The Key to kanji : a visual history of 1100 characters

362 Pages·2010·34.831 MB·English

by  Noriko Kurosawa Williams

Copyright © 2010 by Cheng &c Tsui, Inc.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic
or mechanical, including photocopying, recording, scanning, or any information storage or retrieval system, without
written permission from the publisher.
16 15 14 13 12 1110 1 2 3 4 5 6 7 8 9 10
First edition 2010
Published by
Cheng 8>c Tsui Company, Inc.
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Boston, MA 02111-1213 USA
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“Bringing Asia to the World”™
ISBN 978-0-88727-736-8
Library of Congress Cataloging-in-Publication Data
Cataloging-in-publication data is available for this title.
Illustrations: Ayako E.L. Williams
Editorial: Penny Stratton, Karin Huang, Tracy Patruno
Copyeditor(s): Susan L. Wagner
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Compositor: Paige Larkin
Manufacturing Coordinator： Jo Anne Sweeney
Printer： Sheridan
Printed in the United States of America
CONTENTS
Preface................................................................................................................v
About the Author............................................................................................ix
Introduction......................................................................................................1
References.........................................................................................................6
Chapter 1:The Historical Development of Kanji Forms...........................8
Chapter 2： Kanji Formation Types & Dictionary Section Headers........15
Chapter 3： Development of Japanese 'Writing Systems..............................19
The 184 Dictionary Section Headers in The Key to Kanji.........................27
1100 Kanji—History, Meanings, and Use..................................................37
Indexes
Index 1：Order of Appearance in The Key to Kanji
(本書所収の漢字).............................................................312
Index 2： In Order ot On- and Kun-Readings
(五十音順音訓読み）......................................................315
Index 3: In Order ot Un- and Kun-Readings in Romaji
(口-マ字による音訓読み）...............................................328
Inaex Arraneed dv Total Number of Strokes
(総画数による索引）.........................................................343
index 5： Arranged by section Header
(部首による索引）.............................................................348
Index 6: Arranged by the Educational Kanji Designation
(学年別学習漢字）..........................................................353
Preface
The Key to Kanji: A Visual History ofl100 Characters has abundance of artifacts with various ancient inscriptions
been prepared for students and teachers of the Japanese lan­ on oracle bones, bronzes, and stones and writings on bam­
guage at all levels. In the past, the field of Japanese language boo and wooden writing tablets and cloths. Thanks to the
education did not fully appreciate the relationship between painstaking efforts by kanji scholars who undertook the
kanji form and the meaning of a kanji - which can often seem task of deciphering these inscriptions, we are now able to
completely unrelated - and yet it can be explained in a logical glimpse at the mystery behind the birth of indiviaual kanji.
and memorable way if we trace the development and forma­ In this book, we will take advantage of the fruits of those
tion of the kanji from ancient times to present usage. I hope labors and learn about the intrinsic connection between
that this new presentation of etymology-based explanations kanji form and meaning, giving us insight and facilitating
of 1100 kanji will help you to appreciate the essence of kanji our study.
as visual stories of meanings and that the insights you gain A modern kanji can be viewed as a sort of skeleton of
from studying this book will equip you with a powerful tool its ancient writing form. When ancient writing was created
in expanding the horizon of your Japanese language study. for rulers to communicate with their ancestral gods, the
From the time when kanji 漢字was adopted by the shape of the writings was a direct depiction of the image
Japanese language from the Chinese, and even after the of its meaning. But when the writings came to be used by
Japanese people developed their own phonetic letter sys­ people and got standardized into more regulated shapes,
tems of katakana and hiragana, kanji remained the kernel the original shapes were reconfigured into certain sets of
part of Japanese writing systems. For over a hundred years, lines and curves. The flesh and muscle of the original de­
since the twentieth century, a number of archaeological piction was shed and only the skeleton remained. It was
excavations of ancient sites in China have uncovered an no longer possible for us to see an immediate image of the
THE KEYTO KANJI
meaning in present-day kanji. As a result, learning kanji be­ not seen with any other classroom activities. My students
came dry rote-memorization without a clue to the connec­ were quite intrigued when they learned that a seemingly
tion between form and meaning. In this book, we restore complicated and strange shape had a story of its own, like
the “flesh and muscle” of the images showing the original a living creature. Such stories unexpectedly transported
meaning in simple drawings. You will be able to see how them to the imaginary life of an ancient civilization and,
the original meanings inspired ancient people to come up to their surprise, showed how it connected to modern
with ancient writing forms, which eventually became the times. Developing this kanji-learning approach took a lot
shapes that we now use. This book gives you the missing of time over many years. The effects I observed in class and
link between kanji form and meaning. the progress of my students motivated me to continue with
this unique approach.
