Thank you for your visit to this blog.
I am away from my desk and my next post will be in late November. – Noriko
Thank you for your visit to this blog.
I am away from my desk and my next post will be in late November. – Noriko
We have been exploring kanji whose origin was related to food preparation and kitchens. In this post we are going to explore the kanji that contain 皿 “a stemmed dish or bowl” — the kanji 皿益塩温蓋尽盛盗盆血.
For the kanji 皿 (a) and (b) in oracle bone style, in brown, was “a stemmed dish or bowl.” It meant “dish; bowl; plate.” (c) in bronze ware style, in green, had “metal” added. (d) in seal style, in red, was back to a stemmed bowl only. The kanji 皿 means “a flat dish; plate.”
The kun-yomi /sara/ means “plate,” and is in the expression 目を皿にする (“to open one’s eyes wide” /me’-o sara-ni-suru/). /-Zara/ is in 大皿 (“platter; large dish” /oozara/), and 灰皿 (“ash tray” /haizara/), 取り皿 (“individual plate” /tori’zara/) and 受け皿 (“saucer; receiver” /uke’zara/). There is no on-yomi.
For the kanji 益 in oracle bone style and bronze ware style, a stemmed dish had “drops of water overflowing.” What was superabundant gave the meaning “to increase; gain.” In seal style the top was the seal style writing for “water” 水 that was placed sideways. The kanji 益 means “gain; profit.” <the composition of the kanji 益: a truncated ソ, 一, ハ and 皿>
There is no kun-yomi. The on-yomi /eki/ is in 利益 (“profit; return; gain” /ri’eki/), 国益 (“national interest; national prosperity” /kokueki/), 公益 (“public welfare; public interest” /kooeki/), 収益 (“proceeds; earning” /shu’ueki/) and 純益 (“net profit” /ju’n-eki/). Another on-yomi /yaku/ is in ご利益 (“divine favor” /gori’yaku/).
For the kanji 塩 the seal style writing and the kyuji 鹽, in blue, had a complex shape — The top left, 臣, was “a watchful eye,” and the top right had “a person looking down a salt field where dots signified salt crystals.” The bottom was “a stemmed bowl with water inside.” The makings of this writing were very similar to 監 “to watch carefully,” which was phonetically /kan/. In the kanji 塩, the initial consonant disappeared. With a salt pit added it meant “salt.” The shinji 塩 was an informal style of the kyuji 鹽. The kanji 塩 means “salt.” <the composition of the kanji 塩: a bushu tsuchihen, a short ノ, 一, a side-long 口 and 皿 >
The kun-yomi /shio’/ means “salt,” and is in 塩加減 (“seasoning with salt” /shioka’gen/), 塩辛い (“salty; briny” /shiokara’i/), 塩味 (“saline taste” /shio’aji/), 塩っぱい (“salty” /shoppa’i/), 塩気 (“salty taste; a hint of salt” /shioke/). The on-yomi /en/ is in 塩分 (“salt content; saline matter” /e’nbun/), 減塩醤油 (“light sodium soy sauce” /gen-ensho’oyu/) and 塩化ビニール (“vinyl chloride” /enkabini’iru/).
For the kanji 温 the left side of the seal style writing was “water.” The right side had “a stemmed bowl whose steam was captured inside a lid.” Together they meant “warm; mild; gentle.” The kanji 温 means “warm; mild; gentle.” <the composition of the kanji 温: 氵, 日 and 皿>
The kun-yomi 温かい /atataka’i/ means “warm; mild; genial,” and is in 温める (“to warm” /atatame’ru/). The on-yomi /on/ is in 温度 (“temperature” /o’ndo/), 温度計 (“thermometer” /ondokee/), 体温計 (“thermometer to take body temperature” /taionkee/), 気温 (“air temperature” /kion/), 温暖な (“mild; warm” /ondan-na/), 温和な 人 (“gentle person” /o’nwa-na/) and 温泉 (“hot spring; spa” /onsen/).
For the kanji 蓋 in bronze ware style (a) had “grass; plants” signifying “a covering like thatching” at the top while (b) did not. Both had “a lid or cover over a stemmed bowl.” In (c) in seal style the grass covering returned to signify “a cover.” The writing was also used to mean “probably; perhaps.” The kanji 蓋 means “a lid; to cover; possibly.” <the composition of the kanji 蓋: 艹, 去 and 皿>
The kun-yomi 蓋 /huta/ means “cover; lid,” and is in 蓋をする “to put a cover on; put a lid on.” /-Buta/ is in 鍋蓋 (“pot lid” /nabebuta/). The on-yomi /gai/ is in 蓋然性 (“possibility” /gaizensee/).
For the kanji 尽in oracle bone style it had “a stemmed bowl with a twig that was held from the top.” The twigs were used to cleanse the bowl completely. It meant “thoroughly.” In seal style it comprised “a brush (聿)” and “a stemmed bowl (皿)” along with “a fire” in the middle. The fire signified “drying.” Another view is that it was water droplets after washing that was mistaken as a fire, and became four dots in the kyuji 盡. The shinji 尽 was an informal writing of 盡. I must say that it is a drastically reduced shape from the kyuji. The kanji 尽 means “to exhaust; run out; devote.” <the composition of the kanji 尽: 尺 and the bottom of 冬>
The kun-yomi /tsu/ is in 尽くす (“to dedicate; exhaust” /tsuku’su/), 心尽くしの (“lovingly prepared” /kokorozu’kushi-no/), 力尽きる (“to use up all one’s strength” /chikaratsuki’ru/) and 計算尽くし (“full of calculations” /keesanzu’kushi/), The on-yomi /jin/ is in 尽力 (“effort; exertion; service” /jinryoku/) and 大尽 (“rich man” /da’ijin/).
