‘손(手)’類 部首字 중심의 草書 字形 및 類似 字形에 관한 고찰

이경숙 한국서예학회 2024 서예학연구 Vol.44 No.-

This paper studies the cursive script of characters such as 手(Hands), 攴(slaps), 攵(slaps), 支(supports), 又(hands), 爪(nails), 寸(short length), 厶(arms), 力(strength), 文(words), 戈(weapons) and compound characters. This paper compares these characters with similar shapes. The meaning and shape of ancient characters have influenced cursive writing. Just organize it briefly. Words(‘手’) express the shape of fingers and fists. The shape of cursive script is affected by this. The character(‘攴’, ‘攵’) represents the appearance of holding a stick in hand. ‘戈’ is a weapon used in war. So these words replaced each other in cursive script. The character(‘攴’) appears alternately with this character( ‘力’字, ‘又’字, ‘’字, ‘支’字, ‘弓’字, ‘攵’字, ‘文’字 ). One of these phenomena is that the characters are similar, which is why they appear in cursive script. This character(‘’字, ‘弓’字) is influenced by that character(‘乃’字, ‘’字, ‘’字) and appears in cursive script. The cursive script of this character(‘又’) has also been replaced by that character(‘寸’). Or multiple of these words(‘又’) have been weakened. The cursive strokes of this character(‘爪’) have weakened. Elaborate or express in two points. This word(‘寸’) has a curved tail and then narrates together with dots. Or change the position of the point to express it. This character(‘對’) divides the upper part of that character(‘丵’) into three dots according to the ancient script shape. This character(‘厶’) is an old version of this character(‘厷’). This character(‘厷’) appears with that character(‘九’). The reason is that(‘九’) in ancient Chinese characters, this character(‘九’) presents the shape of a human arm, and that character(‘肱’) also presents the shape of a bent arm, so it appears alternately. Because these characters have a common curved shape, which character(‘厷’) is used instead of this one(‘弓’) to express. You can see the appearance of ‘厶’, ‘厷’, ‘弓’, ‘’ from the cursive script. This word(‘力’) expresses human muscles and tendons. These words(攵, 攴, 力) related to hands or arms are mixed together for use. This character(‘文’) also has a similar shape to that character(‘攵’), so it will also appear in cursive script. According to these contents, the characters are influenced by similar characters, ancient characters, and variant characters, appearing in cursive script characters. Exploring similar or ancient character forms can provide a lot of information for distinguishing cursive script forms. By using it, it is possible to provide rich explanations for more glyphs. I hope this will be of great help in understanding the shapes of cursive script.

