A Comparative Analysis of the Origin and Formation Between Chinese Characters and English Alphabets

This research is based on the framework of social constructivism,utilizing the principle of Human Universals as a methodology to compare the similarities and differences between the ideation and formation methods of Chinese characters and English alphabets.Through comparative analysis of the ideation of English letters(pictogramme)and the origin of Chinese characters,known as the"Six Categories Theory,"we discover their alignment in terms of social,traditional,and cultural aspects.This suggests that different ethnic groups share common features in terms of life experience,learning cognitive development,and thinking habits.This study also finds that the origins of English letters and Chinese characters share similar linguistic features in their methods of constructing letters/characters,such as pictographic,ideographic,and semantic characteristics.Exploring these commonalities contributes to promoting learning and communication between Chinese and English characters.Additionally,by focusing on socio-cultural aspects,traditional customs,and cognitive learning,this study aims to break away from the traditional linguistic research approach that solely focuses on language differences.This provides a broader perspective and richer dimensions for Chinese and English language learning,facilitating the development of cross-linguistic and cross-cultural communication.

A Study on the Traditional Chinese Traditional Architectural Form of Mythological Tradition

Objective Through the metaphorical archetypal spirit and mythological semantics of Chinese character structure, this paper explores the metaphorical mythological gene and the moral order of the Chinese character structure, geographical thinking and aesthetic orientation of the mythological prototypes derived from the Chinese characters. Method The cultural archetypes and the theories of big and small traditions are adopted to sort out the mythological beliefs in the former architectural forms of the big traditions and the ethical narrative system carried by the buildings in the small cultural traditional societies. In the architectural archetypes dominated by big and small cultural traditions, the thinking of “archetypes and ethics” is found to be a homologous gene, which confirms the universal significance of the spirit of Chinese Confucian ethics to the power of Chinese civilization flowing and inheriting and human morality. Conclusion The structure of Chinese characters has the function of “recording” and “interpreting”, and the mythological thinking of architectural form materials, understands the ultimate transformation of cultural archetypes in creation, and guides the value of the traditional architectural design of “bringing out goodness and symbiosis” in the contemporary era. To relieve the material pursuit of spiritual enjoyment at that moment, to promote cultural heritage and the role of social treatment, to build cultural identity and the spiritual transcendence of the existence value of space ethics and the overall social and cultural identity.

Animation of Chinese Characters： Evolution of Shapes and Styles

Hanzi （Chinese characters） has a long history and affluent contents. To promote the popularity of historical and cultural knowledge of Chinese characters, an online program has been launched by Beihang University and Beijing Normal University to explain Chinese characters＇ original meanings and evolution processes with vivid and expressive animation videos. Currently, More than 1,000 videos can be accessed through the website “http：//www.chinesecharacter.org/”. Besides these online resources, a human-computer interaction system is also proposed to simulate clerical changes of Chinese characters through computer morphing technology. What we want is to make the teaching and learning of Chinese characters more reasonable, more easily understandable and more interesting.

The Origin of Chinese Characters

IN oracle-bone inscription, 面 (mian) depictsthe outline of a face with a large eye at its center.To this end its original meaning was the humanface. However, in ancient Chinese 面 referred tothe front of the head and another characterdenoted the cheek, specifically the area

The Origin of Chinese Characters

吴(wu),is the name of anancient kingdom and also of a placein Chinese history.At the beginningof the Xizhou Dynasty(circaB.C.1000-B.C.771),a prince namedTaibo came to live in Wu.His directdescendent later thrived and lordedthe region,making himself a king andWu his kingdom.But in B.C.475,thekingdom of Wu was overthrown andthe Yue Kingdom took over.

The Origin of Chinese Characters

IN both the oracle-bone inscription andthe bronze inscription, "并" (bing) lookslike two people being linked together. Theoriginal meaning of "并" is merge orunite. It is also used as an adverbial wordmeaning all and together.

The Origin of Chinese Characters

IN both the oracle-boneinscription and the bronzeinscription,"子" (zi) looks like aninfant with a big head and a smallbody. It was either written in theform of a baby in swaddling clotheswaving its hands or a standing childwith a few renegade hairs on its headand unformed skull.

The Origin of Chinese Characters

In ancient Chinese characters, "北" (bei)depicts two people standing back to back. Itoriginally meant,running counter to, or goingagainst’ something or someone. When a

The Origin of Chinese Characters

IN bronze inscription,the character黑(hei)depicts a person smoked bythe heat of a fire into filth,heat andsweat.its origininal meaning is

The Origin of Chinese Characters

IN ancient Chinese characters,母(pronounced mu)depicts a womanbending on her knees and crossingher hands in front with two points onher chest symbolizing her breasts.The original meaning of 母 is anadult woman who has given birth tochildren,i.e.a mother It was

The Origin of Chinese Characters

女 (nü) is a pictograph. InChinese it means female, theopposite of male. In ancientChinese, women had low socialstatus which is reflected in theshape of the character. 女 in theOracle-Bone Script looks like

