There are different components of kanji that originated from “a table.” In this posting two types of tables, 几 and the bottom of 其, are discussed: the kanji 机処拠飢 and 其基期棋碁欺.
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The kanji 机 “desk”
For the kanji 机, in seal style (a) was a low table with a leg on each side. It was used as a low table, a chair to sit on or an armrest. In (2) “wood” (木) was added on the left side. A wooden low table (机) meant “desk; writing table.”
The kun-yomi 机 /tsukue/ means “desk,” and is in 文机 (“low writing table” /huzu’kue/) and 学習机 (“a desk with shelves, a lamp and other features that are designed for a grade school pupil” /gakushuuzu’kue/). The on-yomi /ki/ is in 机上の空論 (“impractical theory” /kijoo-jo-kuuron/). ＜The composition of the kanji 机: 木 and 几＞
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The kanji 処 “place”
For the kanji 処, (a) and (b) in bronze ware style, in green, had a person wearing a tiger headdress for a votive play sitting on a chair, with his legs stretched in front. The foot was facing sideways, which might have signified “not moving forward.” Together they meant “to stay; be at a place; do something so that it goes better.” From that it meant “to handle; deal with.” In seal style, in red, in (c) a tiger (虎) was dropped, leaving a backward/backward foot (夂) and a chair (几), whereas in (d) a tiger became the top that enclosed 夂 and几. The kyuji 處, in blue, reflected 4, whereas the shinji 処 reflected 3. The kanji 処 means “place; situation; to handle; deal with.” ＜The composition of the kanji 処: 夂 and 几＞
The kun-yomi 処 /tokoro/ means “place.” The on-yomi /sho/ is in 処理 (“to process; handle” /sho’ri/), 処分 (“to dispose; punish” /sho’bun/), 対処する (to deal with; handle” /ta’isho-suru/), 処世 (“conduct of life” /shosee/), 処刑 (“to execute; put to death” /shokee/) and 処する (“to deal; manage; punish” /shoru’ru/).
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The kanji 拠 “to be based on”
The seal style writing had “hand” on the left side. The right side had “a tiger” and “a bore; pig,” but was used phonetically for /kyo/. Together they meant “to be based on a (particular) place.” The right side of the kyuji was different from the kyuji for 処, as in (e) in 2 above, but in kanji (拠) it became 処. ＜The composition of the kanji 拠: 扌, 夂 and 几＞
The kun-yomi 拠る /yoru/ means “to be caused by; based on” and 拠り所とする (“to rely on; make it as its base” /yoridokoro-to-suru/). The on-yomi /kyo/ is in 拠点とする (“to be based in ~” /kyoten-to suru/), 拠点 (“base; strong foothold” /kyoten/), 拠出する (“to contribute; donate” /kyoshutu-suru/) and 典拠 (“authority; reliable source” /te’nkyo/).
The next shape for a table or base appears as a component only. (There is no font on MS Word for Mac that we can use in text. It is shown on the right in a graphics file. (It is like 六 without the top.) It meant “a place to put something on; base.” This shape is seen in 其基期棋碁欺.
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The kanji 飢 “to starve; hunger”
For the kanji 飢 in seal style, (a) comprised covered food on a raised bowl (食) and 几, which was used phonetically for /ki/. It meant “hunger; to starve.” (b) had 幾 on the right, which was used phonetically for /ki/ to mean “little.” The kanji 飢 reflected (a). ＜The composition of the kanji 飢: a bushu shokuhen (one fewer stroke than 食) and 几＞
The kun-yomi 飢える /ue’ru/ means “to be starved; famish.” The on-yomi /ki/ is in 飢饉 (“famine” /ki’kin/), 水飢饉 (“water shortage; drought” and 飢餓 (“starvation” /ki’ga/).
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The kanji 其 “that; the”
The kanji 其 is not a Joyo kanji. (a) in oracle bone style and (b) in bronze ware style was a winnowing basket for removing chaff from grain, and was /ki/ phonetically. In (c) in bronze ware style and (d) in seal style the basket was placed on a base. The writing was borrowed to mean “the; that.”
The kun-yomi /so/ is in 其の他 (“other than it” /sono’ta/) and 其の件 (“the matter” /sonoke’n/). There is no on-yomi.
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The kanji 基 “base; foundation”
For the kanji 基, the bronze ware style writing comprised a winnowing apparatus with its base (其), which was used phonetically for /ki/, and “soil; ground” (土). Together they meant the ground on which a building was built — “foundation; base.” In seal style, the same components were kept. The kanji 基 means “basis; base; foundation.” ＜The composition of the kanji 基: 其 and 土＞
The kun-yomi 基 /moto/ means “base; foundation.” The on-yomi /ki/ is in 基本 “base; foundation; basis” /kihon/), 基盤 (“base; foundation” /kiban/), 基準 (“criterion; standard; reference” /kijun/), 基金 (“fund; monetary fund” /ki’kin/), 基地 (“base; military base” /ki’chi/) and 基礎 (“base; pedestal; groundwork” /ki’so/).
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The kanji 期 “specific time; period; to expect”
For the kanji 期 the bronze ware style writing had “the sun” at the top, and 其, which was used phonetically for /ki/ at the bottom. Together they meant “a specific time or period.” In seal style, 2, on the right side the sun was placed by a moon (月). A moon had a cycle of waxing and waning — “thus, a cycle of time.” In Old style, in purple, the sun was inside the base. The kanji 期 means “specific time; period; cycle of time; to expect.” ＜The composition of the kanji 期: 其 and 月＞
There is no kun-yomi. There are two on-yomi. The kan-on /ki/ is in 期日 (“term; due date” /ki’jitsu/), 期間 (“duration; period” /ki’kan/), 任期 (term of service; term of office” /ni’nki/), 期待する (“to hope for” /kitai-suru/) and 予期する (“to anticipate; expect” /yo’ki-suru/). The go-on /go/ is in 末期 (“the hour of death; the end of one’s life” /ma’tsugo/). (末期 in kan-on /ma’kki/ means “end stage; advanced stage,” not necessarily connoting one’s death.)
The next two kanji 棋 and 碁 have rather specialized use– a checkerboard or a game that was played on a square board. It came from a square shape of a winnowing apparatus.
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The kanji 棋 “checkerboard”
The seal style writing comprised 其, which was used phonetically for /ki/ to mean “square shape,” and “wood” (木) below. Together they meant a square checkerboard. The kanji 棋 is only used for the words that are related to Japanese shogi play 将棋 /shoogi/, in which the kanji 将 /sho’o/ means “commander; general.” ＜The composition of the kanji 棋: 木 and 其＞
There is no kun-yomi. The on-yomi /gi/ is in 将棋 (“Japanese chess” /shoogi/).
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The kanji 碁 “go play”
There is no ancient writing for the kanji 碁. The kanji comprised 其 “square” and 石 “stone.” A game that uses a square board and small stones is a game of go. The kanji 碁 means “play of go; game of go.” ＜The composition of the kanji 碁: 其 and 石＞
There is no kun-yomi. The on-yomi /go/ means “a play of go/, and is in 囲碁 (“game of go” /i’go/), a more formal name than just /go/, 碁盤 (“go board; checkerboard” /goban/) and 碁石 (“small round stones in black or white used for go play” /goishi/).