동서양 문화적 지역적 차이에 의한 인간형 캐릭터의 선호 분석-여성캐릭터 중심으로-

성창경 한국일러스아트학회 2014 조형미디어학 Vol.17 No.4

The awareness of beauty has a different standard depending on cultural, historical and geographical differences. But the advancement in transportation and the internet is increasing the cultural, historical and geographical gaps rapidly. This phenomenon means that homogeneity has a bigger impact on diverse fields than native characters. This is intactly reflected even in characters, which are cultural goods, and standardized forms of characters are being created. This study analyzed the cultural and regional preference for characters that form the central axis of cultural contents, along with emotional words. It was found in this study that characters had shapes of faces, which were usually preferred. For face shapes of characters, the proportion of Westerner's face, 1:1.36 was preferred, whereas the small jaw and soft of Oriental face were preferred. Oriental people have narrow eyes and most of people don't have double eyelids, while Westerners have round eyes and thick double eyelids. For characters, the eye, which properly mixed these shapes, was preferred. In other words, the wide shape was preferred, but the extremely round shape was less preferred. For a double eyelid, also, the shape that the inner corner of the eye adjoined the eyeball and the outer corner of the eye was distant from it, was preferred, rather than the extremely thick double eyelid like those of Westerners. In addition, the small and cute shape of nose was preferred, generally. As explained above, characters, which properly mix the Oriental and Western shapes, are preferred, today. The preference for emotional words and elements of characters showed a close correlation. The emotional words such as 'innocent', 'elegant', 'modern', and 'pretty' were major factors for a preference for characters, but 'flat', 'ugly', 'uncomfortable' and 'vulgar' played major roles in determining negative elements of characters. This result demonstrates that there is a need to design characters, which look innocent, elegant, pretty, cute and modernly polished, for increasing the preference for characters. In conclusion, generally preferred characters will have to be produced for animations and games by studying cultural characteristics of each region more deeply, from a marketing perspective. 미에 대한 인식은 문화적, 역사적, 지리적 차이에 의해 다른 기준을 갖는다. 하지만 오늘날 교통과 인터넷 발달은 문화와 역사, 지리의 차이를 빠른 속도로 감소시키고 있다. 이러한 현상은 다양한 분야에서 고유한 특성보다는 동질성이 더욱 크게 작용함을 의미한다. 문화상품인 캐릭터에서도 이러한 현상은 그대로 나타나게 되어, 표준화된 캐릭터의 형태가 생겨나고 있다. 본 연구는 문화콘텐츠의 중심축인 캐릭터에 대해 문화적, 지역적 선호도를 감성어휘와 함께 분석 수행하였다. 본 연구에서 캐릭터의 얼굴은 표준적으로 선호하는 형태가 있음을 알 수 있었다. 캐릭터의 얼굴 형태는 서양인의 얼굴인 1:1.36 비례를 선호하지만, 동양인의 얼굴에서 나타나는 작은 턱과 부드러운 형태를 선호한다. 눈의 형태가 동양인은 위아래 폭이 좁고 쌍꺼풀이 거의 없는 데에 반해, 서양인은 눈이 둥글고 크고 쌍꺼풀이 매우 진하다. 캐릭터에서는 이러한 형태가 잘 조합되어 나타난 눈을 선호한다. 즉 좌우로 폭은 넓은 형태를 선호하지만, 너무 둥근 형태는 덜 선호한다. 쌍꺼풀은 서양인처럼 너무 진한 형태보다는 동양인에게 나타나는 눈 안쪽이 붙고 바깥쪽이 벌어지는 형태를 더 선호한다. 코는 전반적으로 작게 표현하여 귀여운 형이 되는 것을 선호한다. 이처럼 오늘날 캐릭터는 동서양이 잘 조화되는 형태를 선호한다. 감성 어휘와 캐릭터 부분요소의 선호도는 밀접한 관련이 있는데, 청순한, 우아한, 현대적인, 예쁜의 긍정요소는 캐릭터를 선호하는데 주된 요인으로 나타난다. 반면 밋밋한, 못생긴, 거북한, 천박한 등은 캐릭터의 부정적 요소를 결정하는데 주된 역할을 한다. 이러한 결과를 통하여 캐릭터의 선호도를 높이기 위해서는 청순하고 우아한 느낌, 예쁘고 귀여우면서 현대적인 세련됨이 있는 방향으로 디자인하는 것이 필요함을 알 수 있다. 애니메이션과 게임을 제작을 할 때 마케팅 관점에서 각 지역의 문화적 특징을 더욱 세밀히 연구하여 표준적으로 선호하는 캐릭터를 제작하여야 할 것이다.