For the kanji 盛 the left side of the oracle bone style comprised “a stemmed bowl” that was “spilling out offerings”- 皿. The right side was “a long-blade halberd” that signified “to pile up,” (成) and was used phonetically used for /see/. Together offerings piled up in a stemmed bowl for a religious service meant “to thrive; prosperous; to pile up.” In bronze ware style the two components were placed top and bottom. The kanji 盛 means “to flourish; vigorous; prosper; heap.” <the composition of the kanji 盛: 成 and皿 >
The kanji 盛 has many different readings. The kun-yomi /saka-/ is in 盛んな (“prosperous” /sakan-na/), and /-zaka/ is in 育ち盛り (“growth period in children” /sodachiza’kari/) and 男盛り (“prime of manhood” /otokoza’kari/). Another kun-yomi /mo/ is in 盛る (“to heap up; stack up” /moru/), and is in 盛り上がる (“to swell; rouse” /moriagaru/), 盛り合わせ (“assortment; sampler” /moriawase/) and 酒盛りをする (“to have a drinking bout” /sakamori-o-suru/). The on-yomi /see/ is in 盛会 (“lively party; successful meeting” /seekai/). Another on-yomi /joo/ is in 繁盛する (“to prosper” /han’joo-suru/).
For the kanji 盗 in bronze ware style, the top was “water” and “a person with his mouth open,” signifying “a person drooling with envy.” The bottom was “a stemmed bowl.” The seal style writing had the same components. Together they meant “a person wanted something in the raised bowl so much that he stole it.” The top of the kyuji 盜, 3, is the bottom of 羨 “to envy.” In shinji, the top became 次. The kanji 盗 means “to steal.” <the composition of the kanji 盗: 次 and 皿>
The kun-yomi 盗む /nusu’mu/ means “to steal,” and is in 盗みを働く(“to commit a theft; steal” /nusumi’o hataraku/), 盗み食い (“eating by stealth” /nusumigui/), 盗み聞き (“eavesdropping” /nusumigiki/). The on-yomi /too/ is in 盗賊 (“thief; burglar” /toozoku/) and 強盗 (“burglar; robber” /gootoo/).
For the kanji 盆 in bronze ware style and in seal style it comprised 分, which was used phonetically for /bon/ to mean “a bulging shape,” and 皿. Together they meant “a bowl; pot; basin,” and also “something in a concave shape.” In Japanese it is used for a flat dish or tray to carry food. The kanji 盆 means “tray; flat dish.” It is also used to mean a Buddhist event in August to welcome the sprits of the ancestors and the dead. <the composition of the kanji 盆: 分 and 皿>
There is no kun-yomi. The on-yomi /bon/ is in お盆 (“tray” /obon/), お盆 (“a Buddhist event in August for spirits of the dead to return” /obo’n/), 盆踊り (“neighborhood Bon festival dance in summer” /bon-o’dori/) and 盆地 (“catchment basin” /bonchi/).
For the kanji 血 (a) and (b) in oracle bone style was “a stemmed dish with something inside.” What was inside was what the writing was about — it was “blood from a sacrificial animal” for a religious rite. Such blood was used for making a contract/promise. The kanji 血 means “blood.” <the composition of the kanji 血: a very short ノ and 皿>
The kun-yomi 血 /chi/ means “blood,” and is in 血だらけになる (“to become covered with blood” /chida’rake-ni naru/) and 鼻血 (“nose bleeding” /hanaji/). The on-yomi /ketsu/ is in 血液 (“blood” /ketsu’eki/), 赤血球 (“red blood cell” /sekke’kyuu/), 出血 (“bleeding; hemorrhage” /shukketsu/), 血圧 (“blood pressure” /ketsuatsu/), 血清 (“blood serum” /kessee/) and 血縁関係 (“blood relative” /ketsuenka’nkee/).
Due to my engagements elsewhere I shall be away from my blog activities for the next several weeks. Thank you always for your interest and support for this blog. – Noriko [October 7, 2017]
In the last post we explored the kanji that originated from a tool to measure or handle grain and food, and saw that there were surprisingly many different shapes — 量斗升 and possibly 両, and other kanji that contain those components. In this post, we are going to add a couple more to the list – the right side of 復 and 良.