汉字“生”“活”“存”“在”本义的存在论意义--存在论的“汉语哲学”诠释

汉语“本体论”与“存在论”应当严格地区别开来,前者对应传统的“ontology”,后者对应的则应当是“Being theory”,因为后者思考的并非形而上的存在者,而是前存在者的存在。尽管前者可以汉译为“存有论”,但后者却不能,因为汉语“有”的本义是一种存在者化的观念,在哲学上所指的正是作为形而上存在者的本体。所谓“汉语哲学”,其中心任务应当是揭示中国哲学关键词的存在论意义。汉字“生”“在”“存”的本义,即人与草木浑然不分的共在,都是中国远古先民对存在的感悟,从而具有存在论意义;而“活”的本义作为“水流声”,则表征着人是由于倾听“天命”而得以存在的,从而具有当代诠释学的意义。

“余”字本义的“帝自称说”汉字字源学考辩——基于“炎黄崇拜”假说

“余”字本义释义存在多种解说。但究竟哪种解说合乎逻辑思辨和推理的科学性标准,需要进行汉字字源学层面的考证辨析。该文提出“余”字本义的“帝自称说”,借助“炎黄崇拜”假说的理论工具,从“余”字字族、“亼”字字族、专有名称、专有地名、专有自称5个维度进行了系统的考辩,得出“余”应为上古华夏文明中帝对自己的专有称谓,“余”字造字构型应当从亼从木。其中“亼”字字根代表了“△”形帝陵、神庙或神坛,是“炎黄崇拜”的标志性建筑形制;“木”字字根为“炎黄”二帝来自神授之权杖的简体造型。该文的探索性研究旨在为“余”字本义的“帝自称说”提供有力论证的同时,亦能够验证“炎黄崇拜”假说在建构汉字字源学理论体系中的有效性。

古汉字中的力学观念

通过对三个古汉字“力、劦、动”字形与源流的解读,分析了隐藏在古汉字中的力学观念,揭示了它们起源于华夏先民对自然界中一些力学现象直观、朴素的认识。

从夏家店下层文化彩绘陶纹饰看中华汉字的起源

中华古文字的起源虽然在文字画和记事符号方面都不是空白,但从夏家店下层文化彩绘陶纹饰中分离出来的、具有独立性的单一图形、图案,是多民族不断迁徙、接触、融合的、充满中华和谐的文化元素,这是人类文字由画到字,由原始到成熟的产生、发展的活态样本,为汉字发生发展提供了具体生动的佐证。希望通过研究让汉字文化起源有一个完整的序列,为文化自信提供有力的支持。

书法艺术的文化源流、审美特性及审美价值构建

中国书法是以汉字运用为载体的艺术,汉字循“观象画物”创立之初,因象形性便自带天然造型之美和审美元素,审美属性是在记载传播日常实用本体功能之外的附加产物,时移势迁,汉字书写的工具性实用功能弱化,书法转而以艺术为追求主旨,并成为中国传统文化中最为经典的艺术形式,书法艺术具有文化天然优势,且具有极高的文化审美价值。探寻书法的文化源流与艺术化涅槃历程,分析书法艺术的文化审美特性,构建通识书法文化的审美价值,旨在发挥中华民族传统文化传承载体的担当,促进中国传统文化的复兴,加强文化的对外传播。

《说文解字·叙》汉字创生观论析

“起源”一词的预设是“脱胎于母体某”,受这一思维陷阱的框限,学界关于“从无到有”的研究,基本上是在寻找这个“母体某”。一物不可能同时“脱胎于母体甲”又“脱胎于母体乙”,这种线性思维使得人们探讨汉字起源时陷入了盲人摸象的困局,各执一词,莫衷一是。许慎《说文解字·叙》以非线性思维阐述了汉字从无到有的过程。在“伏羲画卦—神农结绳—仓颉造字”的叙事思路中,许慎认为汉字之从无到有是“和合众缘”的结果。这种非线性的思维方式不宜冠以“起源”二字,受《世本·作篇》启发,我们建议用“创生”。

钱坫金石学研究述要

钱坫是活跃在乾嘉金石圈的一位重要学者。他一生阅览金石无数,学术积累丰厚,结合考据学盛行的时代风气,对金石学有深刻的理论思考。钱坫主张摒弃前代溺于鉴赏把玩的金石研究习气,掘发金石学服务于经史研究的学术传统,致力于考辨文字源流,证验古代经济社会制度、区域地理沿革等切于实用的学术研究。钱坫的金石学研究方法反映出乾嘉小学的发展水平与理念追求,囿于时代情形,得失互见,具有学科发展的阶段性典型特征。

林泰輔《中國古文字源流》稿本(1907)發現的意義

文章就日本學者林泰輔博士學位論文《中國古文字源流》(1907)一書發現過程、體例、内容及相關問題進行探討。林氏將中國文字分爲篆體時代與隸楷時代,提出象形、指事兩大造字“綱領”説,古文字變遷三期説,其《古文變遷表》以字形爲分期依據,具有明確的地理文字學意識,對秦漢之前古文字分爲8類,將《説文》小篆與秦代金石文進行對比,或同或異,直接相關,小篆繼承古文籀文,開啓後世楷書之端,隸楷時代“異體百出”,打破了小篆造字規則,創立新的楷書造字規則,其古文字“字形比較法”,繼承與發展了《説文》的傳統,更爲系統化、精細化,開辟了走向現代化的中國古文字學研究道路。

汉字图形化创意在LOGO设计中的应用

从汉字的文化内涵出发,通过对汉字在标志设计中的不同应用方式将汉字型标志进行总结、归类,试图清晰、宏观地把握汉字型标志设计的发展规律及趋势,展现汉字型标志独特的文化意蕴和形式美,并从中找寻汉字型标志设计的突破口和新课题。