애니메이션에 나타난 이행대상 캐릭터의 성격화 분석

백승균 한국애니메이션학회 2020 애니메이션연구 Vol.16 No.1

Characters are the smallest units of stories and their functions and roles are to help immerse the audience in the story. This is because characters provide the cause of plots and are at the center of the narration that finishes the plot. In addition to their narrative roles, characters also have a special charm that pulls in the audience to the story by bringing about sympathy through their smallest actions or by triggering emotional interest based simply on the appearance of the characters. Especially for family animation films targeting young audiences, transition object characters not only offer special charms and emotions, but also are the source of creating successful results in the success of the film and in toy figure businesses even if they are not the main characters. Some examples are Totoro of <My Neighbor Totoro>, Bing Bong of <Inside Out>, and Olaf of <Frozen>. Many successful cases and numerous studies recognize the importance on the role of such transition object characters. However, there are no studies on the characterization of how transition object characters are materialized in actual animations. Analyzing the characterization of transition object characters found in theatric animations for children would be a meaningful study as a strategy for precise positioning for the entertainment and success of the animation. The research method is comprised of selecting pieces that well-reveal transition object characters of films that were recognized for its success both artistically and commercially worldwide and that were verified already in preceding studies to analyze it based on the characterization types provided by the film analytics of Joseph M. Boggs. It appears that for the results, there are a few features aside from the scope of the predictable transition object. First, the appearance of transition object characters mixed models with a sense of fantasy. Second, they engage in unusual or unfamiliar behavior. Third, songs on the theme of transition object characters appear. Fourth is that it reacts and behaves as an object of emotional deficiency of the main character. The significance of this study is that through the characterization of transition object characters that were globally successfully, a few features on how to attract the interest of children can be presented, and it is expected that more meaningful features can be drawn up through future studies and creative works. 캐릭터는 이야기의 최소 단위로서 관객들을 이야기에 몰입하게 만드는 기능과 역할을 하고 있는데, 그 이 유는 캐릭터가 사건의 원인을 제공하고 그 사건을 마무리하는 서사의 중심이기 때문이다. 그러나 캐릭터 는 서사적 역할 외에도 단순히 외형을 통해 정서적인 흥미를 유발하거나 작은 행위를 통해 공감을 이끌어, 관객 들을 이야기에 몰입하도록 만드는 특별한 매력이 존재한다. 특히 어린이 관객들을 대상으로 하는 가족용 애니메 이션에 있어 이행대상(transition object) 캐릭터는 주인공이 아니더라도 특별한 매력과 감동을 선사할 뿐만 아 니라 흥행과 캐릭터 사업에서도 성공적인 결과를 창출하는 원천이 되기도 한다. <이웃의 토토로>의 토토로, <인사이드 아웃>의 빙봉, <겨울 왕국>의 올라프 등이 그러하다. 이처럼 이행대상 캐릭터의 역할에 대해서는 많은 성공 사례들과 여러 연구를 통해 그 중요성을 인지하고 있다. 그러나 실제 애니메이션에 있어 이행대상 캐 릭터를 어떻게 구체적으로 성격화 하는가에 관한 연구는 아직 없다. 어린이 대상의 극장용 애니메이션에서 나타 난 이행대상 캐릭터의 성격화(characterization)를 분석하는 것은 작품의 재미와 흥행성을 위한 정확한 포지셔 닝(positioning) 전략의 하나로서 의미 있는 연구가 될 것이다. 연구방법으로는 세계적으로 작품성과 흥행성을 인정받은 이행대상 캐릭터가 잘 드러난 작품을 선정하여 조지프 보그스(Joseph M. Boggs)가 화 분석론으 로 제시한 성격화 유형을 기반으로 분석하다. 그 결과로 예측 가능했던 이행대상의 범주 외에 몇 가지 특징이 나타났다. 첫째, 이행대상 캐릭터의 외형은 환상성을 지닌 혼성모방형이다. 둘째, 낯선 모습 혹은 낯선 행동을 한다. 셋째, 이행대상 캐릭터를 주제로 한 노래가 등장한다. 넷째, 주인공의 정서적 결핍 대상으로서 반응하고 행동한다. 다섯째, 성격이 변하지 않는 정적인 캐릭터다. 이상 세계적으로 성공한 대표적 이행대상 캐릭터들의 성격화에 있어 몇 가지 특징을 제시할 수 있다는 점에서 의미를 두고자 한다. 그러나 이행대상은 주로 어린이들 이 주체란 점에서 과연 분석 결과의 내용이 어린이들에서 얼마만큼 성공 요인으로서 포지셔닝되어 있는지를 객 관적으로 확인할 수 없었다는 점은 논문의 한계로 생각한다.

