Кинеско писмо
Од Википедија, слободна енциклопедија
Кинеско писмо кај разни јазици | |
---|---|
Кинески | |
Традиционален кинески | 漢字 |
Упростен кинески | 汉字 |
Пинјин (мандарински) | ханџи |
Џјутпинг (кантонски) | hon3 zi6 |
Корејски | |
Ханџа | 漢字 |
Хагул | 한자 |
Преработена романизација: | Hanja |
МекКун-Рајшауер | Hancha |
Јапонски | |
Канџи | 漢字 |
Романџи | Kanji |
Виетнамски | |
Hán Tự/Chữ Nho | 漢字 |
Quốc Ngữ (национално писмо) | Hán Tự |
Кинеското писмо се состои од знаци („знак“ -традиционално кинески: 漢字; упростено кинески: 汉字; пинјин: hànzì) кои се логограми за пишување кинески, јапонски, корејски, и (порано) виетнамски. Неговите можни предходници се појавиле пред 8000 години, додека целосно писмо било развиено пред 3500 години во Кина. Ова е веројатно најстаротто писмо во историјата на човештвото.
Наспроти генералното мислење, само 4% од кинеските знаци се пиктограми (象形字); останатите 95% се логички агрегати (會意字) и пиктофонетици (形聲字), знаци составени од два дела — еден ел го означува значењето, а другиот звучноста. Зборовите често се состојат од два или повеќе знака. Бројот на кинеските знаци цо рамките на Кангкси речникот изнесува близу 47,035, иако голем дел од овие се ретко употребувани варијанти насобрани низ историјата. Во Кина, за писмен се смета оној кој познава 2000 знаци. [1]
Во кинеската традиција, еден знак соодветствува на еден слог, но изговорот варира по дијалект. Лабавата врска помеѓу фонетиката и знаците има овозможено користење на писмото кај разни јазичнии семејства.
Фактичкиот облик на знаците варира од јазик до јазик. Континентална Кина има воведено упростени знаци во 1956, но традиционалните знаци сеуште се користат во Тајван и Хонг Конг. Јапонија има свои упростени знаци уште од 1946, додека Кореја ја ума ограничено употребата на кинески знаци, а Виетнам го има отфрлено писмото и има воведено романизирана азбука.
Кинеските знаци поформално се нарекуваат и синографи, а системот синографија. Јазиците кои имаат преземено синографија - и со ортографијата голем број на преземени зборови од кинескиот - се нарекуваат синоксеници без разлика дали моментано ја користат таа отрографија. Изразот не подразбира било каква генетска поврзаност со кинескиот. За главни синоксеници се сметаат јапонскиот, корејскиот и виетнамскиот.

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Оваа страница содржи кинески текст. Без соодветна поддршка, може да гледате прашалници, квадрати, или други симболи, наместо кинески знаци. |
Содржина |
[уреди] Историја

Според една легенда, кинеското писмо било измислено од Кангџие (ц. 2650 п.н.е.), бирократ при легендарниот цар Хуангди. Легендата кажува дека кога тој бил на лов на планината Јангксу (денешна Шанкси), видел желка чии вени му го одземале вниманието. Инспириран од можноста за логичка релација меѓу вените, тој почнал да ги изучува животните, терените, и ѕвездите, и измислил симболички систем наречензи (字) -- кинески знаци. Според преданијата, дента кога кинеското писмо било измислено луѓето го чуле ѓаволот како оплакува, и виделе како житарки паѓаат од небото, бидејќи ова го означувало почетокот на цивилизацијата, за добро или зло.
Современите археолошки наоди укажуваат на порани, неолитски корени на кинеските знаци. The earliest evidence for what might be writing comes from Jiahu (賈湖), a Neolithic site in the basin of the Yellow River in Henan province, dated to c. 6500 BC [2]. It has yielded turtle carapaces that were pitted and inscribed with symbols. Later excavations in eastern China's Anhui province and the Dadiwan culture sites in the eastern part of northwestern China's Gansu province uncovered pottery shards, dated to c. 5000 BC, inscribed with symbols [3][4]. It is unknown whether these symbols formed part of an organized system of writing, but many of them bear resemblance to what are accepted as early Chinese characters, and it is speculated that they may be ancestors to the latter.