For the kanji 復, (a) in oracle bone style, in brown, had a cylindrical shape with a small end at the top and the bottom. This was an apparatus which one flipped up and down repeatedly in measuring grain. Underneath it was “a backward foot,”(夂) signifying “a return.” They meant “a repeated motion of going back-and-forth.” In bronze ware style (b) and (c), in green, “a crossroad” (彳) and “a hand” at the bottom were added. In (c) another “forward-facing footprint” is also seen to emphasize a repeated action of “going” and “coming” (by a backward footprint.) In (d) in seal style, in red, a forward-facing footprint was dropped. In kanji the two rounds that signified “a repeat” was changed to 日. The kanji 復 means “to repeat; return way; again.” <the composition of the kanji 復: 彳, ノ,一, 日 and 夂>
There is no kun-yomi. The on-yomi /huku/ is in 反復する (“to do something over again; iterative” /hanpuku-suru/), 復習 (“review study; brush up” /hukushuu/), 復元する (“to restore; reconstruct” /hukugen-suru/), 回復する (“to recover” /kaihuku-suru/) and 往復する (“to go and return” /oohuku-suru/) and 復路 (“return trip” /hu’kuro/).
For the kanji 腹, in oracle bone style and in bronze ware style it had “a measuring tool with a thick middle,” which was (a) in oracle bone style 腹 above. With “a backward footprint” together they were used phonetically for /huku/ and signify a repeated action. To this component “a person” was added on the right. In 3 in seal style “a person” was replaced by 月, a bushu nikuzuki “flesh; a part of a body.” The part of one’s body that is thick is one’s abdomen. It meant “abdomen.” The kanji 腹 means “abdomen; belly; middle.” <the composition of the kanji 腹: 月 and the right side of 復>
The kun-yomi お腹 /onaka/ means “stomach.” Another kun-yomi /hara’/ is in 腹ぺこ (“hungry; starving” /harapeko/) in casual style, 腹ごしらえする (“to have a meal before starting work; to fortify oneself with a meal before going” /harago’shirae-suru/), 腹芸 (“subtle communication using one’s personality” /haragee/), 腹いせをする(“to get back at someone; get one’s revenge” /haraise-o-suru/). The on-yomi /huku/ is in 空腹 (“to behungry” /kuuhuku/), and /-puku/ is in 満腹になる (“to become full” /manpuku-ni-na’ru/) and 切腹 (“seppuku; hara-kiri” /seppuku/).
For the kanji 複, the seal style writing comprised 衣 “collar,” signifying “something in a fold,” and the right side of 復 meaning “to repeat,” which was used phonetically for /huku/. Together they meant “to duplicate.” In kanji the left became 衤, a bushu koromohen “clothing.” The kanji 複 meant “to duplicate; copy” and also “complex.” <the composition of the kanji 複: 衤 and the right side of 復>
There is no kun-yomi. The on-yomi /huku/ is in 複製 (“duplicate; copy” /hukusee/), 複雑な (“complex” /hukuzatsu-na/) and 複層 (“double layers” /hukusoo/).
For the kanji 覆, the top of the seal style writing, 襾, was “a cover on an opening with the stopper in the middle.” The bottom 復 originally meant “to flip over a measuring apparatus,” and was used phonetically for /huku/. In kanji the top became 覀. Together they meant “to overturn; cover.” The kanji 覆 means “to cover; overturn; flip over.” <the composition of the kanji 覆: 覀 and 復>
The kun-yomi 覆う /oou/ means “to cover; wprad over; wrap,” and is in 日覆い (“sun shade; sun shield” /hio’oi/). Another kun-yomi 覆す /kutsuga’esu/ (and its intransitive verb 覆る /kutsuga’eru/) means “to reverse; overthrow; turn over.” The on-yomi /huku/ is in 覆面 (“a mask to conceal one’s face” /hukumen/). /-Puku/ is in 転覆 (“upset; overturn” /tenpuku/).
The kanji 履 contains 復. However, it came from a very different origin. (a) in bronze ware style had “a leg” and “a person with a formal hat.” (b) in bronze ware style and (c) in Old style, in purple, had “a boat shape footwear” (signifying “to transport”) and “a person; head” (頁). Together they meant “one goes forward with footwear on” or “to perform.” In seal style (d) was replaced by 復 under 尸, a bushu shikabane. The kanji 履 means “clogs; to put on footwear; to perform; carry out.” <the composition of the kanji 履: 尸 and 復>
The kun-yomi 履く /haku/ means “to wear clothes by putting legs through, such as trousers, pants, shoes, skirt, etc.,” and is in 履物 (“footwear; foot gear” /haki’mono/), 上履き (“slippers” /uwabaki/). The on-yomi /ri/ is in 草履 (“Japanese sandal-style footwear for kimono” /zoori/), ゴム草履 (“flip-flops” /gomuzo’ori/), 履行する (“to execute; carry out” /rikoo-suru/) and 契約の不履行 (“non-fulfilment of a contract; a beach of agreement” /keeyaku-huri’koo/).
For the kanji 良 (a) in oracle bone style, (b) and (c) in bronze ware style was “an apparatus to select good grains”– The top was the opening to pour grain in and to blow air through to remove bad grains, and good ones were taken out from the bottom. (d) in seal style still retained that meaning in its shape, but in kanji there is little remnant to tell us its history. The kanji 良 meant “good; excellent; true.”
The kun-yomi 良い /yo‘i/ means “good,” and is in 仲良し (“good friend” /naka’yoshi/). The on-yomi /ryoo/ is in 改良する (“to improve” /kairyoo-suru/), 不良品 (“defective product” /huryoohin/), 優良な (“excellent; fine” /yuuryoo-na/), 良心 (“conscience” /ryo’shin/) and 良縁 (“suitable candidate for marriage” /ryooen/).