고문헌 벽자(僻字) 입력을 위한 한자 자형 부호화 방법

김기왕 ( Kim Kiwang ) 대한한의학원전학회(구 대한원전의사학회) 2019 대한한의학원전학회지 Vol.32 No.1

Objectives : There are many secluded Chinese characters - so called Byeokja (僻字) in ancient classic literature, and Chinese characters that are not registered in Unicode and Variant characters (heterogeneous characters) that cannot be found in the current font sets often appear. In order to register all possible Chinese characters including such characters as units of information exchange, this study attempts to propose a method to encode the morphological information of Chinese characters according to certain rules. Methods : This study suggests the methods to encode the connection between the nodules constituting the Chinese character and the coordinates of the nodules. In addition to that, rules for expressing information about curves, expressions of aspect ratios of characters, rules for minimizing coordinate lines, and rules for expressing aggregation status of character components are added. Results : Through the proposed method, it is possible to generate codes of a certain length by extracting only information expressing the morphological configuration of characters. Conclusions : The method of character encoding proposed in this study can be used to distinguish variant characters with small variations in Byeokja, new Chinese characters and character strokes and to store and search them.

부건(部件) "口"와 "사(□)"의 서사상(書寫上) 혼용(混用) 양상(樣相) 고찰(考察)

최주희 ( Ju Hee Choi ) 근역한문학회 2014 한문학논집(漢文學論集) Vol.38 No.-

현재 5만자가 넘는 한자 중에 매우 유사한 자형으로 서로 혼용되는 사례를 보이는 글자들이 있다. 특히 ‘□’와 ‘□’를 部件으로 쓰는 글자들의 혼용이 빈번하게 이뤄지고 있다. 예를 들어 句와 勾, 員과 □, 强과 强, 或과□ 등이 있으며 이 밖에도 書寫上이나 石刻,板本 등에서 이와 같은 혼용이 보인다. 본 논문은 ‘□’와 ‘□’의 혼용 양상에 대하여 면밀히 고찰하고 이러한 사례들이 발생하게 된 원인을 분석하고 밝히고자 한다. 部件‘□’와 ‘□’가 글자들 안에서 어떤 의미로 쓰이고 있는 가를 파악하였으며, 이들 사이에서 어떤 연관성이 있는 가를 알아보았다. 부건 ‘□’는 입, 국가, 건축물, 문, 그릇, 덩어리의 물건 등의 의미를 나타내고 있다. 또 부건 ‘□’는 初文의 , 肱의 古文字, 以의 古文字(이(□)로 쓰인 경우 古文字形의 유사함에서 통합되었으며, 去나 至의 古文字에서는 아래는 넓고 위는 좁은 자형이 삼각형처럼 생겨 ?의 자형을 가차하여 사용하게 되었다. 甲骨文과 金文, 小篆의 時期를 지나며 사물을 부호화하면서 圓, 方그리고 三角形의 字形은 □와 □로代替 통합되었다. 이런 과정에서 方과 圓이 모호한 모양의 자형이 간혹 □의 자형으로 演變되기도 하였다. 이렇게 초기 甲骨文으로부터 楷書까지 글자의 왜곡된字形演變 이나 서예가들의 예술적 의도에 의해 글자들의 혼용이 매우 자연스럽게 이뤄지고 있다. 그렇기 때문에 타당한 이유 없는 혼용사례까지 발생되고 있으며 이는 마땅히 바로 잡아야 하는 오류이다.전통한자와 간체자 등 아시아 한자 문화권의 국가에서는 각기 나라의 사정에 따라 변형된 한자를 사용하게 되었다. 이렇게 一字多形의 한자를 구유하게 된 현재의 한자는 자형연변을 통해 현재의 자형이 도출된 과정을 알아보고 문자학적으로 고증할 필요가 있다. Currently, there are more than 5 million Chinese characters that are often mixed with other characters because of their similar forms. Specifically speaking, ‘口’ and ‘□’ are frequently mixed with other characters as constructing characters. For example, 句(gu)and 勾(gu), 員(won)and □(won), 强(gang)and □(gang), 或(hok)and 口(hok), and several others are mix-used in the similar fashion. Further more, writing, stone inscriptions, edition of books are also mix-used in the similar fashion. This thesis is to thoroughly consider and investigate the growth and reasons of mix-used characters‘口’ and ‘□’such as the examples mentioned earlier. The investigation was executed by understanding how character ‘口’ and ‘□’ were used in characters and the association between the two. Constructing character ‘口’ has meanings such as mouth, country, architecture, door, plate, or mass of objects. When constructing character ‘□’ has the meaning of the first letter of 私(sa), 肱(gweng) from ancient writings, or 以(e) from ancient writings(□) they have shown similarity to palaeography. In 去(guo) or 至(ji) from ancient writings, the forms are in a triangular shape where the bottom is wide and the top is narrow, using the formation of ‘□’.Passing the era of oracle bone script and bronze script, brief biographyobject shave been displayed in a diagram form. the shape of circle, square, and triangle are combined by substituting with ‘口’ and ‘□’. Through this kind of procedure, imprecise shapes such as square and circle have been evolved into the shape of ‘□’. From the time when people used inscriptions on bones to printed style of Chinese handwriting, mix-use of characters have been naturally continued by the use of distorted forms or natural change in forms of Chinese characters and calligrapher’s creative use of the forms. Since the characters are very easily manipulated, there are many misused cases of mix-used characters and there is a valid need to correct the misuse. Different places that uses the traditional Chinese characters, simplified haracters, and other Asian Chinese character culture areas have modified the use of Chinese characters according to the countries’ situations. There is a need to understand and investigate in graphonomy how today’s Chinese characters (one letter with multiple characters and meanings) have evolved through natural change in forms of Chinese characters.