Inscription-bearing artifacts from the Dawenkou culture (大汶口) culture site in Juxian County, Shandong, dating to c. 2800 BC, have also been found [5]. The Chengziyai (城子崖) site in Longshan township, Shandong has produced fragments of inscribed bones used to divine the future, dating to 2500 - 1900 BC, and symbols on pottery vessels from Dinggong are thought by some scholars to be an early form of writing. Symbols of a similar nature have also been found on pottery shards from the Liangzhu culture (良渚) of the lower Yangtze valley.
Although the earliest forms of primitive Chinese writing are no more than individual symbols and therefore cannot be considered a true written script, the inscriptions found on bones (dated to 2500 - 1900 BC) used for the purposes of divination from the late Neolithic Longshan (龍山) Culture (c. 3200 - 1900 BC) are thought by some to be a proto-written script, similar to the earliest forms of writing in Mesopotamia and Egypt. It is possible that these inscriptions are ancestral to the later Oracle bone script of the Shang Dynasty and therefore the modern Chinese script, since late Neolithic culture found in Longshan is widely accepted by historians and archaeologists to be ancestral to the bronze age Erlitou culture and the later Shang and Zhou Dynasties.
The oldest Chinese inscriptions that are indisputably writing are the Oracle bone script (甲骨文 jiǎgǔwén, lit. shell-bone-script), a well-developed writing system of the Shang Dynasty (or Yin (殷) Dynasty), attested from about 1600 BC (from Zhengzhou) and 1300 BC (from Anyang), along with a very few logographs found on pottery shards and cast in bronzes, known as the Bronze script, which is very similar to but more complex and pictorial than the Oracle Bone Script. Only about 1,400 of the 2,500 known Oracle Bone logographs can be identified with later Chinese characters and therefore easily read. However, it should be noted that these 1,400 logographs include most of the commonly used ones.
[уреди] Пишани стилови
The earliest Chinese characters are the Oracle bone script of the late Shang Dynasty and the Bronze Scripts (金文 jīnwén) of the Shang and Zhou Dynasties. These scripts are no longer in use, and are of purely academic interest.
The first script that is still in use today, albeit restricted use, is the 篆書, 篆书 zhuànshū ("seal script"). It evolved organically out of the Zhou bronze script, and was adopted in a standardized form under the first emperor of China, Qin Shi Huang. The seal script, as the name suggests, is now only used in artistic seals. Few people are still able to read it effortlessly today, although the art of carving a traditional seal in the seal script remains alive in China and Japan today; some calligraphers also work in this style.
Scripts that are still used regularly are the "clerical script" (隸書, 隶书 lìshū) of the Qin to Han dynasties, the "Wei monumental script" (魏碑 wèibēi, see Weibei), the "regular script" (楷書, 楷书 kǎishū) used for most printing, and the "semi-cursive script" (行書, 行书 xíngshū) used for most handwriting.
The cursive (草書, 草书 cǎoshū, literally "grass script") is not in general use, and is a purely artistic calligraphic style. The basic character shapes are suggested, rather than explicitly realized, and the abbreviations are extreme. Despite being cursive to the point where individual strokes are no longer differentiable and the characters often illegible to the untrained eye, this script (also known as draft) is highly revered for the beauty and freedom that it embodies. Many simplified Chinese characters according to the CCP 1964 list are derived from cursive simplifications of traditional characters.
Just as Roman letters have a characteristic shape (lower-case letters occupying a roundish area, with ascenders or descenders on some letters), Chinese characters occupy a more or less square area. Characters made up of multiple parts squash these parts together in order to maintain a uniform size and shape — this is the case especially with characters written in the Sòngtǐ style. Because of this, beginners often practise on squared graph paper, and the Chinese sometimes call Han characters 方块字 fāngkuài zì (lit. "square-block characters").
[уреди] Обликување на знаците
Главни статии: Класификација на кинеските знаци и радикал
In the early days when Chinese characters were invented, pictograms dominated the early writing system, in which it was possible to discern the meaning from shapes. The evolution of characters, notably the need for expressing abstract concepts and ease of writing, has boosted the emergence of more conceptual characters.
