
1105 1446 1498
1952 1281
衣
襟
919
11 916
13
群 羨 義
918 921 1590
14
養
1333
6𠃍
羽 翁 翌 習 翼 翻
840 843 841 844 842 2054
6𠃊
衷 襲
6
糸 1704 1819
複
系
984
8 2263
羊
955
7
22 1519
8
羞
1796
7
製
10
糸
16
1101
1204
15
衣 6
915
羽
14 1018
美 差
13
㫃
施 旅 族 旋 旗
9
着
11
2273 2272
914
1987
2065 1458
羊
9
哀
6
糾
級 紀 約 紅
964
1050 1205
959 977 989 1511 1531 1888
960 962 971 974 975 1073 1504
956 957 958 963
9
757
965
1765 1964
絹 継
1388
978
7
982
7一
1090
言
1256
7
1262
言
131
1266 2157
15
緩 線 練 縄 縁 締 緯 編
967
9
訃 計 訂
526 1136 1229
973 979 981 983 1904
10
討 記 訓 託
234 332 433 611
1972 2216
縛 緻 縦 縫
1448 1696 2292
11
訳 設 訟 許 訪
133 216 325 1059 1883
2325
17
繁 繊 績 縮
966 1598 1753 2135
961 1409
繰
969
968 1647
1587
19
16
13 972
緊 総 緒 維 綿 緑 網 綱 綻
12
絶 統 絞 給 紫 結 絵 絡
織
14
2096
11
細 紺 紳 終 経 組 紹
1864
970
10
紋 純 索 紛 紙 紡 納
続
18
繕
980
12
診 詞 詠 詐 詔 訴 評
134 136 417 1120 1500 1639 1802
証
1947
13
話 詣 詩 該 詳
138 142 288 882
諮 謁 謀 諧 諭 諦
135 145
試 誠 詰 誇 誕
1570 1615 1646
783 1464 1903
17
謝 謙 講 謡
731 805 1063
18
謹
1717
14
誤 誌 説 誘 語 認 誓 読
19 137 285 320
譜 警 識
927 1586
1528 1632
20
護 譲 議
834 1217 1592
1863
15
談 諾 諸 誰 論 請 調 課
456
麦
麦 麺
812 1079 1430 1998 2049
16
1246
軒
1555
軟 斬 転
1635 1763
12 1244 1247
較 載
1599
1250 1251
1467
走 赴 起 超 越 趣
274 527 334 1502
車
酵 酷 酸
1807 699 1951
275
10
酎
1354 1362 1356
醒 醜
1165 1168 1180 1512
12
賀 貼 貴 貸 費 貯 貿
1166
1357
覆
2297
20
貞 則
1343 1523
10
財 貢
758
貨
1813 830
足
276
11
距
1226
資 賄 賃 賊 賂
12
践
1604
1158 1163 1223 1580
13
跡 跳 路
315 535 1968
1965
賛 賢
14
踊
15
1438
1160 1164
賜 賦 質 賠 賞
15
踏 踪
405 2144
1306 1624
19
蹴
2246
1627 1942
21
躍
846
2154
邑
17
購
8 1170
18 1159
1302
2238
11 1355
2171
7
2086
1171 1206
94
1173
1169
9
93
1678
7 1157
見 規 覚 覧 親 観 足
1567
1364
7丨
見
1167
13 1361
貝 1950
酉
1360
14
697
1609
1966
貝
束
束 疎 辣 頼 整
1162
1366
酪 酬
1286
591
走
酢
醸
16
轄
1365
18
15
輸
酔
貪 敗 販 貫 貧
16 1243
輩 輪
1363
13 1242
軸 軽
1358
12
10
17 590
575 673
軌
配 酌 11
9
13 356
728 1837
1241
11 237
1770 2067
車
667
917 1192
7
贈
2033
都 邸 那
1923 1925 1929
邦 郎
1922
韓
1931
1971
9
郵
8 1924
雨 雷
1932 1944
12
零 雲
7㇒ 㿝 1323
1766
13 443 444 447
14
貌
869
449
15 905 1484
雪 霜
446 663
17
露
8
18
奉 597
雰 霧
599
1549
幸
幸 執 報
50 51 194
幹 乾
1554 547
閑 開 間
雌 雑
2229
2220
2230 2231
2224