How this approach started:
I have taught Japanese in an English-speaking country Field-testing: ^Illustrated Kanji Anatomy55
at the university and high school level for three decades. I Several years ago, with the help of two people who en­
have always believed that someone who lives outside a kan­ joyed drawing and have a passion for studying kanji, I was
ji environment should not be taught kanji in the same way able to combine my etymological explanations in English
Japanese school children would learn. Children in Japan with some original artwork. I named these materials MIl­
learn new kanji with ample time and repetitious practice, lustrated Kanji Anatomy5> because each kanji was dissected
reinforced by what they see in their family environments into smaller meaningful units with some visual illustration.
and daily lives. Outside Japan, young adults and adults The ^Illustrated Kanji Anatomy，> was first shared with
who study the language do not have the benefits of their my colleagues and friends in the Japanese language teach­
surroundings and tire quickly from simplistic and time- ing field and then with a larger group of teachers. Between
consuming exercises. Instead, I concluded they would 2005 and 2009, “Illustrated Kanji Anatomy” that I pre­
benefit from an approach that enabled them to use more pared for users of a popular Japanese textbook was shared
mature learning ability and reasoning. However, I could with over one hundred fifty teachers in Europe, Australia,
not find any materials that supported my idea. New Zealand Japan, Canada, and the United States. I also
Two decades ago I started to introduce kanji to my prepared “Illustrated Kanji Anatomy” that corresponded
students with a brief account of their origins, pointing out to other textbooks and custom kanji lists for interested
that each form that they saw was not a shape composed of teachers. In addition, I shared 580 kanji origins via a pub­
arbitrary lines but, in fact, an image conceived by ancient lic website.
people. Invariably, in every class that I taught—whether The largest group of requests for custom kanji lists
the students were beginners, intermediate, or advanced came from university teachers in the United States. Here,
and whether it was a university program or high school studying kanji tends to get placed on the back burner. The
program—my students responded with keen curiosity and constraints of classroom time and the emphasis on oral
listened to my explanations intently, to an extent that I had proficiency tend to overshadow reading and writing skills.
0
Many people sent me positive feedback and relayed how about which ancient kanji form is the prototype for a par­
the materials were put to use in the classroom, and valuable ticular modern kanji. Naturally, these different views pro­
comments from teachers and students provided me with duce different accounts of a kanjis origin. As fascinating
more ideas on how to improve the materials. I was excited as these academic debates are, they are left: to the world of
by statements from people in the United States and all over kanji historians. The goal of this book is to give Japanese
the world commenting on how they have benefited. What language students and teachers materials that can be put
struck me the most was the consistency of comments on to use right away, with the confidence that the information
how my approach unlocked a difficult process to become provided is historically authentic and extensive enough to
enjoyable, stimulating, and accessible. understand both familiar and new kanji.
It is not unusual for a Japanese language teacher not
to be fully aware that there is a direct connection between Acknowledgements
the meaning and kanji form, in a way that this book shows. My long-held wish to develop this kanji study/refer­
And yet, if you look around Tokyo, Kyoto, Nara, or most ence book would not have been realized without the help
other Japanese cities, you will almost certainly come across of a number of people over the years.