Around 100AD, a lingust Xu Shen classified all Chinese characters into six categories, namely liùshū' (六書), in his dictionary of etymology Shuowen Jiezi (說文解字). Although the categories are arguably inconsistent to reflect complete nature of Chinese characters, it has been perpetuated by the long history and its pervasive use. [6]
1. Pictogram (象形字 xiàngxíngzì)
Contrary to popular belief, only a small portion of Chinese characters are pictograms, which reflects the shape of real objects. These characters has been evolved in a simplifer form to make ease of writing.
Examples include 日 (ri) for "sun", 月 (yue) for "moon", 木 (mu) for "wood". There is no concrete data to show the number of pictograms in modern characters, but 2000 years ago Xu Shen estimated that 4% of Chinese characters fell into this category.
2. Ideograph (指事字, zhǐshìzì)
Also called a simple indicative, simple ideography, or ideogram, it adds an indicator to a pictograph to make a new meaning. For instance, while 刀 (dāo) is a pictogram for "knife", placing an indicator in the knife makes 刃 (rèn), an ideogram for "blade". Other common examples are 上 (shàng) for "up" and 下 (xià) for "down". The number of this category is small, as most concepts can be represented by characters in other categories.
3. Logical aggregrates (會意字, Huìyìzì)
Also translated as associative compounds, it symbolizes an abstract concept with pictograms. For instance, while 木 (mu) is a pictograph for wood, putting two 木 together makes 林 (lin), an ideogram for "forest". Combining 日 (ri) sun and 月 (yue) light makes 明 (ming) bright which reflects the sunlight and moonlight up the sky. Xu Shen estimated that 13% of characters fall into this category.
4. Pictophonetic compounds (形聲字, Xíngshēngzì)
Called by semantic-phonetic compounds, or phono-semantic compounds, it represents the largest group of characters in existing Chinese, in which it combines a simple pictograph with phonetics and makes a new meaning.
Examples are 河 (he) river, 湖 (hu) lake, 流 (liu) stream, 沖 (chong) riptide, 滑 (hua) slippery. All these characters are started with a radical of three dots, a simplified pictograph for a water drop. The other side is a phonetic indicator, mostly a homophone or a near homophone whose pronunciation is simliar to that of original meaning.
In AD100, Xu Shen categorised up to 82% of characters into this category, but it was up to around 90% in Kangxi Dictionary 2000 years later. Pictophonetic has helped Chinese to extend its vocabulary in a high speed, but as the evolution of Chinese progressed, most phonetics in pictophonetic compounds were lost, and the making of them has been often arbitary.
It is arguably difficult to associate relevant concepts with those characters. For example, the radical of 貓 (mao) cat is 豸(zhi), a pictograph for worms; the radical of 气 (qi) air is also used to make a character for 氧 (yang) oxygen and 氨 (an) ammonia.
5. Borrowing (假借字, Jiǎjièzì)
Also called phonetic loan characters, those characters have been created before, but were borrowed to represent another meaning. In most cases, it happens when a concept is invented orally, but lacks characters to represent it. Occasionally, a new meaning can also replace the old meaning. 自 (zì) was a character for nose, but today it exclusively refers to oneself. The old meaning of 萬 (wan) was spider, but it was completely replaced by ten thousand.
As the number of characters has grown, lingusts often resist making any new characters based on this principle because it ignores the logistics of creating new characters. However, the need for writing dialects, notably Cantonese and Taiwanese in Hong Kong and Taiwan, has extended tardily the number of those characters to represent dialectic vocabulary in which its written form is not recorded in existing Chinese characters.
6. Associate Transformation (轉注字, Zhuǎnzhùzì)
These characters originally represented the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character for "elder person", but detached into two separate words. As characters of this category are rare, association transformation is often omitted or combined with others in modern character categories.