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The kanji 欺 “to deceive”
The seal style writing comprised 其, which was used phonetically for /gi/, and a person with his mouth open wide (欠). Setsumon stated that the kanji 欺 meant “to deceive.” (I feel this is not exactly an explanation, but I do not have any better one for now.) ＜The composition of the kanji 欺: 其 and 欠＞
The kun-yomi /azamu’ku/ means “to deceive; cheat.” The on-yomi /gi/ is in 詐欺 (“fraud; swindle” /sa’gi/) and 欺瞞 (“deception” /giman/).
In this posting I experimented a new feature as a study guide – <the composition of the kanji …>. I thought it might give our exploration in ancient writing a better “landing” on the shape we want to learn. That is the goal of our exploration after all. Because we cannot embed graphics in the middle of a WordPress sentence, I do not know if we can do this with all kanji in the future or not. We shall see how far we can do. Thank you very much for your reading. – Noriko [July 15, 2017]
For the kanji 則, we have three writing samples in bronze ware style, in green, here. (a) had two three-legged bronze ware vessels whereas (b) and (c) has just one vessel. The right side was a knife. The knife next to the vessel has been given different accounts — It was a knife used as a utensil for eating food that was cooked in the vessel. Sacrificial animal meat and other food that was offered to a deity was also shared by participants in a religious rite. Something that always accompanied the vessel signified “the rules always to be abided by.” Another account is that a knife signified inscription on the vessel [Shirakawa]. What was inscribed on a bronze ware stayed for a long time and was to be abided by — thus “rules; laws.” The double vessels in (a), and (d) in Old style, in purple, are explained by Shirakawa as signifying the fact that important contracts were inscribed in two vessels for each party to keep as proof. In kanji the knife became刂, a bushu rittoo “a knife placed vertically.”
For the kanji 側, the bronze ware style writing, and the seal style writing, in red, had a “person” (イ), a “three-legged bronze ware vessel” (貝) and a “knife” (刀). 則 was used phonetically for /soku/. A person standing next to the vessel meant “by the side.” The kanji 側 means “close by; side.”
The seal style writing of the kanji 測 comprised “water” and 則, which was used phonetically for /soku/ to mean “standard.” Together they signified measuring the depth of water or in a more general sense of “to measure.” The kanji 測 means “to measure.”
In the bronze ware style of the kanji 賊. we see a halberd (戈) on the top right and a three-legged vessel (貝) underneath. But what was the small piece on the left side of the vessel? Was it a “knife” or a “person”? As I mentioned in earlier posts, a knife and a person looked so alike in bronze ware style that they caused some confusion. 
Then when I looked up the ancient writing for 戎 (“soldier; weapon” /e’bisu; kai/), which was the right side of the kanji 賊, it became clear that it was a shield or armor (The history is shown on the right). The kanji 戎 had a halberd (戈) and a shield, making up the meaning “weapons.” So, the kanji 賊 comprises 貝 “three-legged vessel” and 戎 “weapons; soldier.” Together they meant scraping an inscription of an oath out of bronze ware to revoke it. It was also used to mean injuring a person. The kanji 賊 means “to damage; damage due to a robbery; robber.”
We leave the exploration of the kanji that originated from a legged bronze ware vessel here. The last shape we are exploring in this group of four posts is the shape 賁. The kanji 賁 /hi; hun/ is not a Joyo kanji but we have the history shown on the right side. The bronze ware style was richly decorated ornament. In seal style a cowrie was added to indicate decoration with cowries. The kanji 賁 means “to decorate colorfully,” and when it is used as a component it meant “to burst out.”
The seal style writing of the kanji 墳 comprised 土 “soil; dirt” and 賁, which was used phonetically for /hun/ to mean “causing something to swell; rise.” Together they meant a burial mound of ancient times. In kanji 土 became a bushu tsuchihen “ground; dirt.” The kanji 墳 means “burial mound.”
The seal style writing of the kanji 噴 comprised 口 “mouth; opening” and 賁, which was used phonetically for /hun/ to mean “to burst out; gush out.” Together they meant “to gush out.”
The seal style writing of the kanji 憤 comprised “heart” and 賁, which was used phonetically for /hun/to mean “to burst out.” Together a heart gushing out with emotions meant “to anger; rancor ; outrage; indignation” In kanji, a heart became 忄, a bushu risshinben “heart.” The kanji 憤 means “anger; rancor; outrage; indignation.”
The kanji 鼎 is not a Joyo kanji, but it is the base of many kanji that contain the shape 貝 that meant “three-legged bronze vessel.” It generally had three or four legs at the bottom and two “ears” at the top. It was used to cook various foods together, including sacrificial animal meat. The food in this vessel was prepared to be used as offerings to an ancestral deity. (a) and (b) in oracle bone style, in brown, and (c) in bronze ware style, in green, had the features of “ears” and three or four legs. The top of (d) in bronze ware style and (e) in seal style, in red, became 目.
(a) and (b) in oracle bone style and (c) in bronze ware style was a three-or four-legged bronze ware vessel. It was originally used as a counter for such vessels, and later for “number of people” or just “person.” A rounded or square shape at the top was interpreted as a shape of the opening at the top. A three-legged vessel had a rounded opening whereas a four-legged one had a square opening. (e) in seal style kept the opening as a square shape, and the legs became two. The kanji 員 meant “member; staff; people.” It is also used for a word to describe a person’s occupation, or a person who is engaged in that occupation.
The seal style writing and the kyuji (圓), in blue, had 員, a round top three-legged vessel, inside an enclosure (囗), which signified something all around. It meant “round; circular.” It is also used for the unit of Japanese currency “Japanese yen.” The shinji is 円. The Japanese currency unit (円 /en/ “Japanese yen”), Chinese currency (元yuan), and Korean currency (wong) all originated from the kanji 圓. Japanese yen’s symbol is ￥, a letter “Y” and an equal sign (=) through it.
The seal style writing comprised 扌, a bushu tehen “hand; an act that one does using a hand” and 員 “three-legged bronze ware vessel” to cook food for offering to a deity. Together they meant a hand damaging the contents of a pot or, perhaps, one of the legs. (Those bronze ware vessels were extraordinarily heavy, and we can easily imagine that the legs could have been damaged.) The kanji 損 means “to damage; impair; loss.”
Oracle bone style (a) and (b) was smilar to 員, which was a bronze ware cooking vessel for offerings, and was used phonetically for /tee/ to mean “to inquire about a god’s will; divination.” In bronze ware style (c) and (d) had 卜 “divination” on top of the vessel. It originally meant “to hear the will of a god by divination.” Seeking the god’s will gave the meaning “right; straight; faithful.” The kanji 貞 means “right; upright; faithful.”
The seal style writing comprised イ “person” and 貞, which was used phonetially for /tee/ to mean “to listen to deity’s voice; inquire.” Together they meant a person investigating carefully by listening and inquiring. The kanji 貞 means “right; straight; faithful.”
(a) in oracle bone style and (b) and (c) in bronze ware style had a bronze ware vessel at the top and two hands held up at the bottom. Together a vessel that was full of offerings of food was held out reverentially with both hands. Two upward hands generally signified reverence or a polite act. Full contents of a vessel gave the meaning “contents” and also “being amply provided.” In (d) in seal style the legs dissappeared. The kanji 具 means “contents; to be amply provided (often in a set).”
