Traditional culture embodied in Chinese characters

The traditional culture embodied in Chinese characters is as follows:

Chinese characters are not only writing tools, but also carriers of China traditional culture. Mr. Chen Yinque once said that "every word explained is a cultural history", and every Chinese character contains rich historical and cultural knowledge. The interpretation of Chinese characters has a history of more than 2,000 years, and Xu Shen's Shuo Wen Jie Zi in the Eastern Han Dynasty is the earliest work to systematically explain Chinese characters.

The interpretation of Chinese characters can be called university question. But today, the interpretation of Chinese characters is still mixed with all kinds of entertainment and hype, and the interpretation of Chinese characters and the popularization of Chinese character culture are still on the road of exploration.

Li Shoukui and Wang Yongchang's new book "One Hundred and Fifty Lectures on Interpreting Chinese Characters" deeply and accurately analyzes the formation rules of common Chinese characters. Combining the newly published materials of ancient Chinese characters and the cutting-edge achievements of academic circles, this paper compares Oracle Bone Inscriptions, Jinwen, Jinwen and seal script with each other to explore the ins and outs of Chinese characters. Integrating the interpretation of ancient Chinese characters, the interpretation of Chinese characters, the theory of Chinese characters and the popularization of Chinese characters culture will help readers broaden their understanding of the emergence and evolution of Chinese characters.

The author points out that there are many words that express their meanings from the female configuration, and they systematically reflect the ancient female culture. It means that women are quiet and submissive, such as, if, graceful and restrained; These Chinese characters show the beauty, beauty, beauty and exquisiteness of women, and reflect the aesthetic and value judgment of women in the era of word-making.

For example, the original meaning of "Chu" is a person who sits quietly, a "virgin" is a quiet woman who lives a quiet life, "marriage" and "return" are the destination of women, and the traditional Chinese character "Fu" means to sweep with a broom. Literally, a virgin becomes a "woman". The biggest difference is that there are fewer seats to live in and more brooms to work with. In ancient times, women's social status was low, such as jealousy, jealousy, obstruction, madness, greed, rape, concubine, etc., which revealed their misunderstanding and prejudice against women from their Chinese characters.

On the contrary, "force" is the representative of man, and "man" is the combination of farm tools and fields. Words from "strength", such as meritorious service, encouragement, diligence and strength, are all expressions of praise for men. The author points out that the female cultural concept expressed by the configuration of the word "female" is incompatible with contemporary times, but we can understand the configuration motivation of Chinese characters in that era accordingly.

Chinese characters are symbols of history and culture, and have the function of super-language. In addition to recording language, Chinese characters can also express the history and culture of that era. The ancient Chinese characters three thousand years ago recorded the colorful world scenes in the eyes of the ancients. The author always pays attention to the social background at that time, is close to the real life of ancestors, and explores the ancient word-making thinking and historical and cultural background in Chinese characters.

For example, the author points out that there is something with teeth in Oracle Bone Inscriptions's broken leg, which is a saw. Sawing off that leg is "torture" in Shang Dynasty. From this glyph, it can be determined that there must be a metal saw in Shang Dynasty. The author explores the evolution of Chinese characters by tracing back to the source, and then explores the deep relationship between Chinese characters and history and culture.

The ancient artistic spirit also left traces in Chinese characters. The author points out that the original meaning of "art" is a kind of plant, and its original word is "art", and "Shuo Wen Jie Zi": "art, planting also. From scratch, I will plant it. " Oracle Bone Inscriptions's glyph shows that the working people hold plants in the soil, and the pre-Qin art was born in the farming culture.

The configuration of musical instruments in ancient Chinese characters in China is often related to the way musical instruments are played. For example, "Hu" is a wind music, and the configuration of Oracle Bone Inscriptions is that bamboo tubes are tied together with an upside-down "mouth" on it, indicating that this instrument is played with the mouth. "Le" is an ideographic character for strings, which means that there are silk threads on the wood.

"Painting" refers to two painting tools in Oracle Bone Inscriptions, namely "Yu" and "Gui". In bronze inscriptions, it comes from Zhou, Zhou is the original word of carving, carving is written as jade, jade is the object of carving, and harmony is the carving.

Chinese characters have a high degree of physical beauty and artistry. For example, John Calvin Ferguson, an American scholar, said, "All China's art is an extension of China's calligraphy." From the perspective of font development, China's Chinese characters are mainly developing in the direction of simplicity and beauty. The author points out that the ancient Chinese character "Ren" originally stood horizontally, a little hunched, but in the evolution of the character, the word "Ren" slowly stood upright, which is not only related to the obvious physical characteristics of human walking upright, but also out of the pursuit of symmetrical and stable writing structure.

The evolution of characters is not only restricted by the deep structure of language, but also influenced by the evolution law of the surface structure of characters, such as the word "left". Oracle Bone Inscriptions's "Left" has only one kneeling human figure, and Qin characters are written as two opposite human figures for structural symmetry. The ideographic function of the word "left" is declining, but its shape is more and more symmetrical. As the author said, seeking beauty is the motive force for the evolution of Chinese characters.