For the kanji 郎 in seal style it comprised 良, which was used phonetically for /roo/, and 邑 “town; village,” which became 阝, a bushu oozato. It was originally the name of a town. 郎 was used to mean a government official, and it came to be used in a male name. The kyuji 郞, in blue, had 良 on the left, which became simplified by dropping a stroke in shinji. The kanji 郎 means “man.” <the composition of the kanji 郎: 良 without the 6th stroke and 阝>
There is no kun-yomi. The on-yomi /roo/ is used in a male name, such as 太郎, 一郎 (both “the first son”), 次郎, 二郎 (“the second son”) and 三郎 (“the third son”, etc. It is in 一族郎党 (“one’s whole clan” /ichi’zoku rootoo/) and 馬鹿野郎 (“fool！; idiot！” as a cursing word used by angry male speakers /bakayaro’o/).
For the kanji 朗 in seal style it comprised 月 “moon,” signifying “bright light of a moon,” and 良 “good,” which was used phonetically for /roo/. Together they meant “clear and bright.” In the kyuji 朗, 2, the positions of the two components were swapped. In shinji 良 was simplified in shinji by dropping a stroke. The kanji 朗 means “cheerful; lively.” <the composition of the kanji 朗: 良 without the 6th stroke and 月>
The kun-yomi 朗らかな /hoga’raka/ means “merry; cheerful.” The on-yomi /roo/ is in 明朗な “bright; cheerful” /meeroo-na/).
For the kanji 浪, the seal style writing comprised “water” and 良, which was used phonetically for /roo/. Together they were used as the name of a river. The right side 良 originated from an apparatus of selecting good grains in which grains were shaken and moved about, like “waves.” The kanji 浪 was borrowed to mean “wave; drift; waste.” <the composition of the kanji 浪: 氵 and 良>
There is no kun-yomi in Joyo kanji. The on-yomi /roo/ is in 浪人 (“unemployed samurai” /roonin/) and 浪人する (to study for an entrance exam for a year to try again” /roonin-suru/), 浪士 (“lordless samurai” /ro’oshi/), 放浪する (“to roam; wander about” /hooroo-suru/) and 放浪者 (“wandering tramp” /hooro’osha/).
For the kanji 廊 the seal style writing had 广 a bushu madare “the eaves of a house; canopy.” Underneath was 郞 “government official,” which was used phonetically for /roo/. Officials conducted business there. The kanji 廊 means “corridor; walkway.” <the composition of the kanji: 广 and 郎 >
There is no kun-yomi. The on-yomi /roo/ is in 廊下 (“hallway; space between rooms inside a house” 回廊 (“veranda; corridor” /kairoo/).
The kanji we looked at in this and last postings were either from a measuring apparatus or a ladle that was used for measuring. In some kanji they were used simply as a phonetic feature and bore little relevance to its original meaning. That is the way a large number of kanji were created as keisei moji (形声文字) “semantic-phonetic writing.” Before I take a month’s break from posting in October and November, I shall try to post one more article next week, probably on kanji that contain 皿. Thank you very much for your reading. -Noriko [September 30, 2017]
I am planning to discuss various types of measuring tools for grains or liquid in this and the next posts. Needless to say food is important in any civilization at any point of history, but when the primary source of levy was grains the fact that there were a number of kanji to measure food makes sense to me.
In oracle bone style, in brown, in bronze, and in bronze ware style, in brown, the top round shape signified an opening of a bag tied below. It signified a scale to weigh a bag of grain. What was weighed meant “mass; amount.” In Old style, in purple, and seal style, in red, 土 “dirt” was added at the bottom, and the bottom shape became 里. It is similar to the history of kanji such a 重 “heavy” and 動 “to move.” The kanji 量 means “mass, amount.”
The kun-yomi 量る /haka’ru/ means “to measure; weigh.” The on-yomi /ryoo/ is in 量 (“quantity; amount; column” /ryoo/), 分量 (“dose; quantity” /bunryo’o/), 測量 (“location survey; surverying” /sokuryoo/), 重量制限 (“weight limit” /juuryoo-se’egen/), 感慨無量 (“deep emotion; one’s mind is filled with a thousand emotions” /kangai-muryoo/) and 力量 (“ability; power; craftsmanship” /rikiryo’o/).
In bronze ware style it had a bag tied in the middle with an opening on top, which was the same as 量 “a scale to measure grains.” The bottom was probably “rice.” Together rice measured meant “food; provisions.” In seal style 米 was placed on the left side of 量 as a bushu komehen. The kanji 糧 means “food; provisions.”
The kun-yomi 糧 /kate’/ means “provisions; food,” as in 心の糧 (“nourishment for one’s mind” /kokoro-no-ka’te/) and 日々の糧 (“earn one’s daily bread” /hi’bi-no-kate/). The on-yomi /ryoo/ is in 食糧 /shokuryoo/) and 食糧自給率 “the food-self-sufficiency rate” /shokuryoo-jikyu’uritsu/).
One view of the origin is that the symmetrical shape was “a scale.” Another takes it as “a gourd split in two with dry seeds inside” and the third one is that it was “a handle of a horse carrier to pull two horses.” The kyuji 兩, (d) in blue, reflected (c) in seal style which had a line at the top. Ryo was a unit of currency in gold before Meiji, based on its weight. It is also used as a counter of train cars in railway. The kanji 両 means “two; double; both; a car of train; ryo (a old unit of currency).”