한국문헌 소재 이체자 정형화 방안(3)–鼻, 芻, 大, 匕, 厶가 포함된 자형을 중심으로–

조성덕 근역한문학회 2023 한문학논집(漢文學論集) Vol.66 No.-

본고는 한국고문헌에 나타난 異體字를 정리하고 이를 표준화하는 데 어떠한 과정이 필요하며 어떻게 처리하는 것이 합리적인지에 대한 문제제기이다. 기존의 국가DB에서는 가독성을 이유로 대부분 正字로 입력하였으나 사전은 DB와는 달리 구조상 변별성이 있는 자형은 별도의 자형으로 인정하여 수록하는 것이 바람직해 보인다. 따라서 본고에서는 별도의 字形으로 인식될 수 있는 字形을 기준으로 유형을 나누고, 그 유형들이 과연 별도의 표제자로서의 가치가 있는지를 가늠해 보고자 한다. 본고에서는 ‘口’와 ‘目’에 이어 변화가 다양한 鼻, 芻, 大, 匕, 厶 등이 포함된 자형의 변화를 검토한 것이다. 이 중 大ㆍ匕ㆍ厶 등은 口ㆍ目과 마찬가지로 독립적으로 쓰일 때는 자형의 변화가 크게 일어나지 않지만, 다른 글자들은 독립적으로 사용될 때도 다양한 변화가 일어나기 때문에 검토유형에 포함하였다. 일부 자형은 정자로 통합하는 것이 타당한 경우도 있었으며, 어떤 자형은 원래 형태로 정형화해야 하는 경우도 있었으며, 어떤 자형은 어느 쪽으로 정형화하는 것이 좋은지 결론을 내리지 못한 경우도 있었다. 그러나 이 연구를 통해 한국고문헌에는 중국이나 일본의 문헌에서는 볼 수 없는 새로운 자형들이 사용되었음을 알 수 있었다. 이처럼 한국문헌의 이체자 연구를 토대로 다른 한자문화권 국가의 경우와 어떻게 다른지 판별함으로써 한자문화권의 同異性을 확인하는 하나의 계기가 되었다. he purpose of this study is to make a question about how to organize and standardize the variants Characters in Korean old works. When old books digital database produced by the Republic of Korea, is to replace standard characters input with variants for readability reasons, so its original data and database data are inconsistent. But, want to publish a Character dictionary about Korean unique glyph, you should include all variants of each Character. But we can't get all the income in Character glyph. We must judge the rationale. In this study, the classification and type characteristics of variant Characters are mentioned, and the possibility that variant Characters are prefixes is also explained. After research charater which contain with various components ‘口’ and ‘目’ research, focus on studies which contain with various components "鼻, 芻, 大 匕, 厶." When compenents 口ㆍ目 and 大ㆍ匕ㆍ厶 is used own, can not find any change in the shape, but when a compound or combine with other components, shape changes to various type, have to include to discussion group. Some Characters suitably summarize standard characters; some characters need new glyph characters; some characters are difficult to determine which classification to generalize. Through this study, found that many variants characters in Korean old works, do not exist in Chinese and Japanese. I hoped that a comparative study of the variants in Korea and other countries, will prove the similarities and differences in the cultural circle of Han-characters in East Asia.