For the kanji 敗 in oracle bone style the right sides of (a) and (b) were the same — “a hand holding a stick,” which signified “to hit; cause an action.” The left sides, however, came from two different origins. (a) was a bronze ware legged cooking vessel to prepare for an offering, whereas (b) was a cowrie. A bronze ware vessel being used for cooking for offering to a deity and a cowrie being used as money signified something valuable. In bronze ware style, (c), the left side had two cowries. Or, could they be two vessels? Then when I compared the bronze ware style writings for a cowrie and those of a legged-bronze ware vessel in other kanji, there appeared to be a difference — a legged bronze ware vessel had short sideways lines, signifying legs of the vessel. So (c) in 敗 can be interpreted as having two cowries. A valuable cowrie broken in two by a hand meant “loss.” The right side 攴 in (e) became 攵, a bushu bokuzukuri “to do; cause something to happen” in shinji. The kanji 敗 means “loss; to fail.”
The top of (a) and (b) in bronze ware style, in green, was a house or a family mausoleum. The top of the inside, 毌, meant “small cowries pierced through and strung together,” and the bottom 貝 was “cowrie,” signifying valuable items or money. Valuable offerings at a mausoleum signified fullness of wealth having “substance” and wealth displayed, signifying “real; actual.” It also came to be used to mean “fruit; nut; berry.” The kyuji 實, (e) in blue, reflected (d) in seal style, in red. In shinji 実, the inside of the bushu ukanmuri was replaced by a much simpler shape that had no meaning attached. The kanji 実 means “substance; contents; fruit; nut; berry; contents; reality.”
The kanji 貫 was a component of the kyuji of the kanji 実 above, but the earliest writing appears to be in seal style. So I suspect that this kanji was derived from the kanji 實. (If that is the case it is a curious reverse process.) The top 毌 of the seal style writing came from two cowries pierced through, and was used phonetically for /kan/. With the bottom 貝 “cowrie,” they meant “to pierce through; penetrate; carry through.”
The seal style writing of the kanji 慣 comprised扌, a bushu tehen “hand; an act that one does using a hand,” and 貫, which was used phonetically for /kan/ to mean “linking things.” Together they signified “to accumulate.” Doing things many times makes one’s mind being accustomed to it, and in kanji the left side was replaced by忄, a bushu risshinben “heart.” The kanji 慣 means “to become used to; custom.”
The top of the kanji 賛 in seal style, (a), was used phonetically for /shin; san/ to mean “offer; present.” The bottom was 貝 “cowrie.” Together they meant “to present valuable goods at an audience or meeting.” The kyuji (c) had two 先 at the top, which in kanji was replaced by two 夫. The kanji 賛 means “to present; help; laud.”
For the kanji 鎖, the left side of the seal style writing was 金 “metal.” The right side comprised small shells at the top (小) and 貝 at the bottom, and was used phonetically for /sa/. Together small metal things linked together meant “chain” and “to lock down.” The top right component小flipped upside down and became a shape called sakasa–shoo “flipped 小.” (This flipping of 小 in shinji happened in other kanji such as 消.) The kanji 鎖 means “chain” and “to lock.”
For a long time I treated the origin of 小 as just small markers, rather than having a specific origin. But after going over kanji such as 貫, 鎖, 朋 in the context of cowries that ancient people valued, the account by Shirakawa, which explains that those were small shells, makes some sense to me now. 
In the bronze ware style writing (b) for the kanji 少, shown on the left, the last long stroke of the kanji is viewed as a string that would have linked the small cowries. The history of the kanji 小 is shown on the right.
To have a better image of the small cowries that were made into strands, the history of the kanji 朋 shown on the right may be helpful. The kanji 朋is not a Joyo kanji but we are familiar with it because it is used in a given name. In the kanji 豊 “abundance” might have had two strands of cowries that were among offerings on an altar table (Ochiai 2014: 236).
For the kanji 価, the right side in seal style had “person.” The right side 賈 comprised “cover” (襾) and “cowrie” (貝), and was used phonetically for /ka/ to mean “to sell and buy.” A value is something people apply. The kyuji 價 was replaced by 価. The kanji 価 means “value; price.”
The kanji 賜 is not a daily kanji that we would need at all. It describes an act of giving by royalty. (a) in oracle bone style had a rice wine pitcher pouring wine in a wine cup. An emperor giving a cup of wine out of a wine pitcher called shaku (爵) personally meant “to confer; bestow.” (b) in oracle bone style and (c) and (d) in bronze ware style was for 易. The origin of 易 could have been the sun’s ray and a lizard on the right, but the association is not clear. In seal style (e), 貝 was added to mean a valuable thing. The kanji 賜 means “to bestow; confer.”
For the kanji 貝, (a) and (b) in oracle bone style, in brown, and (c) and (d) in bronze ware style, in green, was a cowrie, a spiral shell that has an opening in the back. A cowrie was found in the southern sea of China, a long way from the inland where the civilization was situation. It was treasured and valued and was used for an exchange of goods and as money. A majority of kanji that means “value; money” contain a component 貝 “cowry,” as we shall see in a few posts now. By itself the kanji 貝 means “shell; shellfish,” inclusive of all shapes of shells.
For the kanji 貨, the left side of the seal style writing, in red, was a standing person (イ), and the right side had ヒ as a phonetic feature /ka/ to mean “change” and 貝 “cowrie; valuable.” Together they meant something that could be exchanged as money or for goods. In kanji the top became 化 (“to change” and phonetically /ka/). The kanji 貸 means “goods; money.”
For the kanji 貯 (a) in oracle bone style was a container, the inside of which showed a cowrie. It meant “to store valuable things.” In (b) and (c) in bronze ware style the container and the cowrie became two separate components top and bottom, which were later placed side by side in seal style, (d). Cowries were so important that they were kept in an elaborate bronze ware container called 貯貝器 /choba’iki/. In kanji the right side 丁 seems to be out of place but in fact one of the origins of the kanji 丁 was a square shape. The kanji 貯 means “to save up; lay up; make cash of.”
The top of the seal style writing for the kanji 貢, 工, was used phonetically for /koo/ to mean “product; skilled work,” and the bottom 貝 was “cowrie; money.” Many kinds of products of value were paid as a tribute. The kanji 貢 means “tribute; contribution.”
For the kanji 賃, in (a) and (b) in bronze ware style and (c) in seal style the left side and the top of the right side made up 任, which was used phonetically for /jin/ to mean “work.” The bottom right was 貝 “cowrie.” Together they meant paying money to hire a person to do work for wages. The kanji 賃 means “wages.”
For the kanji 得, (a) in oracle bone style and (c) in bronze ware style had a cowrie and a hand, whereas (b) and (d) in bronze ware style had a crossroad added. Together they mean one going “to obtain something valuable.” In seal style, on the left side a crossroad was added to a cowrie, and a hand was on the right side. From “going out to gain something valuable” it meant “to gain; make a profit.” In kanji the cowrie became a 旦 “sunrise” and a hand became 寸.
The seal style writing of the kanji 負 had a person with his back bent at the top, and “cowrie,” signifying “money” at the bottom. Together they meant a man carrying something on his back, or a debt, on his bent back. The kanji 負 means “debt; to lose; owe; carry on one’s back.”
For the kanji 貿 in bronze ware style and seal style, the top was used phonetically for /boo/ to mean “to divide in two,” and the bottom was “cowrie.” Together they signified “to trade goods” The kanji 貿means “to trade.”