There is no kun-yomi. The on-yomi /ryoo/ is in 両方 (“both” /ryoohoo/), 両立する (“to be compatible with ; coexist with” /ryooritsu-suru/), 両面 (“both sides” /ryoomen/), 両親 (“parents” /ryo’oshin/), 両人 (“the two people; couple” /ryo’onin/), 十両編成 (“ten-car train” /juuryoo-he’nsee/), 両替 (“exchange of money” /ryoogae/) and 百両 (“a hundred ryo” /hyaku’ryoo/).
In bronze ware style and seal style it was “a ladle with a handle for scooping rice wine,” and was used phonetically for /to/. It was used as a unit of volume. One to in Japan was 18 liters. The kanji 斗 means “ladle; dipper; measurement unit for liquid.”
The kun-yomi /masu’/ means “a dipper,” and it is in 北斗七星 (“the Great Bear; the Big Dipper” /hokuto-shichi’see/)and 漏斗 (“funnel” /ro’oto/).
In bronze ware style it is comprised of “rice grains” (米) and “a measuring ladle” (斗). Together they meant “measured amount of food.” An official measure food to charge a fee. The kanji 料 means “to measure; food; fee; provisions.”
There is no kun-yomi. The on-yomi /ryoo/ is in 料金 (“fee; charge; fair” /ryo’okin/), 手数料 (“handling fee” /tesu’uryoo/), 入場料 (“admission fee” /nyuujo’oryoo/), 無料 (“free of charge” /muryoo/), 送料 (“sending fee; postage” /sooryo’o/), 有料 (“charge; fee” /yuuryoo/), 料亭 (“Japanese style restaurant” /ryootee/).
The seal style writing comprised “a rice plant” (禾), which became a bushu nogihen in kanji, and “a measuring ladle” (斗). Various types of grains such as rice were sorted out using a measuring ladle and were classified. It meant “classification; section; department.” Authorities also measured an appropriate amount of fee and penalty, and it meant “to charge a penalty; conviction.” The kanji 科 means “section; department; charge; penalty; conviction.”
There is no kun-yomi. The on-yomi /ka/ is in 科学 (“sicence” /ka’gaku/), 科学者 (“scientist” /kaga’kusha/), 眼科医 (“an ophthalmologist; eye specialist” /ganka’i/), 科目 (“subject” /kamoku/) and 前科 (“criminal records” /ze’nka/).
The seal style writing comprised 余, which was used phonetically for /yo; sha/, and 斗 “a measuring ladle.” When one scoops liquid using a ladle, the ladle is held diagonally. From that the kanji 斜 means “diagonal; slanted.”
The kun-yomi 斜め /nana’me/ means “diagonal; slanted.” The on-yomi /sha/ is in 斜線 (“oblique line” /shasen/), 傾斜する (“to incline” /keesha-suru/), 斜面 (“slope” /sha’men/) and 斜陽産業 (“declining industry” /shayoosa’ngyoo/).
In the two oracle bone style writings we can see grains or liquid that this measuring ladle was scooping up. It is very similar to 斗. In bronze ware style a dot inside the cup still signified that it was not empty. 4 in seal style the three diagonal lines was simplified to one in kanji 升. One sho was 1.8 liters. The kanji 升 means “sho,” a pre-metric measurement system for liquid.
The kun-yomi 升 /masu/ means “box; private seating section.” The on-yomi /shoo/ is in 一升 (1.8 liters)
There is no ancient writing. The seal style writing comprised 日 “sun,” and the bottom 升 was used phonetically for /shoo/ to mean “rise.” Together the kanji 昇 meant “to rise; ascend.”
The kun-yomi 昇る /noboru/ means “to rise; ascend.” The on-yomi /shoo/ is in 上昇する (“to soar” /jooshoo-suru/), 昇華する (“to sublimate” /shooka-suru/), 昇天 (“ascension; death” /shooten/) and昇進 (“promotion; move up” /shooshin/).
There is one more shape that describes a measuring apparatus that I would like to explore. We shall start the next posting with that. Thank you very much for your reading. — Noriko [September 23, 2017]
For the kanji 尊 in oracle bone style, in brown, (a) was “a wine cask presented reverentially to a god with two hands.” It meant “to revere; respect.” In bronze ware style, in green, (b) had a ハ shape that signified “rising alcoholic spirit.” (c) in bronze ware style, and (d) in seal style, in red, had the same components as (a). In kanji the two hands at the bottom became the kanji 寸. The kanji 尊 means “to revere; respect.” <the composition of the kanji 尊: a truncated ソ, 酉 and 寸>
There are two kun-yomi for 尊 are interchangeable – 尊い /tooto’i/ and /tatto’i/ mean “revered,” and 尊ぶ /tooto’bu/ and /tatto’bu/ mean “to respect; honor; value.” The on-yomi /son/ is in 尊敬する (“to respect” /sonkee-suru/) and 自尊心 (“self-esteem” /jiso’nshin/). /-Zon/ is in 本尊 (“principal image” of a temple /ho’nzon/).