[уреди] Ортографија
Usually Chinese characters each take up the same amount of space, due to their block, square nature. One of the easiest ways for beginners to ensure a proper push-off is, hence, to practise writing with a grid as a guide, which is indeed standard practice in primary schools for both normal exercises and calligraphy training. In addition to strictness in the amount of space a character takes up, Chinese characters are written with very precise rules. The three most important rules are the strokes employed, stroke placement, and the order in which they are written (stroke order). Most words can be written with just one stroke order, though some words also have variant stroke orders, which may occasionally result in different stroke counts. On a larger scale, Chinese text is traditionally written from top to bottom and then right to left, but it is more common today to see the same orientation as Western languages: going from left to right and then top to bottom (see Chinese written language). Most punctuation marks were adopted from the West, but there are a few exceptions: for example, names of books are marked with a wavy line drawn to their right in vertical text, or enclosed in a special double pointed bracket in horizontal text.
Common errors while writing Chinese characters include incorrect stroke direction, incorrect stroke order, incorrect stroke length relative to other strokes, and incorrect placement of strokes relative to other strokes, as well as the weight given to the different parts of a stroke. Each mistake is highly visible to the literate eye, and such mistakes are often shunned, being marks of illiteracy or incompetence. In a culture that values scholarship as its highest virtue, such attributions are highly undesirable. Because of this strictness in not only the image of the character, but how the image is produced, it is considered by many the most difficult to learn properly.
Due to the long history of China, as well as many stylistic variations that have developed and the many attempts by past rulers to standardise writing, some characters have multiple forms. The characters themselves can be considered separate, but often are merely derivatives of each other in that their composition is of the same root. They are often not considered simplifications, as their stroke count is sometimes the same, and often lessened only but a slight amount. Probably the most famous today is the character for sword (劍), where the radical (on the right) is knife (刀). The same word can be written with different forms for the radical, including using 刃 or 刀 itself.
The use of traditional characters versus simplified characters varies greatly, and can depend on both the local customs and the medium. Because character simplifications were not officially sanctioned and generally a result of caoshu writing or idiosyncratic reductions, traditional, standard characters were mandatory in printed, and especially official, works, while the (unofficial) simplified characters would be used in everyday writing, or quick scribblings. Since the 1950's and especially with the publication of the 1964 list, the PRC has officially adopted a simplified script, while Hong Kong, Macau, and Taiwan retain the use of the traditional characters. There is no absolute rule for using either system, and often, it is determined by what the target audience understands, as well as the upbringing of the writer. In addition there is a special system of characters used for writing numerals in financial contexts; these characters are modifications or adaptations of the original, simple numerals, deliberately made complicated to prevent forgeries or unauthorised alterations.
[уреди] Реформи: Упростување
- Main articles: Simplified Chinese character, Shinjitai
Although most often associated with the PRC, character simplification predates the 1949 communist victory. Caoshu, cursive written text, almost always includes character simplification, and simplified forms have always existed in print, albeit not for the most formal works. In the 1930s and 1940s, discussions on character simplification took place within the Kuomintang government, and a large number of Chinese intellectuals and writers have long maintained that character simplification would help boost literacy in China. Indeed, this desire by the Kuomintang to simplify the Chinese writing system (inherited and implemented by the CCP) also nursed aspirations of some for the adoption of a phonetic script, in imitation of the Roman alphabet, and spawned such inventions as the Gwoyeu Romatzyh.
The PRC issued its first round of official character simplifications in two documents, the first in 1956 and the second in 1964. A second round of character simplifications (known as erjian, or "second round simplified characters"), were promulgated in 1977. It was poorly received, and in 1986 the authorities rescinded the second round completely, while making six revisions to the 1964 list, including the restoration of three traditional characters that had been simplified: 叠 dié, 覆 fù, 像 xiàng.
Many of the simplifications adopted had been in use in informal contexts for a long time, as more convenient alternatives to their more complex standard forms. For example, the traditional character 來 lái (come) was written with the structure 来 in the clerical script (隸書 lìshū) of the Han dynasty. This clerical form uses two fewer strokes, and was thus adopted as a simplified form. And the character 雲 yún (cloud) was written with the structure 云 in the oracle bone script of the Shāng dynasty, and had remained in use later as a phonetic loan in the meaning of to say. The simplified form reverted to this original structure.
[уреди] Речници
The design and use of a dictionary of Chinese characters presents interesting problems. Dozens of indexing schemes have been created for the Chinese characters. The great majority of these schemes — beloved by their inventors but nobody else — have appeared in only a single dictionary; only one such system has achieved truly widespread use. This is the system of radicals.