something that is a clever use of an ancient writing style
The illustration artwork was largely done by Ayako
called tenji/tenkoku (official-seal style). I could not help
E. L. Williams, with the initial help of Hiromi Kishi-
smiling at myself several years ago when I realized that
mizu. Ayakos extraordinary patience and willingness
not only the elegant plaque of a posh cookie shop in a his­
to contribute to this book allowed me to make count­
torical town called Kamakura was written in that ancient
less revisions every time new reference sources came to
writing style, but also, the noren cloth above the door of
my attention. With 1100 kanji, the process sometimes
a little ramen noodle shop in my hometown had this an­
seemed endless.
cient writing. The combination of modern and ancient is
Special thanks go to many people: Chiaki Sekido of
startling and wonderful to those who know what to look
The Japan Times for providing me (through their website)
for. We sometimes miss the treasures that can be utilized
the opportunity to reach teachers who were interested in
in our kanji teaching. It has been a real pleasure to see that
my approach; Masae Masuda for her calligraphy on the de­
so many teachers have started to take notice of these hid­
velopment of hiragana; Bryon Lee Brunkow for his help in
den treasures. I hope you will join the ranks of such kanji
my English manuscript; Chinami Lay for her painstaking
enthusiasts.
work to catalogue the references； Chieko Miyama, Sachiko
The sources used for this book were taken from kanji Aoshima, Kumiko Akikawa, and Yasuyo Tokuhiro for their
dictionaries, calligraphy publications, books on kanji his­ personal interest and support; and S. Linn Williams for his
tory and etymology, and even store name plaques that are unfailing faith in me and the publication of this book and
scattered around towns in Japan.1 Different views exist for his constant encouragement over the years.
1 The illustrations on kanji development and ancient writing forms Shizuka Shirakawa (2004), Shuji Suzuki, et. al.(ed)(1976), Akiyasu
were all drawn by our illustrators and myself for this book. Among the Todo (ed) (1991), Katsumi Yamada (1976), and John Jing-hua Yin
sources that we consulted, the works by Kenneth G. Henshall (1988), (2006) were inspiring and helpful in our preparation.
THE KEYTO KANJI
I also would like to express my appreciation to over a goran (look it up in the kanji dictionary).5, I grudgingly
hundred fifty teachers of Japanese around the world who complied because I wanted to continue reading. Decades
took notice of my approach and incorporated my materi­ later when I chose a profession, I realized the hidden trove
als into their teaching. I feel quite humbled by their over­ of information in kanji dictionaries.
whelmingly positive responses and encouraging comments. And last but not least, special thanks go to my cur­
Personal communications over the last four years have been rent and former students, who without fully appreciat­
enjoyable, and I felt a real comradeship among all of us who ing how much they were helping, guided me to improve
are searching for the most effective way to teach kanji in the earlier versions of the materials with their questions and
language we love. responses—occasionally even their body language. Every
It was my strong wish to bring these materials to the giggle, smile, laugh, puzzled or surprised look, indignant
public outside Japan, and the production of this complex reaction, pondering posture, and any other reaction that I
project involved working in two languages through thou­ glimpsed in the classroom became important feedback for
sands of graphic files, hundreds of odd pieces of kanji and me to continue working on this project. To them and to all
old-style kanji that were not ordinarily found, phonetic students after them who use my book, I wish the feeling of
guide work, and searches for special typefaces. I would like love that I have myself for the Japanese language.
to express my sincere gratitude and admiration to the staff
at Cheng and Tsui in Boston, Massachusetts, especially to
Penny, Karin, Paige, Tracy, Sumanth, anonymous review­
ers, and all others who at various stages of the production
were thoroughly professional and made gallant and tireless
efforts to understand my numerous requests and revisions,
even those made after the production had begun.
I also would like to mention the contribution of my
mother to this book in a profound way. As a child, when­
ever I asked her for quick help with an unfamiliar kanji in a
book I was reading, she would respond—to my great annoy­
ance at the time but my gratitude now —ukanwa-jiten hiite
A bout the Author
Noriko Kurosawa Williams has taught Japanese at with the fact that kanji are a window into the imagination
American University in Washington, D.C., since 2005. A of another era. Her earlier work, Illustrated Kanji Anatomy,
native of Japan, she graduated from Keio University in To­ was well received by teachers in the United States, Europe,
kyo (B. A. in political science) and Georgetown University Australia, and Japan.