For the kanji 遵, the left side of the seal style writing was 辵, a precursor of the bushu shinnyoo “to move forward.” The right side was the same as (d) in 1.尊 “to respect; revere; value highly,” and was used phonetically for /jun/ to mean “to observe.” One conducting himself with a respect (of the precedent) gave the meaning “to follow; obey.” The kanji 遵 means “to observe law or precedent; obey.” <the composition of the kanji 遵: 尊 and a bushu shinnyoo>
There is no kun-yomi. The on-yomi /jun/ is in 遵守する (“to comply; observe” /ju’nshu-suru) and 遵法精神 (“law-abiding spirit” /junnpoo-se’eshin/) and 遵法闘争 (“work-to-rule strike” /junpooto’osoo/), often written as 順法 using a simpler kanji. The kanji 遵 is used as a legal word and we rarely come across it.
The origin of the kanji 猶 was also odd. The oracle bone style writing had “a wine cask,” which was used phonetically for /yuu/, and “a dog; animal.” The bronze ware style writing and the seal style writing had the same two components in more developed shapes. Some view that it was originally an animal that climbed a tree, such as a monkey. From a suspicious-natured monkey, it meant “to be suspicious; hesitate.” (This account sounds odd to me, but I do not have any better one here.) In kanji the animal became 犭, a bushu kemonohen “animal; dog.” The kanji 猶 is used to mean “to hesitate; take time; furthermore.” <the composition of the kanji 猶:犭and a truncated ソ and 酉>
There is no kun-yomi, but 猶 /na’o/ is seen to mean “furthermore.” The on-yomi /yuu/ is in 猶予期間 (“grace period; cooking-off period” /yuuyo-ki’kan/.)
The kanji 爵 has a large number of ancient writings in various shapes. In (a) and (b) in oracle bone style, (c), (d) and (e) in bronze ware style it was a three-legged wine holder for warm rice wine that was used in a religious ceremony. A ruler giving such an item to a subject was a part of a ceremony conferring honor. The kanji 爵 means “peerage; titular rank.” <the composition of the kanji 爵: “a hand from above,” 罒, the left side of 即 and 寸>
There is no kun-yomi. The on-yomi /shaku/ is in 爵位 (“title” /sha’kui/), such as 公爵 (“duke” /ko’oshaku/), 伯爵 (“count” /hakushaku/) and 男爵 (“baron” /da’nshaku/). These titles in Japan were short-lived between the post-Meiji restoration and after WWII.
For the kanji 午 in oracle bone style, (a) was “a skein of thread” whereas (b) was “a pestle,” which was used for “pounding grains in a mortar.” In (c) and (d) in bronze ware style and (f) in seal style it was also “a pestle.” The pounding motion of a pestle was a straight vertical motion. The shape appeared in other kanji to signify something in the middle. Later it was borrowed to mean “noon.” The kanji 午 means “noon.”
There is no kun-yomi. The on-yomi /go/ is in 午前中 (“in the morning” /gozenchuu/), 正午 (“noon” /sho’ogo/) and 午後 (“afternoon” /go’go/).
For the kanji 許, in bronze ware style and seal style the left side was “word; language; to speak,” and “a pestle” 午 on the right side was used phonetically for /kyo/. The kanji 許 means “to permit; allow; forgive.” <the kanji 許: 言 and 午>
The kun-yomi 許す /yuru’su/ means “to permit; allow; forgive.” /-Moto/ is not a Joyo-kanji reading, but it is used to mean “a place” in place of 元, as in 親許は確かだ (“is of good parenting” /oyamoto-wa ta’shika-da/), 手許にない (“do not have on hand” /temoto’-ni na’i/) and 国許に帰る (“to return home” /kunimoto-ni ka’eru/). The on-yomi /kyo/ is in 許可 (“permit” /kyo’ka/), 免許 (“license” /me’nkyo/), 許容範囲 (“the tolerance level” /kyoyooha’n-i/). 許嫁 is usually read in a Japanese word /iinazuke/ (“fiance”).
For the kanji 御 in oracle bone style it had “a person who was kneeling down” in front of either “a pestle” (a) or “a skein of thread” (b). It meant “to handle or control something.” In bronze ware style (c) had the same two components, whereas (d) had “a crossroad” and “a footprint,” adding the meaning “going.” Together they meant “to steer a horse carriage to control where it was going.” In (e) in Old style it had two totally different components – “a horse” and “a hand”-, and they meant “to steer a horse by hand.” In seal style (f) had “a crossroad” (彳) on the left, “a pestle” (午) and “a footprint” (止) coalesced in the middle and “a kneeling person” (卩) on the right. A posture of kneeling down doing something was a humble posture, and it was used as an honorific prefix or suffix. The kanji 御 means “to control; manipulate; honorific affix.” <the composition of the kanji 御：彳and 卸>
The kun-yomi /o/ is a prefix to a kun-yomi word and words used in a kitchen, and is in 御守り (“amulet” /omamori/) and many other Japanese words. Another kun-yomi /mi/ is in 御心 (“heart (of Lord)” /mikokoro/). The on-yomi /go/ is likely used as a prefix for an on-yomi word, and is in 御所 (“imperial palace” /go’sho/), 親御さん (“(someone’s) parents” /oyago-san/), 御殿 (“palace” /go’ten/), 御免ください (“Hello” at the door /gomenkudasa’i/). Another on-yomi /gyo/ is in 御者 (“a driver of a horse carriage” /gyo’sha/) and 制御 (“a control” /se’egyo/).