Chinese character dictionaries often allow users to locate entries in several different ways. Many Chinese, Japanese, and Korean dictionaries of Chinese characters list characters in radical order: characters are grouped together by radical, and radicals containing fewer strokes come before radicals containing more strokes. Under each radical, characters are listed by their total number of strokes. In Japanese and Korean dictionaries, it is usually possible to search for characters by sound, using Kana and Hangul. Most dictionaries also allow searches by total number of strokes, and individual dictionaries often allow other search methods as well.
For instance, to look up the character 松 (pine tree) in a typical dictionary, the user first determines which part of the character is the radical (here 木), then counts the number of strokes in the radical (four), and turns to the radical index (usually located on the inside front or back cover of the dictionary). Under the number "4" for radical stroke count, the user locates 木, then turns to the page number listed, which is the start of the listing of all the characters containing this radical. This page will have a sub-index giving remainder stroke numbers (for the non-radical portions of characters) and page numbers. The right half of the character also contains four strokes, so the user locates the number 4, and turns to the page number given. From there, the user must scan the entries to locate the character he or she is seeking. Some dictionaries have a sub-index which lists every character containing each radical, and if the user knows the number of strokes in the non-radical portion of the character, he or she can locate the correct page directly.
Another popular dictionary system is the four corner method, where characters are classified according to the "shape" of each of the four corners.
Most Chinese-English dictionaries and Chinese dictionaries sold to English speakers use the radical lookup method combined with an alphabetical listing of characters based on their pinyin romanization system. To use one of these dictionaries, the reader finds the radical and stroke number of the character, as before, and locates the character in the radical index. The character's entry will have the character's pronunciation in pinyin written down; the reader then turns to the main dictionary section and looks up the pinyin spelling alphabetically, just as if it were an English dictionary.
This system has also been reborrowed by Chinese-language dictionary editors, giving rise to dictionaries with the traditional radical-based character listings in a section at the front, while the main body of the dictionary carries character listings by their pronunciation listed alphabetically according to their pinyin spelling.
[уреди] Бројот на кинеските знаци
The question of how many characters there are is still the subject of debate. In the 18th century, European scholars claimed the total tally to be about 80,000. This number, however, is thought to be exaggerated as the character count varies by dictionary and its comprehensiveness. For example, the Kangxi Dictionary lists about 40,000 characters, while the modern Zhonghua Zihai lists in excess of 80,000 (the most comprehensive Korean hanja dictionary Han-Han Dae Sajeon consists about 60,000 characters, while Japanese competing kanji dictionary Dai Kan-Wa Jiten lists 50,000 entries). One reason for the overwhelming number of characters is due to the existence of rarely-occurring variant and obscure characters (many of which are unused, even in Classical Chinese). Note, however, that no two characters are ever contextually identical.
The large number of Chinese characters is due to their logographic nature — for every morpheme a glyph is required, and variant characters have at times developed for the same morpheme. Furthermore, in the centuries after the standardisation of the Chinese script by Qin Shi Huang to the zhuanshu, the literati multiplied the total stock of characters by modifying extant characters à la xíngshēngzì (形聲字) method—by altering the radical of a homonym character to provide a distinct glyph for either new words or words that had till then been homographs. It has also been claimed that the sheer number of characters is used as a way to separate scholars from the ordinary, and perhaps even to keep certain texts from being read by all but the most scholarly.
[уреди] Кинески
It is usually said that about 2,000 characters are needed for basic literacy in Chinese (for example, to read a Chinese newspaper), and a well-educated person will know well in excess of 4,000 to 5,000 characters. Note that it is not necessary to know a character for every known word of Chinese, as the majority of modern Chinese words, unlike their Ancient Chinese and Middle Chinese counterparts, are bimorphemic compounds, i.e. they are made up of two, usually common, characters. There are 6763 code points in GB2312, an early version of the national encoding standard used in the People's Republic of China. GB18030, the modern, mandatory standard, has a much higher number. The Hanyu Shuiping Kaoshi proficiency test covers approximately 5000 characters.