(M.S. and Ph. D. in linguistics). She has taught at George­ Dr. Williams also developed a visual method for Japa­
town University, George Washington University, George nese pronunciation practice, the uVisual Tonal ^uideM
Mason University, and Soka University of America. She (目で見る音調)， and has made a freeware available on a
has also taught at the high school level. language-learning software. She is the author of a memoir-
This book, The Key to Kanji: A Visual History of 1100 essay - KKitchin Kara Mita Nichibei-Kosh〇r published by
Characters, is the culmination of many years of classroom Bungei Shunju in Tokyo.
teaching experience, and was derived from her fascination
Introduction
Before you begin the individual study of 1100 kanji, its description and example kanji. These 184 section
I recommend that you read the three chapters on the headers cover virtually all the kanji used in present-
general history of kanji and related issues. day publications in the Japanese language.
In Chapter 1 “The Historical Development of Chapter 3 “Development of Japanese Writing
Kanji Forms,w the historical development of the three Systems^ focuses on Japan, which did not have a writ­
major styles of ancient writings into modern writings ing system initially, and discusses how the writings
is examined, looking at how the visible connection that were born in China influenced the Japanese lan­
between a kanji writing and its meaning, which was guage, not only in its writing system but also its sound
obvious in ancient writing styles, faded away as the system and vocabulary. In addition, this chapter dis­
writings grew to be standardized into a more uniform cusses how two phonetic letter systems of katakana
style. This new style was solidified during the Han and hiragana were developed from kanji for different
(^) Dynasty, resulting in the writing style called hanzi purposes and in different ways, and eventually the
('M^~ the writing of the Hanw) or kanji in Japanese, writing system of the present-day style emerged.
and it has remained for the next two millennia.
Main Body
In Chapter 2 aKanji Formation Types and Dic­
1100 Kanji—History，Meanings， and Use
tionary Section Headers (Bushu)^ the four types of
kanji formation are discussed. Of the four types, pho­ In addition to providing the missing links between
netic-semantic composition formation is generally each kanji s form and meaning, The Key to Kanji: A
credited with creating a large majority of the kanji. Visual History of 1100 Characters also provides all
Knowledge of the recurring components in phonetic- aspects of kanji study—sound, form, meaning, sec­
semantic kanji provides a powerful tool to expand tion header, usage, and stroke order—that learners
ones kanji knowledge. For this reason, a table of all will need to have for a complete picture of kanji. Each
the 184 types of dictionary section headers called of the 1100 kanji in this book contains the following
bushu that appear in our 1100 kanji is provided with information:
THE KEYTO KANJI
Sample Kanji Table for 分
(A) Serial number
(§) Header
(§) Kanji in kyokasho-tai
font
(f) On-kun readings
(C) Meaning in English ⑥ in ustration
ORIGIN: The top ハ “ dividing into two” and the bottom 刀
asword； krnre or “to cut indicated not only ato divide>, or
© Origin portion” but also “minute” because an hour is divided into
60 minutes.>，Also, when something is explained in a clear-
cut manner, it is easily understood. The kanji ^ means ato
divide, portion, minute,” or “to understand; to realize.”
ごふん
| 分けるto divide 五分 five minutes ------ (〇) Sample words
ふんべつ
| 十分にplemiMy 分別のあるsensible
■ゎ しちぶんめ
| 分かる to understand, to 七分目 seven-tenths
realize
L ノノ、今 分 ____________________________ 4-1
(T) Strokes
(A) Serial number (1 through 1100): The Key to ings, past tense is used to indicate historical uses
Kanji contains 1100 kanji that are numbered while current tense is used to indicate present uses.
according to the ^-reading of kanji, which are (E) Header (dictionary section header): A diction­
Chinese derivative pronunciations. ary section header (bushu) found in traditional
(§) Kanji in kyokasho-tai font: The kyokasho~tai kanji dictionaries is provided for each kanji. The
tctextbook style typeface is the best approxima­ Key to Kanji includes 184 kanji section headers.
tion of an ideal handwriting style, which stu­ A section header has sometimes been called a
dents are encouraged to emulate. radical in English as well.