In seal style writing, the kanji 貴 had two hands holding something reverently. The bottom was a cowrie. Together they signified “to handle something valuable carefully.” It means “precious; valuable; of high value.” It is also used for people to mean “noble; august.” The kanji 貴 means “precious; valuable; noble; venerable.”
In bronze ware style, (a) had “two hands holding something carefully” (top), “crossroad” (left) and a cowrie (bottom right). In (b) a hand was at the bottom, and a footprint was added at the bottom left. Together they meant someone leaving something precious behind. In (c), underneath two hands holding a thing carefully, were a crossroad and footprint, which in (d) in seal style became 辵 “to go forward,” a precursor of a bushu shinnyoo. The kanji 遺 means “to leave behind; bequest.”
The seal style writing of the kanji 潰 had “water” and 貴, which was used phonetically for /kai/ to mean “to collapse.” Together their ogirinal meaning was “a breach of water; bursting a bank.” It described a forceful destruction such as one made by a collapse of a bank –“collapse; crush; smash.” The kanji 潰 means “a breach of water; collapse; crush.”
The component 帚 — (a) and (b) in oracle bone style, in brown, and (3) and (4) in bronze ware style, in green, was a broom for sweeping an altar table in an ancestral mausoleum. It has also been interpreted as something that sprinkles rice wine to sanctify offerings. 帚 meant “broom; to sweep; to cleanse.”
For the kanji 婦, in oracle bone style (a) and (b) were the same as 帚 above, which was a broom for sweeping or cleansing an altar. In bronze ware style, (c) and (d) had a broom on the left and a woman (女) on the right. Together they signified the mistress of a household, who was responsible for keeping an ancestral mausoleum in good order. It originally meant the wife of one’s son. The kanji 婦 means “lady; woman; female.”
For the kanji 掃, in oracle bone style (a) had a broom and a hand holding it whereas (b) was the same as 帚 “broom; brush” and (a) and (b) in 1. 婦 “woman” above. It meant “a hand sweeping with a broom.” In (d) in seal style, in red, 帚 was used for a secular mundane purpose, and 土 “soil; ground” was added to mean “to sweep the ground; clean.” In kanji, 扌, a bushu tehen –“hand; an act that one does using a hand” — was restored. The kanji 掃 means “to sweep; brush on; broom.”
For the kanji 帰, In (a) and (b) in oracle bone style and (c) in bronze ware style, the left side was a sacrificial meat offering to a deity before a military force went out for a battle. The right was a broom, signifying a purified family altar. Together they originally meant a military force returning to the family mausoleum to give a battle report on a safe return. (e) in bronze ware style and (f) in seal style had a footprint at the bottom left to signify a return. From that it meant “to return home.” The kyuji 歸, (g) in blue, reflected (f) closely. In shinji the left side became two slightly curved lines, perhaps signifying the original two pieces of sacrificial meat offerings. The kanji 帰 means “to return; come/go home; belong to.”
For the kanji 寝, (a) in oracle bone style and (c) in bronze ware style had a house or family mausoleum, inside of which was a broom or brush. Together they originally meant a mausoleum that was purified. On the other hand, (b) in oracle bone style had a sick bed with a few droplets signifying perspiration on the left, and the right side was a hand holding a broom, which signified a cleansed mausoleum. Together they meant a sick person waking up from in bed with a nightmare. (d) in seal style was very different but had a similar story – inside a mausoleum (a house and a broom) the left side was a bed, and the top right was a medium who was believed to cause a nightmare/dream. An illness was considered something that an evil spirit caused, and purification was necessary. In kyuji 寢, (e), the dream component was dropped, and a hand (又) was added at the bottom. The kanji 寝 means “to sleep.”
For the kanji 浸, in oracle bone style inside a family mausoleum was a broom shaking drops of sanctifying aromatic liquor. From the aroma of liquor permeating the room strongly, it meant “to soak; immerse.” The kanji 浸 means “to immerse; soak.”
For the kanji 侵, in oracle bone style (a) had an ox with sanctifying liquor droplets on the left and a hand holding a broom on the right. (b) had an ox and a broom only. [Incidentally, (a) and (b) were copied from Akai (2010), but were not included Shirakawa (2004). I suspect that it is possible that Shirakawa treated (a) and (b) belonging to other kanji.] (c) in bronze ware style had a sitting person on the top right and a broom in hand at the bottom. The meaning of 浸 “to permeate; immerse” was adopted for an act people do (signified by イ, a bushu ninben “person; an act that a person does”) in a military sense, and it meant “to invade.”
For the kanji 斉, in (a) in oracle bone style, in brown, (b) and (c) in bronze ware style, in green, and (d) in seal style, in red, there were three beautiful hair accessories of women involved in a religious rite in a uniformly neat appearance. It meant “to be in good order; gather properly.”
The seal style writing was comprised of “water” and 斉. It was the name of a river. From crossing the river, it was borrowed to mean “to rescue people” and further “to be accomplished.” The kyuji 濟 was simplified to済. The kanji 済 means “to complete; finish up.”
The seal style writing was comprised of 斉 and 刂 “knife.” Together they meant engraving on a bronze ware vessel to inscribe a contract. Later on it was borrowed to mean “medicine.” In kyuji the knife, being used on the right side, became刂, a bushu rittoo “knife.” The kanji 剤 means “medicine; drug.”
For the kanji 斎the bronze ware style writing was comprised of an altar table added to 斉, which was used phonetically for /sai/ to pertain to religious rite. Together they meant the discrete reverential manner of areligious rite. In seal style the altar table was placed inside 斉. The kanji 斎meant “votive abstinence; .”
For the kanji 帝, (a) in oracle bone style (b) in bronze ware style, and (c) and (d) in seal style was an altar table that had three crossed legs for stability. It was the most important altar table on which to place offerings for the ancestral gods, in comparison to another alter (示), which was for general meaning of religions matters. A person who was the primary celebrant was an emperor. In kanji the bottom 巾 was probably the remnant of three legs. The kanji 帝 meant “emperor; imperial.”
The seal style writing for the kanji 締 was comprised of 糸 “thread,” signifying “tying,” and 帝, which was used phonetically for /tee/. The kanji 締 they meant “to fasten; sign a treaty.”
The seal style writing for the kanji 諦was comprisee of 言 “word; language,” and 帝, which was used phonetically for /tee/. Together they meant “to make clear (with words); reveal the truth.” In Japanese it also means “to resign to one’s fate; despair.” The kanji 諦 means “to resign to one’s fate.”
For the kanji 嫡 the bronze ware style writing was the same as 啇. In seal style a woman was added to indicate a line of legitimate heirs to a throne. The kanji 嫡 means “legitimate line.”
For the kanji 敵, the bronze ware style writing was the same as 啇 “emperor; imperial” or 嫡 “legitimate heir.” In seal style, 攴, a bushu bokuzukuri “to beat; hit,” was added. Someone who attacked an heir was “enemy; foe.” Someone who was an good match to be one’s enemy also gave the meaning “equal to; match; opponent.”
For the kanji 適, again, the bronze ware style writing was the same as in 8 and 9. It suggests that all those meanings were once expressed in one writing. In seal style, 辵, the precursors of shinnyo/shinnyu “to move forward; move on.” The right side was used phonetically for /teki/ to mean “a legitimate person.” The meaning of being suitable to conduct worship rites was used for this writing. The writing 適 meant “suitable; to fit.”