논문(論文) : 해섭(蟹攝) 1,2등(等) 글자의 현대 한국 한자음(漢字音) 형성 배경 탐석

이춘영 영남중국어문학회 2015 중국어문학 Vol.0 No.68

Chinese characters assimilated into Koreans have been built on the pronunciation environment of the Korean to the needs of contemporary language preferences. They have been passed through hosts of selection process and then have been formed into the sounds of Modern Sino Korean characters. In this paper, we see the characters of XIE SHE YI DENG & ER DENG(蟹攝 1等·2等)’s vowels, and analyse the formation background of Vowels sounds in Modern SinoKorean character in phonetical points, and also examine the three reasons of the formation background as follows. Those are transformation of pronunciation in China, polyphone in Chinese, and characteristic transformation of pronunciation in Korea. First we analyse six different types in the reason of pronunciation transformation in China. First, Characters of HA·JIA· JIE·TAI·GUAI(哈·佳·皆·泰·쾌韻) in KAI KOU YI DENG & ER DENG (開口1·2等)’s combined pronunciation “ㅐ”; Second, Characters of JIA· TAI(佳·泰) in KAIKOU(開口)’s divided pronunciation ‘ㅖ’ in MING and Qing dynasty. Third, Characters of JIA·JIE·TAI·GUAI(佳·皆·泰·쾌韻) in HE KOU YI DENG & ER DENG(合口 1·2等)’s combined pronunciation “ㅙ”; Fourth, Characters of JIA(佳) in HE KOU(合口)’s ivided pronunciation “ㅘ”; Fifth, Characters of JIE·TAI(皆·泰) in HE KOU(合口)’s reflected pronuncitaion “ㅚ”; Sixth, Characters JIA(佳) and JIE(街) of JIA(佳) in KAI KOU ER DENG(開口二等) with JIAN(見)’s pronunciation “ㅏ”. In the acceptance process of polyphone in Chinese, it had been selected only a few of pronunciations in Korea. In the transformation process of characteristics pronunciation in Korea, we especially analyse the three different types, considering easy of pronunciation of Korean people and language environment of Modern SinoKorean characters situation. First, vowel “ㆎ” changed into “ㅐ”; Second, KAI KOU HUA (開口化) in HE KOU YI DENG(合口1等) of TAI YUN(泰韻) with consonants DUAN·TOU·DING(端透定); Third, Characters in KAI KOU (開口) changed into HE KOU(合口).