In the Taiwanese Ministry of Education's Chángyòng Guózì Biāojǔn Zìtǐ Biǎo (常用國字標準字體表), a list of standard forms for regularly used Chinese characters) 4808 characters are listed; The Chinese Standard Interchange Code (CNS11643)—the official national encoding standard—supports 48027 characters, while the most widely-used encoding scheme, BIG-5, supports only 13053.
In addition, there is a large corpus of dialect characters, which are not used in formal written Chinese but represent colloquial terms in non-Mandarin Chinese spoken forms. One such variety is Written Cantonese, in widespread use in Hong Kong even for certain formal documents, due to the former British colonial administration's recognition of Cantonese for use for official purposes. In Taiwan, there is also an informal body of characters used to represent the spoken Min Nan dialect.
[уреди] Најчести знаци
Ова се петсто (500) најчесто употребувани кинески знаци. Според истражувањата, овие 500 знаци претставуваат 72.1% од знаците кои се употребуваат во класичните и цовремените текстови.
的 一 不 是 了 人 在 有 我 他 这 为 之 来 大 以 个 中 上 们 到 说 国 和 地 也 子 时 道 出 而 要 于 就 下 得 可 你 年 生 自 会 那 后 能 对 着 事 其 里 所 去 行 过 家 十 用 发 天 如 然 作 方 成 者 多 日 都 三 小 军 二 无 同 么 经 法 当 起 与 好 看 学 进 种 将 还 分 此 心 前 面 又 定 见 只 主 没 公 从 知 使 部 本 动 现 因 开 些 理 长 明 样 意 已 月 正 想 实 把 但 相 两 民 她 力 文 等 外 第 王 高 问 太 头 情 西 机 它 回 并 间 手 四 关 重 应 工 性 全 门 老 点 身 东 由 何 向 至 物 战 业 被 政 内 五 儿 及 入 先 己 安 或 利 很 最 书 制 美 山 体 什 新 话 名 曰 合 加 世 平 水 常 果 位 信 度 产 立 声 南 代 走 女 言 马 金 处 便 通 命 特 给 数 次 海 今 表 原 斯 义 各 州 化 口 任 真 才 几 教 官 少 司 德 解 神 则 必 兵 气 打 员 再 论 别 听 提 万 死 更 比 受 百 做 尔 即 元 报 直 白 总 非 建 夫 北 未 张 令 反 士 师 许 条 变 系 计 且 认 目 光 管 路 接 城 活 保 结 题 却 指 感 难 量 务 治 取 场 思 电 空 边 统 件 期 克 帝 亲 复 住 请 市 六 放 风 资 求 史 色 形 望 传 八 府 眼 领 清 决 笑 告 叫 队 强 往 区 交 武 达 社 权 科 九 设 李 观 记 改 展 字 故 品 议 象 花 七 完 林 基 服 带 据 界 云 觉 像 院 飞 远 收 石 众 车 候 类 程 转 共 千 式 失 流 每 该 朝 始 连 术 近 格 济 干 运 怎 步 台 让 江 河 识 规 拉 切 极 持 若 英 争 功 深 备 造 阳 快 集 布 尽 周 宗 病 华 称 罗 爱 导 确 呢 办 节 根 击 商 陈 火 兴 京 注 虽 杀 父 存 臣 准 广 首 乎 具 甚 黄 满 容 单 联 调 吃 古 算 坐 早 引 须 离 证 约 母 组 房 曾 似 易 随 精 视 尚 断 乃 影 除 青 初 息 守 党 半 县 轻 质 语 越 况 举 皇 钱 历 留 乐 章 照 器 写 团 诸 闻
[уреди] Ретки и комплексни знаци


Often a character not commonly used (a "rare" or "variant" character) will appear in a personal or place name in Chinese, Japanese, Korean, and Vietnamese (see Chinese name, Japanese name, Korean name, and Vietnamese name, respectively). This has caused problems as many computer encoding systems include only the most common characters and exclude the less oft-used characters. This is especially a problem for personal names which often contain rare or classical, antiquated characters.