The seal style writing was comprised of扌 “hand” and 啇, which was used phonetically for /teki/. Together they meant a hand picking or plucking something. The kanji 摘 means “to pick; pluck.”
For the kanji 滴 the two writings (a) and (b) in oracle bone style were taken from Akai (2010). In (a) and (b) next to “water” was a tattooing needle and a table or base to place it on, which was the origin of the kanji 商. This puzzles me. Shirakawa (2004) did not list them in 滴. I suspect that it is due to the difference in view on which writings should be taken as for origin of a particular kanji. Generally speaking the writings listed in Akai, a calligrapher and kanji compiler, are in line with Shirakawa’s view, but this is one of very few discrepancies. The seal style writing, (c), was comprised of 氵, a bushu sanzui “water,” and the right side 啇 was used phonetically for /teki/. It is believed to be an onomatopoetic use for the sound of water dripping. The kanji 滴 means “to drop; drip.”
The kanji 卜 is not among the Joyo kanji. But it appeared in many kanji as a component. In oracle bone style (a) and (b), in brown, bronze ware style (c), in green, and seal style (d), in red, the two lines signified cracks (vertical and horizontal) that appeared on a heated underside shell of a turtle or tortoise or a piece of animal bone that was used for divination. On the back of a bone heat was applied to a small hole that had been drilled in advance, and heat cracks that appeared were read as oracle on the topic that a ruler was seeking. The kanji 卜 meant “oracle; divination.”
The kanji 占 in oracle bone style (a) was comprisee of a bone with divination cracks (卜), and a mouth (口) at the bottom. In (b), the two components in (a) were in an enclosure. It meant “oracle; divination.” The kanji 占 means “to tell someone’s fortune; divine.” Another interpretation of the bottom 口 is an “area,” which meant asking a deity which area one should take. From that it also meant “to occupy.”
For the kanji 外, the oracle bone style writing had 工, which was probably used phonetically, and 卜 “oracle.” The left side of the bronze ware style writing and seal style writing had an early moon (夕), which would appear outside, or a piece of meat (月) offering for divination. The divination appeared on the surface or outside the bone. The kanji 外 means “outside; exterior,” and its extention “others; else; to take out.”
The seal style writing was comprised of 貝 “cowry,” and 占, which was used phonetically for /choo; ten/. Together they meant “to stick on; affix over something.” The kanji 貼 means “to stick; paste.” The kanji 貼 was added to the Joyo kanji in 2010, and before that 張 was used instead.
For the kanji 点, the left side in seal style was the same as 黒 “black,” which had a chimney with soot and two fires. The right side占 was used phonetically for /ten/ to mean “small dot.” Together they signified “small (black) dots.” Adding small points also gave the meaning “score.” The kyuji 點, in blue, had 黑 and 占. In kanji “black” was dropped except the “fire” underneath 占 as a bushu renga/rekka. The kanji 点 means “small dot; point; to add a small note.”
For the kanji 赴, the seal style writing was comprised of 走 “to run,” and 卜, which was used phonetically for /hu/ to mean “the news of someone’s death.” Together they originally meant “to tell” and “to rush in a distance.” From that the kanji 赴 means “to go somewhere at a distance; proceed; head for (a destination).”
For the kanji 兆 (a) in Old style and (b) in seal style was a pictograph of a oracle bone writing, possibly signifying the whole image of a tortoise shell with cracks. It meant “sign; indication; omen.” 兆 is also used to mean “trillion.”
For the kanji 逃 the bronze ware style writing had a crossroad on the left, and crosses scattered, which was also used phonetically for /too/. The way in which a crack ran through rapidly in divination was similar to soldiers in defeat in a battle running away in all directions. It meant “to run away.” The seal style writing was comprised of 辵 “to move forward” and 兆, which was used phonetically for /choo/. From “a hasty retreat” the kanji 逃 meant “to run away; dodge; evade.”
The seal style writing was comprised of 足 “leg” and 兆, which was used phonetically for /choo/ to mean “leaping,” from the manner in which cracks appeared in a heated bone in divination. Together from legs leaping up and down, the kanji 跳 means “to leap; jump.”
The seal style writing was comprised of “hand”and 兆, which was used phonetically for /choo/ to mean “to bend.” Together they meant a hand bending something forcefully which met a push back. The kanji 挑 means “to challenge; confront; go after.”
The seal style writing was comprised of 目 “eye” and兆, which was used phonetically for /choo/ to mean “to disperse.” Together they meant “to look at a distance; see.”
The seal style writing of the kanji 桃 was comprised of 木 “tree” and 兆, which was used phonetically for /too/ to mean something to split in half. Together they meant “peach.”
For the kanji 礼 in (a) in bronze ware style, the top was two strings of cowries strung together or jewelries, and the bottom was a tall container. Together they meant abundant offering to a deity. The two Old style writings, in purple, came from an entirely different origin– (b) was an altar table with the offering on top, and (c) had a person kneeling to worship added on the right side. It meant “propriety (of ceremony).” (d) in seal style was comprised of 示 and 豊, which came from (a). The kyuji 禮, (e), reflected seal style (d), and is still used in formal occasions. The shinji uses 礼, in line with Old style (b) and (c). The kanji 礼 means “propriety; a bow.”
For the kanji 福, (a) in oracle bone style was comprised of an altar table at the top left and a rice wine cask that was raised by two hands. Placing a full wine cask on the altar, one prayed for blessing from the god. (b) ddid not have two hands. In bronze ware style, (c) and (d) had an altar table and a wine cask that was filled with wine (the cross at the bottom indicated that it was not empty.) In seal style (e) reflected (c), in line with the general arrangement of a semantic-phonetic formation of kanji (keisei-moji) –a left component for meaning and a right component for sound. The kanji 福 meant “blessing; good luck.”
The oracle bone style writing of the kanji 祉 had an altar table for “deity,” and 止 was used phonetically for /shi/ to mean “to remain.” Together they meant “the god’s blessing remained.” The kanji 祉 means “blessing; happiness given by a god,” but in the current Japanese the use is limited to the word 福祉. There is no kun-yomi. The on-yomi /shi/ is in 福祉 (“welfare; well-being” /huku’shi/).
The seal style writing of the kanji 禅 was comprised of an altar table, signifying “worshipping,” and 單, which was used phonetically for /tan; zen/. Together they originally meant a platform or a raised area where a deity was worshipped. Following a god’s will one passed on a throne to someone else peacefully, and it meant “to pass on power peacefully.” Later on it also came to be used to mean a Buddhist sect. In shinji the left side 示 became ネ a bushu shimesuhen. The kanji 禅 means “Zen sect; to vacate a throne (peacefully).”
For the kanji 祝 the writing in oracle bone style, bronze were style and seal style all was comprised of 示 “altar table” and 兄 “elder brother; elder person.” Together from an elder person worshipping and celebrating the god, the kanji 祝 meant “to celebrate.”
For the kanji 禍 what the shape in oracle bone style was about is not clear. The source from which I have taken this writing (Shirakawa) does not appear to be addressing it. The bronze ware style writing was comprised of an altar table and bones of a deceased (咼). Together they meant “affliction; catastrophe.” The kanji 禍 meant “misfortune; calamity.”
In oracle bone style (a) was an altar table and a stack of similar things. They could be ancestral tombstones or representations of many ancestors to be worshipped at an altar. In (b) and in bronze ware style (c) an altar table disappeared, but in (d) in seal style it reappeared. The kanji 祖 means “ancestor.”