漢字 讀音 硏究

김혈조(Kim, Hyul-jo) 대동한문학회 2011 大東漢文學 Vol.35 No.-

본 논문은 최근까지 한자 讀音의 시비로 인해 발생한 구체적 사례 몇 가지를 통해서 한자 독음을 통일해야 할 당위성과 필요성에 대한 문제 제기를 하였고, 아울러 20세기를 전후하여 한자 독음의 극심한 변화 양상을 세 가지 경우로 나누어 구체적으로 살펴보았다. 우리나라 한자 독음은 기본적으로 중국에 그 뿌리를 두고 있지만 세월이 지나면서 조금씩 변하기 시작하였고, 결국 우리식의 독음이 생기게 되었다. 이 속음이 광범하게 유포되자, 18세기의 음운학자들은 가능한 속음을 폐기하고, 중국의 독음과 가까운 正音으로의 회복을 시도하였다. 18세기 이후부터 20세기 초까지의 여러 韻書와 자전들은 이를 목적으로 발간된 책자이었다. 그러나 그러한 노력과 시도는 결국 실패하였다. 당시 발간된 책자에서 속음으로 처리된 독음이 오히려 오늘날 출간된 사전에서는 그 한자의 독음으로 자리를 잡고 있기 때문이다. 한자 독음에 대한 언어 대중의 관습을 거스를 수 없었던 것이다. 이러한 한자 독음의 극심한 변화는 결국 한자를 배운 사람들의 나이에 따라서, 혹은 출판된 사전에 따라서 그대로 반영이 됨으로서 한자 독음에 대한 시비를 여전히 생기게 만들었다. 한자 독음의 시비에서 어떤 독음이 옳고 그른가에 대한 문제는 특정 개인의 주장이나 특정 출판사의 책으로 정할 문제가 아니라고 본다. 보다 한자 한문을 전공한 학자들이 참여하여 학술적 토론을 거치고 또 공론화 과정을 거쳐서 정하는 것이 옳다고 본다. 이 중요한 문제에 대해서 이제 학회는 주도적으로 대처하는 주체가 되어야 할 것이다. 이는 학회가 떠맡아야 할 책임과 의무이기도 하다. This paper has raised the necessity and urgency to unify the sound of Chinese characters through several concrete examples triggered by the dispute of the sound of Chinese characters and has divided the pattern of serious change of the sound of Chinese characters into three cases and explored it in detail since the beginning of the twentieth century. The sound of Chinese characters in our country rooted mainly in China gradually began to change to time, and eventually our own style of the sound of Chinese characters began to occur. As this secular sound widely began to spread out, the phonologists in the eighteenth century abolished this secular sound as much as possible, and tried to recover the right sound closest to the sound of Chinese characters. Hence various phonological books and dictionaries published from the eighteenth century to the beginning of the twentieth century. But to no end were such efforts and trials, for the sound of Chinese characters dealt with as the secular sound in the books published at that time settled themselves as the sound of Chinese characters in the dictionaries published recently. They could not outwin the linguistic habit of common people. The severe change of the sound of Chinese characters set off by the differences of generations and the variety of the published dictionaries remained the disputable discrepancy of the sound of Chinese characters unsolved. The dispute of the sound of Chinese characters cannot be settled by either any particular individual or any book printed by a certain publisher. It is more desirable that academic discussion and the process of public opinion should be accompanied to that dispute.