18
8㇒
903
隹
902
10
900 901 2027
8丨
2228
899
2035
隻
494
阪 防
554 784 878 2352 743
1886
隔 隠
498
1068
際 障
815
813 822 823
759
14
銃 銀 銘 銅 銭
1721 1722 1729 1744 1745
鋭 鋳
1728 1732
16 1789 1822
8
14 493
隣
495
758
499
舎
舗
1928
金
9
険 陸 陵 陳 陶 陰
2192
13 497
陛 除 陣 陥 院
1976
15 1351
7
阜 限 降
1735
12 512
附 阻
鉢 鉛 鉱
500
501 544
金
1724
針 釣
1738
12
鈍
1737 1739 1986
錠
2158
鍛
1725
18
鎌 鎖 鎮
1733 1741 1743
1734
703
1761
1736
1740
603
1061
1731
17
11
607
1730
10
1339
496
1726
2063 1720
1248
2142
鍋 錯 鋼 錬 録 錦 錮
8
10
12
雅 雄 焦
1713
隅 陽 隆 階 隊 随
阜
2223
闇
1273
難
2221
閲
1117
離
2232
関 聞 閥 閣
816
6 2225
闘
虎
虎 虐 虚 虜 虞 慮 膚
2227
17 1509
600
2222
15 1968
8一
問 閉
1941
11
19
14
需
角
2219
陪
14
12
震 霊 電
豸
門
825
18
11 445
2250
奉 泰 奏
門 8
2018
1921
角 解
2040
11 1919
既
2036
442
10
郊 邪 郷 部 郭
里 野
雨
集
里
鏡
13
鉄 鈴
19
1723
1810
1727
20
鐘
1826
22
鑑
1742
8𠃍
顕 顎 題 額
991 1769 1955
19 1794
9
革 靴
21
顧
音
骸 髄
1198
881 2350
品
品 臨
106 108 613 1508
1383
鬼 魂 魅 魔
301 1760 694 2199
食
食
1326
10
飢
16
1335
12
飲 飯
顔
1332
13 508
飼
14
駄 駅 駆
890
1330
験 騒 騎
1595
鳥
鳥 鶏
836 838
魚 鮮 鯨
801 923 2244
鹿 929 930 931
歯
歯 齢
765 766
891 1400
15
駒 駐
59
12 889
13 豊
892 1024
18 1327
18
10
馬
異 戴
鹿 麓 麗
10
馬
15
1308
1933
鬼
9
753
1995
10 一
14
107
147
9㇒
1756
158
音 韻 響
異
魚
1382
13
頻 頭
2105
骨
432
頬
館
941
12
領
1589
9丶
1228
傾 預 頓 頒 頑
餓
9丨
11
順 項
1328
16 2213
928
11 1329
940
頁
頂
14
789 867
驚
1334
15
願 類
9一 革
1331
2160
隶
隷
飽 飾
893 895 1012
22
760
豊 艶
1317 1318
Resources Etymological data and images Xiaoxue Sinica - 漢字古今字資料庫. Accessed September, 2017. http://xiaoxue.iis.sinica.edu.tw/ Vividict.com - 象形字典 (n.d.). Accessed September, 2017. http://www.vividict.com/ Multi-fuction Chinse Character Database - 漢語多功能字庫. Accessed September 2017. http://humanum.arts.cuhk.edu.hk/Lexis/lexi-mf/ Shirakawa, S. (2003). Jōyō jikai (常用字解). Tōkyō. Liao, W. (2014). Han zi shu (漢字樹). Beijing.
Japanese dictionaries Kanji Jitennon Online - 漢字辞典オンライン. Accessed September, 2017. http://kanji.jitenon.jp/ Jisho.org: Japanese Dictionary. Accessed September, 2017. http://jisho.org/ Glyph supplements GlyphWiki - メインページ. Accessed September, 2017. http://www.glyphwiki.org/
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