For the kanji 示, in oracle bone style, in brown, it was an altar table with an offering placed above. An altar was where the god showed his message. From that it meant “to show; demonstrate.” In seal style, in red, a line was added on each side of the stand. Setsumon’s explanation of these three lines was the sun, the moon and a star by which the god showed himself to people.
For the kanji 宗, in oracle bone style it was an altar table inside a house or shrine. In bronze ware style, in green, and seal style the altar table had three lines. Together they meant “religious belief,” and “the head or founder of a religious group; group.”
In seal style of the kanji 禁, the top had two trees that signified “forest.” The bottom was “altar table,” signifying something sacred. Together they signified a sacred forest that was forbidden to enter. From that it meant “to prohibit; forbid.”
For the kanji 祭, (a) in oracle bone style was comprised of a “hand” on the left sprinkling “rice wine” over an offering of a “piece of meat” on the right to sanctify it. (b) was the mirror image of (a). In (c) and (d) in bronze ware style an altar table replaced the sanctifying rice wine. (e) in seal style remained in kanji. (The top left of the kanji is not タ “moon” but has two short strokes inside, from 肉.) The kanji 祭 meant “celebration; festival.”
In the seal style writing of the kanji 際, an earthen wall for a boundary was added to the left of 祭 “celebration of a god.” The area where the god and people come to meet was edge of an area; contact. In kanji the left side became simplified to 阝, a bushu kozatohen. The kanji 際 meant “boundary; edge of an area; contact.”
The seal style writing was comprised of 宀 “house” and 祭 “celebration of a god.” In a house that enshrined a god one looked for a god’s will carefully and reflected on it. The religious meaning was dropped and the kanji 察 means “to perceive; look thoroughly; conjecture.”
The seal style writing of the kanji 崇 was comprised of 山 “mountain” that signified “high” and 宗, which was used phonetically for /suu/ to mean “main.” Together from the highest mountain in the mountain range, it meant “high; supreme.”
The seal style writing was comprised of 木 “tree” and 示 “altar table.” Together they meant the name of a tree. It was used for an interrogative word. The Correct writing 柰 reflected the seal style, but in kanji the top became 大. The kanji 奈 was used for “how; why” in some kanbun-style writing, but is no longer used except in a very limited word related to Buddhism.
For the kanji 巾 in all the three ancient writing styles (oracle bone, in brown; bronze ware, in green; and seal, in red) and the kanji, it basically remained the same shape. It was a piece of ceremonial scarf that was worn around the waist by a man. From that it meant “a piece of cloth.”
For the kanji 布, in bronze ware style it had a hand holding an axe or a rock at the top, which was used phonetically for /hu/ to mean “to pound.” Our reader may recognize this shape as the bronze ware style writing of the kanji 父 “father.” (A person holding an important axe or a rock in his hand was a father or paternal head.) Underneath was 巾 “cloth or scarf that a man wore around the waist.” In ancient times before cotton was introduced cloth was made of fibrous stems and stalks of a plant such as hemp by pounding it flat with a stone. The kanji 布 meant “cloth.” A piece of cloth covered a wide area, and it also meant “to spread.” The kanji 布 means “cloth; to lay flat; spread.”
For the kanji 怖 in seal style, (a) was comprised of 心 “heart” and 甫, which was used phonetically for /hu/ to mean “fear,” whereas (b) was comprised of 心 “heart” and 布, which was also used phonetically for /hu/ to mean “fear.” (a) became the kanji 怖 in which “heart” became a bushu risshinben “heart.” The kanji 怖 means “afraid; frightening; terrifying; fear.”
In seal style the top meant “to mix.” The history of the shape 爻 is shown on the right. Many threads crossing made woven cloth. Fine thin woven cloth would have a light coming through between threads, and thinness signified “rare.” The bottom, 巾, was a piece of cloth. Together they meant something that was “rare.” One makes a “wish” for something that is not commonly around. The kanji 希 means “wish; to beseech; rare.”
In the seal style writing of the kanji 飾, 食 “eat; food” and 人 “person” together were used phonetically for /shoku/ and meant someone at a banquet table. With 巾 “cloth” below added, they originally meant “to wipe” (dishes). Wiping something with a piece of cloth meant to make it clean or pretty. Thee kanji 飾 meant “to decorate; embellish.”
For the kanji 帥 in bronze ware style writings, (a), (b) and (c) was “a door or panel to open a family altar,” and the right side 巾 was “cloth.” Together wiping one’s family altar signified one following a god, and an exemplar. The flipside of following someone was “to lead; to take command.” [Shirakawa] The kanji 帥 means “general; commander.” In seal style (d) was a piece of cloth for a woman. In (e) the left side became simplified. Another view [Kadokawa dictionary] takes the left side of 帥 as signifying “band of people,” and together with 巾 “flag,” they meant commanding a troop with a flag.
For the kanji 帯 the top of the seal style writing was a belt with accessory, and the bottom was a cloth in front, such as an apron. A rope that helped to keep clothes on was a “sash.” A sash is something you put on yourself. From that it also meant “to have on oneself.” The top of the kyuji 帶 was slightly simplified. The kanji 帯 also meant a “long, narrow stretch of area; strip; sash.”
For the kanji 滞 the seal style writing was comprised of “water” and 帯, which was used phonetically for /tai/ to mean “belt; strip.” Together “water in an area” gave the meaning “to stagnate,” which further meant “to be delayed; be behindhand with.”
The shape 敝— The next three kanji 幣弊蔽 share the shape 敝. The history of 敝 is shown on the right. In bronze ware style the top left 巾 had two short lines inside, signifying that cloth is worn and torn. The bottom right was a hand holding a stick, signifying an action. In seal style they became 㡀 and攴. The kanji 敝 meant “cloth becomes rag; torn; to break; tire.”
For the kanji 幣 the top 敝 was used phonetically for /hee/. The bottom was 巾 “cloth.” Together they meant “sacred piece of cloth for offering to a god.” An offering was sometimes money. From that the kanji 幣 meant “money.” It is also used to mean strips of hanging paper to mark a sacred area in Shinto to ward off evils.
For the kanji 弊 in seal style (a) and (b), the top was 敝, which was used phonetically for /hee/. The bottom of (a) was “dog” (犬), and (b) had “death” (死). A dog was said to have been used for poison testing. Together they meant “to collapse; perish; die; harmful.” The Correct writing (c) reflected (a) with 犬 at the bottom. The kanji 弊 was also used to mean “our (company)” in humble style. The kanji 弊 means “to collapse; to become exhausted; harmful; our (humble),” and is in 疲弊 (”impoverishment; exhaustion” /hihee/), 弊害 (“bad practice; harmful influence” /heegai/) and 語弊がある (“to be misleading” /gohee-ga-a’ru/).
The seal style writing of the kanji 蔽 had 艸 “plant; grass” on top of 敝, which was used phonetically for /hee/. They meant that grass grew rampantly and covered or hid things. The kanji 蔽 means “to hide; cover; conceal.”