The kanji 卸 is the original shape of the kanji 御. The bronze ware style writing comprised “a pestle” and “a kneeling person.” They meant “to steer a horse.” In seal style “a footprint” (止) was added. Together they meant “stopping a horse to unload a crate from a horse or carriage.” Unloading a crate also meant “wholesale.” The kanji 卸 means “to drive a horse cart; to operate; run; wholesale.” <the composition of the kanji 卸: 午 and 止 coalesced and 卩>
The kun-yomi /oro’su/ is in 棚卸し (“stock-taking; inventorying” /tanaoroshi/) and 卸売り (“wholesale; wholesaling” /oroshiuri/). There is no on-yomi in Joyo kanji.
For the kanji 康 in oracle bone style it was “an apparatus (with a pestle) to thresh grain, with hulls dropping down.” In bronze ware style two hands were added in the middle. In seal style it had “a pestle” in the middle, and “two hands” that were “threshing rice” in the middle. Threshing rice to provide food gave the meaning of “good livelihood and health.” The kanji 康 means “peaceful and healthy.” <the composition of the kanji 康: 广 and >
There is no kun-yomi in Joyo kanji. The on-yomi /koo/ is in 健康 (“health” /kenkoo/) and 健康的な (“healthy” /kenkoo-na/) and 小康を保つ (“to have a brief respite” /shookoo-o tamo’tsu/).
In (a) and (b) in oracle bone style and (c) in bronze ware style the top had “two hands holding a pestle to thresh grain,” and was used phonetically for /too/. The bottom was 口 “mouth.” In (d) in Old style 昜 was used phonetically for /too/. (e) in seal style reflected (c). The kanji 唐 is used for the name of the Chinese Tang dynasty (618-907). It was the time when Japan imported many aspects of Chinese culture by sending official envoys called 遣唐使 /kento’oshi/, including kan-on reading of kanji. In Japanese it was used to mean “Chinese.” <the composition of the kanji 唐: 广, “a hand from the sideways” with a vertical line and 口>
The kun-yomi /kara/ is in 唐揚げ (“deep fried seasoned food” /karaage/) and 唐草模様 (“arabesque design” /karakusamo’yoo/) – Arabic patterns came through China on the Silk Road-, and 唐門 (“large gate of a temple with a gable” /karamon/). The on-yomi /too/ is in 遣唐使 (“official cultural envoy to the Tang court” /kento’oshi/) and 唐辛子 (“red hot pepper” /tooga’rashi/).
The kanji 糖 in seal style (a) comprised 食 “food; to eat” and 昜, which was used phonetically for /too/ to mean “sugar; candy.” (b) comprised 米 “rice” and 唐, which was used phonetically for /too/ to mean “to stretch” in making candies out of sweet rice. Whichever the explanation is, the kanji 糖 meant “sugar.” <the composition of the kanji 糖: the kanji 米 and 唐>
There is no kun-yomi. The on-yomi /too/ is in 砂糖 (“sugar” /sato’o/), 糖分 (“sugar; carbohydrate” /to’obun/) and 糖尿病 (“diabetes” /toonyoobyoo/).
There are many more kanji that pertain to food preparation and a kitchen. In the next a couple of posts we shall be exploring kanji that related to measuring food. Thank you very much for your reading. – Noriko [September 16, 2017]
In this post we are going to look at the kanji 酒配酎酵酷酌酬醜酔醒酢酸 that contains 酉 “a rice wine cask.”
The common component 酉 here is not a Joyo kanji. In all of the ancient writings shown on the right – (a) in oracle bone style, in brown, (b) and (c) in bronze ware style, in green, and (d) seal style, in red, – was “a rice wine cask” or “a cask to keep fermented liquid in.” So all the kanji that we are going to look at pertain to “fermentation” at one stage of the history.
The writing 酉 is used in the 12 Chinese zodiac signs, but, as with the rest of the 12 zodiac signs, the kanji was chosen arbitrarily and had no relation to its meaning. By itself it is pronounced /tori/, and is in 酉年 (“the year of chicken” /toridoshi/). Just a reminder — The kanji for “west” 西 has one stroke fewer, and is not related to this kanji.
In oracle bone style (a), “a rice wine cask” was on the left and “water; liquid” on the right. In bronze ware style (b), (c) and (d) “a rice wine cask” was standing alone but the small dots in (c) were pointing out its contents rather than the cask as a container. Together they meant “rice wine.” In (e) in seal style “water; liquid” was separately added to a wine cask, possibly signifying that it was the liquid from which sake lees had been removed. The kanji 酒 means “rice wine; fermented drink; alcohol beverage.” <The composition of the kanji 酒: 氵and 酉>
The kun-yomi /sake/ means “Japanese rice wine; sake; alcohol beverage,” and is in 酒粕 (“sake lees” /sakekasu/), which is used for cooking as well. /-Zake/ is in 寝酒 (“nightcap” /nezake/), 甘酒 (“sweet sake lee drink” /amaza’ke/) and 居酒屋 (“pub; bar; tavern” /izakaya/). /Saka-/ is in 酒屋 (“liquor store; alcohol beverage shop” /sakaya/), 酒盛り (”drinking party; drinking bout” /sakamori/). The on-yomi /shu/ is in 日本酒 (“Japanese rice wine” /nihonshu/) and 葡萄酒 (“(grape) wine” /budo’oshu/).