People who have run into this problem include Taiwanese politicians Wang Chien-shien (王建煊, pinyin Wáng Jiànxuān) and Yu Shyi-kun (游錫堃, pinyin Yóu Xīkūn), ex-PRC Premier Zhu Rongji (朱镕基 Zhū Róngjī), and Taiwanese singer David Tao (陶喆 Táo Zhé). Newspapers have dealt with this problem in varying ways, including using software to combine two existing, similar characters, including a picture of the personality, or, especially as is the case with Yu Shyi-kun, simply substituting a homophone for the rare character in the hope that the reader would be able to make the correct inference. Japanese newspapers may render such names and words in katakana instead of kanji, and it is accepted practice for people to write names for which they are unsure of the correct kanji in katakana instead.
There are also some extremely complex characters which have understandably become rather rare. According to Bellassen (1989), the most complex Chinese character is zhé listen (pictured right, top), meaning "verbose" and boasting sixty-four strokes; this character fell from use around the 5th century. It might be argued, however, that while boasting the most strokes, it is not necessarily the most complex character (in terms of difficulty), as it simply requires writing the same sixteen-stroke character 龍 lóng (lit. "dragon") four times, albeit in the space for one.
The most complex character found in modern Chinese dictionaries is 齉 nàng listen (pictured right, middle), meaning "snuffle" (i.e. a pronunciation marred by a blocked nose), with "just" thirty-six strokes. The most complex character that can be input using the Microsoft New Phonetic IMA 2002a for Traditional Chinese is 龘 tà "the appearance of a dragon in flight"; it is composed of the dragon radical represented three times, for a total of 16 × 3 = 48.
An 84-stroke kokuji also exists [7]— it is composed of three "cloud" (雲) characters on top of the abovementioned triple "dragon" character (龘). Also meaning "the appearance of a dragon in flight", it is read (in kun-yomi) おとど otodo, たいと taito and だいと daito.
The most complex character still in use may be biáng (pictured right, bottom), with 57 strokes, which refers to Biang Biang Noodles, a type of noodle from China's Shaanxi province. This character along with syllable biang cannot be found in dictionaries. The fact that it represents a syllable that does not exist in any Standard Mandarin word means that it could be classified as a dialectal character.
In contrast, the simplest character is 一 yī ("one") with just one horizontal stroke. The most common character is 的 de, a grammatical particle functioning as a clitic genitive case and analogous to English ’s, with eight strokes. According to Bellassen (1989), the average number of strokes in a character is 9.8; it is unclear, however, whether this average is weighted, or whether it includes traditional characters.
Another very simple Chinese logograph is the character 〇, which simply refers to the number zero. For instance, the year 2000 would be 二〇〇〇年. The logograph 〇 is a native Chinese character, and its earliest documented use is in 1247 AD during the Southern Song dynasty period, found in a mathematical text called 数术九章 (Shǔ Shù Jiǔ Zhāng "Mathematical Treatise in Nine Sections"). (See Joseph Needham's famous "Science and Civilisation in China" Volume III) It is not directly derived from the Hindi-Arabic numeral "0".
[уреди] Писменост
Се смета дека потребно е познавање на 2,000 знаци за основна писменост во јазикот (на пример, за читање на кинески весник). Учените луѓе знаат над 4,000 - 5,000 знаци.
[уреди] Видете исто така
- Chinese character encoding
- Chinese input methods for computers
- Han unification
- Chinese written language
- Transliteration into Chinese characters
- Chinese characters for chemical elements
- Xiandai Hanyu changyong zibiao (现代汉语常用字表, List of Frequently-Used Words in Modern Chinese)
- Stroke order
- Eight Principles of Yong
- Earthly Branches
- Heavenly Stems
- East Asian calligraphy
- Horizontal and vertical writing in East Asian scripts
- Blissymbols (an international auxiliary logographic language)
- Sinoxenic
[уреди] Наводи
- Joël Bellassen|Bellassen, Joël & Zhang Pengpeng (1989). Méthode d'Initiation à la Langue et à l'Écriture chinoises. La Compagnie. ISBN 2-9504135-1-X.
[уреди] Надворешни врски
- Учете кинески знаци (англиски)
- Статии за кинески знаци (англиски)
- Кинеско писмо и јазик (англиски)
- Историја на кинеското писмо (англиски)
- Научете да пишувате кинески знаци (англиски)