All the ancient styles (oracle bone style, in brown, bronze ware style, in green, and seal style, in red) had the full shape of a collar (衣) on the left side and a knife (刀) on the right side. In order to make clothes, fabric first had to be cut. From that it meant “first time; beginning.” When 衣 appeared on the left side in kanji, it became 衤, a bushu koromohen “clothing.” /Koromo/ is the kun-yomi of the kanji 衣, as we saw last week. The shape 衤 is not to be confused with ネ, a bushu shimesuhen “religious matter,” which is related to the kanji 示 /shimesu/. It is interesting to me to see how the two very different kanji 衣and 示 could end up with such similar shapes as bushu.
he three writings for the kanji 袖 on the left demonstrate that there have been three different shapes for a collar and all meant the same thing – In one, (a), a collar was split into two, the top being the back of the neck and the bottom a front in which two sides meet; another one, (b), kept the original shape; and the third one as bushu had an abbreviated to衤(katakana ネ with an extra stroke as a fourth stroke added). The right side of (b) as well as that of the kanji 袖 was 由 “coming out of” (a ripe gourd). When you put on clothes arms would come out of sleeves, and it meant “sleeve.”
In the bronze ware style of the kanji 襟, inside the wide-open collar was 金, which was used phonetically for /kin/. It meant “collar.” In seal style the same two components 衣 and 金 were placed side by side. In kanji the left side became a bushu koromohen and the right side was replaced by 禁, which was used phonetically for /kin/ to mean “to close.” The kanji 襟 means “collar.”
The seal style writing of the kanji 裾 was comprised of koromohen and 居, which was used phonetically for /kyo/. It appears that the meaning was originally inclusive of parts of clothing, such as the hem, the bottom of clothes, the collar, the sleeve and the edge of the front panel of clothes. But now the kanji 裾 is used only for “the bottom of clothes; hem; skirts”
For the kanji 裕 in bronze ware style a collar that was opened wide had 谷. Several kanji that contain谷 are difficult to explain from the origins, because their ancient writings do not appear to have come from the same source. Rather than going into unsolved issues in my mind, I am going to leave it as being used phonetically for “roomy; ample.” Together the original meaning of “roomy; loose clothes” came to be used more generally to mean “leeway; plentiful; room.”
The kanji 卒 has seemingly different meanings, and that may have affected the interpretations of its origin. In both bronze ware style and seal style, it was a collar that had a slanted line. One view is that the slanted line across the right and left front panels of clothes that were closed signified that soldiers wore the same clothes that were given to them. From that the kanji 卒 meant “low-ranking soldiers.” Another view is that a deceased person’s collar was tied so that the spirit would not stray out – thus the slanted line signified “tied tightly.” The kanji 卒meant “sudden death,” and this sudden happening gave the meaning “rash; hasty.” It also meant “to end after one does everything to be done.” The kanji became 亠, two 人 and 十. The kanji 卒 means “low-ranking solder; sudden; to end.”
The first kanji is 経. In bronze ware style, (a), a loom that had threads (warps) was placed vertically to the wooden frame. In weaving, warp has to be placed straight so that other threads (the weft) can pass through to make a cloth. So it signified “straight; to go through.” In (b) a skein of threads was added. In (c) in seal style the threads were three wavy lines and the wooden frame became 工 ”craft” at the bottom. The kyuji 經, in blue, reflected seal style. Experience is something one goes through, so it means “experience.” A Buddhist sutra is a long continuous chanting, and the kanji also is used to mean “sutra.” In shinjitai, the right became the kanji 又 and 土. The kanji 経 means “to go through; (time) passes; Buddhist sutra.”
For the kanji 軽 in seal style the left side was a “wheel; military vehicle.” The right side 巠 was used phonetically for /kee/ to mean “light.” It meant a military vehicle that was not transporting heavy equipment. From that it meant “light.” The kyuji 輕 reflected seal style.
For the kanji 茎 the seal style writing was comprised of 艸 “plant; grass” and 巠 “something straight across.” The part of a plant that was straight was a stem. It meant “stem.” The kanji 茎 means “stem; stalk.”
For the kanji 懐 in (a) and (b) in bronze ware style, in green, the top was “back collar.” In the bottom the center was an “eye” and “drops of water coming down,” signifying “tears pouring out,” and the outside was the right and left sides of a front collar. Under a collar there is one’s heart, so together they appear to signify hiding one’s tears or feelings inside. Shirakawa explains that the right side of the kanji 懐 alone, which was phonetically /kai/, meant “grieving for a deceased person at a funeral,” and that the kanji 懐 with a “heart” meant “sentiments and thoughts cherished in one’s mind,” rather than lamenting someone’s death. (c) in seal style, in red, had a heart. On the right side the two sides of a front collar became overlapping. In kyuji (4) 懷, in blue, the tears were still there, and by the shinji 懐 the tears were gone. The kanji 懐 meant “chest; heart; inside jacket; to hold sentiment.”
The earliest writing that we have for the kanji 壊 was Old style, (a) in purple on the left, which predated (small) seal style. The left side of (a) had an eye with tears pouring down, which was used phonetically for /kai/, and the right side was a mound of soil (土) that signified celebrating the god of earth. It is difficult to get the meaning of the kanji 壊 “to break; destroy” from (a). However, in seal style, in red, in (b) the right side was the same as (c) for 懐, but in (c) the right side had 攴 “to hit by hand using a stick.” This would be in line with the current meaning. However, the kyuji (d) took after (b). The kanji 壊 means “to break; destroy; tear.”
Shirakawa proposed a unique explanation. In bronze ware style in (a) “crossroad” on the left and “footprint” at the bottom together signified “to move forward” (This became辵 in (c), and eventually辶, a bushu shinnyoo in kanji.) In both (a) and (b) the top right was a “footprint” and below that was a collar with a circle, signifying “jewel.” Together, Shirakawa explained, the bottom right (which became 袁) was jewel inside a deceased person’s clothes. The top footprint (止) signified the departure of a deceased person for a long journey. From a long journey of a deceased person it meant “far; distant.”
For the kanji 園, the inside (袁) was used phonetically for /en/ to mean “spacious; roomy.” The outside (囗) was an enclosure. An enclosure that had a lot of roomy space was a garden or park. The kanji 園 means “park; garden.”
Usually the origin of the kanji 還 is explained as being comprised of “to go” (辶) and that /kan/ was used phonetically to mean “to go around; round.” Together they meant “to go around and return to the beginning.” The kanji 還 means “to return; circle back to the original point.”
The kanji 環 is usually explained as 王 “jewel” and the right side, which was used phonetically for /kan/ to mean “a ring.” The eye signified to look around. Later on it came to be used for “something round” or “to circle.”
For 襄, (a) in bronze ware style had many things inside a collar. We can see “soil” (土) on the left and a hand on the right, which coincided with (b) – more precisely speaking, (b) had 攴 “action.” What the center was in (a) and (b) is hard to interpret. (b) did not have a collar. In (c) in Old style two hands holding something at the top, and the bottom is not clear other than having a “backward foot.” In (d) in seal style, inside the collar were two 口 “mouths” or “prayer boxes” at the top, and below was a lightning-like shape and 爻 “to mix.” Again no clue for me. The kanji 襄, which is not Joyo kanji, is said to have assorted unrelated meanings — “rich; soft; to squeeze in; face forward; wave off; help; to rise.” Well, a little excursion to the history of 襄 did not produce much, but at least we covered the ground. In fact in all of the four kanji the right side was used phonetically for /joo/ whose meanings may or may not have contributed to the kanji.
The left side of the seal style of 壌 had “soil” on the left, and the right side was used phonetically for /joo/.