외국인(外國人)을 위한(爲限) 한국어교육(韓國語敎育)에 있어서의 한자교육(漢字敎育)

윤재민 ( Jae Min Yoon ) 한국한문교육학회 2012 한문교육논집 Vol.38 No.-

With Korean economic growth, Korean language education is gradually attracted by the world. Now, the necessity of Chinese characters education in Korean language education becomes a problem at hand for not only Korean people but also Korean language education for foreigners It seems that. among many difficulties foreigners feel and face in learning Korean, the most difficulty problem would be a problem of vocabulary, that is, a problem related to Chinese characters and Sino-Korean words. For example, if a foreign can read Korean but can`t read Chinese characters, he/she could not understand Korean sentences in which Korean and Chinese characters are mixed. Even if a foreign knows Chinese characters, if he/she reads Chinese characters in Chinese or Japanese pronunciation, it couldn`t be said he/she properly reads Korean. Also, in case there are words composed of the same Chinese characters, if a foreigner differently understands the meaning of the words, it also couldn`t be said that he/she properly understands Korean. Needless to say, it is easily expected that a foreigner belonging to cultural circle of Chinese characters can learn Chinese characters used in Korea more easily. Because there are many Chinese characters vocabularies together shared within the same cultural circle of Chinese characters. In view of this point, it would be necessary that teaching Chinese characters in Korean language education should be divided into two to some extent - 1) an education for foreigners belonging to cultural circle of Chinese characters and 2) an education for foreigners not belonging to cultural circle of Chinese characters. But, in respect of teaching foreigners Chinese characters in Korean language education, top priority should be given to Chinese characters education for foreigners not belonging to cultural circle of Chinese characters. Because, after this basic education is given, it is possible to take deep consideration of Chinese characters education for foreigners not belonging to cultural circle of Chinese characters, compared with the basic education. In this case, Chinese characters education for Korean could be utilized as a good exemplary example. Because, even in case of Koreans, there are so many Koreans who do not know Chinese characters vocabularies as well as Chinese characters in the same degree as the foreigners and the foreigners not belonging to cultural circle of Chinese characters. With regard to Korean words used as native language though they originated from Chinese characters, it would be no problem if we do not know the Chinese characters of such words. However, vocabularies that compose most of Korean words are Sino-Korean words that couldn`t be easily understood unless we don`t know Chinese characters. Of course, even if we know the meaning and pronunciation of Chinese characters, that does not mean we can automatically understand all words. This applies still more in words indicating abstract concepts, especially academic words. This is the very reason that an education in Chinese characters should be given for both Korean and foreigners. Similarly with Chinese characters education for Koreans, it is more required to give Chinese characters education in Korean language education for foreigners for the purpose of not only ordinary Korean words but teaching them Korean high-ranking culture and academic language.

漢字在中國傳統篆刻學中的美學表現形式

任立偉 경성대학교 한국한자연구소 2011 한자연구 Vol.0 No.4

I had a chance to realize an aesthetic sense of the Chinese character, one of the elements of Chinese culture, from the structures of China Pavilion at Shanghai World Expo 2010. And I thought of the Chinese characters’cultural expressions in Chinese culture, especially in seal- engraving from that experience. Since then, I started to study on the aesthetic relations between the Chinese characters and the seal-engraving. This study is titled as “The aesthetic expressions of Chinese characters in China’s traditional seal-engraving”, and deals with the beauty of character forms and the beauty of undertone of Chinese characters from the viewpoint of seal-engraving. The Chinese characters have changed into various character forms through thousands of year. For instance, there are the Inscription on Animal Bones and Tortoise Shells, the Bronze Inscription, the Small Seal Script, the Official Script, the Wei Script, the Regular Script, the Running Script and the Grass Script (Cursive style). Among them, the Small Seal Script has the most various forms. Furthermore, the Small Seal Script is in the position that none of the characters can replace in seal-engraving, the character forms changed constantly and showed various senses of beauty. This study tries to analyze the beauty of characters shown on the front and sides of the seal with the understanding of the character forms and the rules of change. Also, this study tries to show the value of Chinese characters in China’s traditional arts from the viewpoint of seal-engraving. The seal-engraving looks small but creates a big art using the beauty of character forms, the inner beauty of characters, the arrangement of characters, the implications of characters and supplementary contents of sides of the seal. On the whole, the aesthetic value of the Chinese characters in the field of seal-engraving is examined in this study through the examples of typical ancient seals and picture materials.