English definition: The meanings of each kanji (J) On-kun readings: The ^«-reading (Chinese deriv­
are given in English. Compound kanji words ative pronunciation) is indicated in katakana,
have different meanings, but it is helpful to know and the ^««-reading (Japanese pronunciation) is
the core meaning of each individual kanji. indicated in mragana.
(§) Origin: The historical development of each kanji (§) Illustration: Each kanji s historical development
is explained in Englisn. fo clarify the delineation is illustrated in steps. A drawing of： (a) the image
between ancient meanings and modern day mean­ of the original meaning, (b) an ancient writing
Introduction
form taken from the oracle-bone style, bronze- Indexes to search for kanji
style, or seal-style, (c) the meaningful components Being able to locate kanji quickly and efficiently is
of the kanji, and (d) the present-day kanji form. crucial for a reference book. As noted in A, the 1100
(H) Sample words: An average of six frequently used kanji in The Key to Kanji are arranged in order of
words are chosen per kanji with furigana (Japa­ their 6>^-reading (Index 1).We also provide five addi­
nese phonetic guides) and meanings in English. tional indexes for user navigation in the back of the
There are approximately 6500 words in this book. The six indexes are as follows：
book. Some of the words that are customarily
INDEX 1:Order of Appearance in
written in a particular kanji, but not necessarily
7^尤り/如A：， /V (本書所収の漢字）
listed among its corresponding on-kun readings
This is the list of the 1100 kanji arranged according
as described in (f), are also included.1
to its on-reading (Chinese derivative pronunciation)
(T) Strokes: Each kanjis stroke order is fully illus­
in the order of the Japanese Syllabary, or the Table of
trated in kyokasho-tai font in clear precise graph­
Fifty Syllables (五十音図)，which is a-i-u-e-o, ka-ki-
ics. The total number of strokes is also provided.
ku-ke-ko, etc.
Kanji selection
INDEX 2: On- and Kun-Readings: Japanese
The total of 1100 kanji in The Key to Kanji includes
Syllabary Order (五十音順音訓読み）
all of the 100b kanji on the educational kanji list
This index lists all the on-readings and kun-readings
(学習漢字)，which is the list of kanji that the Japanese
(Japanese pronunciation) of the 1100 kanji in tms
government requires textbook writers to introduce in
book in the order of the Japanese Syllabary. Follow­
primary school education in Japan. An additional 94
ing convention, the on-reading is given in katakana
kanji are selected from the list of commonly-used kanji
and kun-reading in hiragana.
常用漢字)2; these were chosen based on
textbooks commonly used in the United States and INDEX 3: On- and Kun-Readings in Romaji
linked to various proficiency test requirements in the (口ーマ字による音訓読み）
United States and United Kingdom.3
This index is for beginning students who may be
using romaji (alphabetical renaition). Two types of
1A kun-reading is essentially a matching up of an existing Japanese
word with the kanji form of the same meaning. However, the use of romaji, the kunrei system and the Hepburn system,
kanji in some words may vary to some extent depending on the pur­
are included.
pose or genre of writing or the individual writer s style.
"ihe commonly-used kanji list contains 1945 kanji, 1006 of which
are designated as educational kanji. In 2010 a change is expected to INDEX 4: Arranged by Total Number of Strokes
include some additional kanji.
3 With one or two exceptions, the book contains all the kanji intro­ (総画数による索引）
duced in the following materials: 377 kanji from Japanese as Written
This index references the total number of strokes in
Language (Jorden and Noda 1995); 317 kanji from Genki I &II
(Banno et al.1999); 390 kanji irom Nakama 1 &2 (Makino et. al.
a kanji. When the pronunciation is not known, you
1998 & 2000); 500 kanji from Kihon Kanji 1 &2 (Kano et. al.1989);
410 kanji from the Advanced Placement Test in Japanese (College can count the total number of strokes and look it up
Board 2006) in the United States； and 600 kanji from the GCSE, AS
and A2 kanji lists (Edexcel Foundation 2006 ) in the United Kingdom. in this index.