The kanji 醸 had 酉 “rice wine vessel.” The right side 襄 was used phonetically for /joo/ to mean “to put things in,” — together putting rice and yeast in a vessel and brewing or fermenting the contents. The kanji 醸 means “to ferment; brew.”
The kanji 譲 had 言 “language; word.” The right side was used phonetically for /joo/ to mean “to blame; condemn.” It was borrowed to mean “to grant; give way; pass on.”
The kanji 嬢 had 女 “female.” The right side was used phonetically for /joo/ to mean “plentiful; abundant.” Together they meant “daughter; young lady.”
For the kanji 衣, in oracle bone style, in brown, bronze ware style, in green, and seal style, in red, it was a single image of a collar — the top was the back of a collar that would be behind one’s neck and the bottom was the front part of a collar where two front sections of clothes were folded in a V-shape. In kanji a back collar became 亠 and a front collar became rather complex. (Please see the stroke order at the bottom of this post.) The kanji 衣 meant “clothes.”
For the kanji 依 in oracle bone style the two writing samples had a standing person inside a collar. A person was protected by clothes, and being inside someone’s protection meant “to depend.” In seal style the person was taken out of the collar and was placed to the left side, which became イ, a bush ninben. The kanji 依 means “to depend; follow.”
The oracle bone style writing of the kanji 褒 had a collar split to the top and the bottom, and a middle. In the middle was a hand holding a baby wrapped in diapers, used phonetically for /hu/ (孚) and /hoo/ to mean “to wrap loosely.” Together they meant “robe.” In the kyuji 襃 the collar 衣 was split into two parts, a back collar (亠) and a frontal collar, and the middle changed to 保. Later it was borrowed to mean “to praise; commend.” The kanji 褒 means “to praise; commend.”
The seal style writing had a collar inside which had animal fur. Fur clothes were worn with the fur side out. From that the kanji 表 meant “outside.” Something that is outside becomes “public.” What is shown is “in front” of something. What is seen is the “surface” of something. Something that is shown to be understood at first sight is a “table.” The kanji 表 means “outside; surface; public; front; table.”
For the kanji 裏 in bronze ware style (a) had 田 “rice paddies” and 土 “dirt,” which was phonetically /ri/. In (b) 里 was placed inside a collar. From “the inside of clothes” it meant “wrong side; inside; hidden.” In (c) in seal style 里 was placed in 衣 which was split up to the top and the bottom. The kanji 裏 means “wrong side; back; inside; hidden.”
For the kanji 哀 in bronze ware style inside a collar was a mouth. The muffled sound of wailing meant “sorrow.”
For the kanji 衷 in the seal style 中 “center; inside” in the middle was used phonetically for /chuu/ to mean “center; middle.” What was inside a collar was underclothes worn under outerwear. Underclothes touch one’s skin. What was hidden under clothes was true feelings. The kanji 衷 means “true feeling; genuine sentiment.”
For the kanji 衰 in bronze ware style it was a collar at the top and strands of grass or plants hanging down from the neck. It was a straw raincoat. The Old style writing, in purple, is more descriptive because the wet straws were wilted with rain. It meant “to droop down.” In seal style the drooping straws was placed between the split collar. In kanji the straw became simplified. The kanji 衰 means “to slack; die away; fade; decline.”
In this post we are going to look at kanji that contain幺 “skein of threads”–幼玄畜蓄幽率滋慈磁. The history of 幺 is shown on the right. Then we will look at the four kanji that contain 屯 “threads knotted”– 屯純頓鈍.
For the kanji 幼 in oracle bone style, in brown, it was a skein of threads with a long stick that was used to twist the threads. Shirakawa wrote that it was the original shape for the kanji 拗 “to twist” (a non-Joyo kanji), and was borrowed to mean “very young; immature.” On the other hand Setsumon 2000 years ago explained the origin to be 幺 and 力. Oracle bones were first entered into scholarly discussion at the very end of the 19th century so Setsumon’s account naturally did not take oracle bone writing into consideration. Nonetheless Setsumon’s account still influences many kanji dictionaries today. For instance, the Kadokawa dictionary and Kanjigen followed Setsumon’s account — with 幺 “fine small thread,” phonetically for /yoo/, and 力 “power” together, they meant “fragile, young child.” This view does not explain the oracle bone style writing shown above. In the Key to Kanji (2010) I took the latter view.
For the kanji 玄, the bronze ware style writing was the same as 糸 “skein of threads.” The Old style writing that predated seal style, in purple, had dots inside the skein, possibly indicating that it was not raw color. The seal style writing, in red, was a skein of threads with an apparatus for dyeing at the top. Threads that were dyed dark meant “deep color; black.” In Japanese the meaning was applied to a person–someone who became skilled by experience.
For the kanji 畜 the oracle bone style writing was a skein of threads that was tied at the top (玄) and an urn that contained dye (田) at the bottom. In Old style there were two skeins, signifying many skeins together. They were soaked in an urn of dye for some length of time. Leaving the skeins in the urn to pick up the color originally meant “to keep; accumulate.” Animals were kept inside a fence, and it came to be used to mean “animal; livestock.” The kanji 畜 means “animal; beast.”
For the kanji 蓄 the seal style writing had 艸 “plant” at the top and 畜 “accumulate.” Together they originally signified “to accumulate or pile up plants.” From accumulating or piling up things, it meant “to store; save.” The kanji 蓄 means “to save up; stock up; learn.”
For the kanji 幽 in oracle bone style and bronze ware style, it had skeins of threads (the two 幺) on top of a fire for smoking. Smoke dyed threads darkened gradually. The smoking room was dark and visibility was obscured. The kanji 幽 meant “dark; subtle and profound; obscure.”
The kanji 率 was a bundle of wet threads being wrung tightly. In oracle bone style the six dots were water droplets. In seal style both ends of the skein had an apparatus to wring. Wringing a bundle of threads tightly gave the meaning of “pulling many things into one strongly” and was applied to people too to mean “to lead; head a party of people.” It was also used to mean “rate.” The kanji 率 means “to lead or head a party of people; rate.”
For The kanji 滋, the oracle bone style writing had two skeins of thread in the middle of running water. The seal style had water on the left, and the right side was 茲 “(plant) to grow thick; rampart,” which was phonetically used for /ji/. Together they meant “to become moistened; profit; flourish.”
For the kanji 慈, the bronze ware style writing had two 幺, which was used phonetically for /ji/ and 心 “heart.” In seal style it was茲 and 心. Together they meant “to nurture a child; treat tenderly.”
For the kanji 屯in oracle bone style and in bronze ware style it was the knotted end of threads in woven fabric. Pulling many threads together into one also meant a place where many people congregate, such as “camp; barracks of soldiers.”
For the kanji 純 the two bronze ware style writings were same as those of 屯. In seal style 糸 “skein of threads” was added. A knot of threads of same quality meant “pure.”
In 頓 the left side of the seal style writing (屯) was “knotted end of threads; fringe” that hangs down. The right side (頁) was a person with headgear in formal attire, and it meant “head.” Together a kneeling person in a formal attire bowed his head down to the ground. The kanji 頓 meant “to make deep bow; prostrate oneself.”
For the kanji 鈍, the left side (金) was “metal.” The right side (屯) “knotted end of threads; fringe” signified something round. Cutlery whose blade is not sharp (that is “round”) is “dull; blunt.” Applied to a person, it meant “dumb; slow.” The kanji 鈍 meant “dull; bunt; dumb; slow.”