(a) in oracle bone style, (b) and (c) in bronze ware style and (d) in seal style all comprised “a wine cask” on the left and “a squatting person looking at the cask.” He was waiting for rice wine to be handed out to him. It means “to hand out; deal.” In (d) in seal style and kanji 配, the person took the shape 己 “a squatting person; a person.” The kanji 配 means “to distribute; to hand out; to arrange.” <The composition of the kanji 配: 酉 and 己>
The kun-yomi 配る /kuba’ru/ means “to deliver; deal.” The on-yomi /hai/ is in 配達 (“delivery of goods/food” /haitatsu/), 配分する (“to allocate; distribute” /haibun-suru/), 手配する (“to arrange; provide for” /te’hai-suru/), 配当金 (“divined” /haitookin/). /-Pai/ is in 心配 (“worry” /shinpai/). /-Bai/ is in 軍配 (“an umpire’s fan” in a sumo match /gunbai/).
The seal style writing comprised 酉 “a rice wine cask,” and 寸 “a hand,” which was used phonetically for /chuu/. Together they meant “flavorful wine that was filtered three times.” The kanji 酎 means “flavorful rice wine.” <The composition of the kanji 酎: 酉 and 寸>
There is no kun-yomi. The on-yomi /chuu/ is in 焼酎 (“white liquor; Japanese distilled liquor made of potato” /shoochu’u/).
There is no ancient writing. The kanji 酵 had 酉 “a rice wine cask” on the left. The right side 孝 “filial duty” (with 耂, a bushu “old person”) was used phonetically for /koo/, perhaps suggesting a long time to ferment. Together they meant “yeast” that made fermented wine or “fermentation.” The kanji 酵 means “fermentation; yeast.” <The composition of the kanji 酵: 酉 and 孝 >
There is no kun-yomi. The on-yomi /koo/ is in 発酵する (“to ferment” /hakkoo-suru/), 酵母 (“yeast” /ko’obo/) and 酵素 (“enzyme” /ko’oso/).
The seal style writing comprised 酉 “a rice wine cask,” and 告, which was used phonetically for /koku/. Together they meant “intense taste of alcohol.” From that the kanji 酷 means “intense; cruel; harsh.” The phrase 酷のある /koku-no-a’ru/ “full-bodied; robust” is usually written in katakana コク nowadays. <The composition of the kanji 酷: 酉 and 告>
The kun-yomi 酷い /mugo’i/ means “cruel.” The on-yomi /koku/ is in 残酷な (“cruel; extremely harsh” /zankoku-na/), 酷暑 (“severe heat of summer” /ko’kusho/) and 酷使する (“to drive someone work hard; strain oneself” /ko’kushi-suru/).
The seal style writing comprised 酉 “a rice wine cask,” and 勺 “a ladle scooping up,” which was used phonetically for /shaku/. Together they meant “a ladle scooping up wine.” The kanji 酌 means “to serve wine; scoop out sake.” <The composition of the kanji 酌: 酉 and 勺>
There is no kun-yomi. The on-yomi /shaku/ is in お酌する (“to fill someone else’s sake cup” /oshaku-suru/), 晩酌 (“evening dinner-time drink” /banshaku/), 媒酌人 (“matchmaker” at a wedding /baishakunin/) and 酌量 (“consideration” /shakuryoo/).
In seal style (a) and (b) had 酉 “a rice wine cask” on the left. The right side of (a), 寿 (the kyuji 壽) “long life; auspicious,” was used phonetically for /shuu/. Together they originally meant “to offer a drink of wine to a guest.” Later it meant “to reply; reward.” In (b) 壽 was replaced by the phonetically same 州 /shuu/. The kanji 酬 is also used for “fee.” <The composition of the kanji 酬: 酉 and 州>
The kun-yomi 酬いる /mukui’ru; mukuiru/ means “to reward.” The on-yomi /shuu/ is in 応酬する (“to make a sharp retort; reply” /ooshuu-suru/) and 報酬 (“reward; fee” /hooshuu/).
The seal style writing comprised 酉 “a rice wine cask,” which was used phonetically for /shuu/. The right side was 鬼 “spirit of a deceased; ghost,” which had a frightfully ugly face and ム “a floating spirit.” Together they meant “ugly; mean-spirited; shameful.” <The composition of the kanji 醜: 酉 and 鬼>
The kun-yomi /miniku’i/ means “ugly; shameful.” The on-yomi /shuu/ is in 醜聞 (“scandal; malicious gossip” /shuubun/) and 醜悪な (“unsightly” /shuuaku-na/).
The seal style writing comprised 酉 “a rice wine cask,” and 卒 “to end,” which was used phonetically for /sui/. Together they meant “to drink rice wine to finish off” – thus “to be drunk.” The kyuji 醉, in blue, reflected seal style, but in shinji 酔 the right side 卒 was replaced by 卆. The kanji 酔 means “to become drunk; get inebriated on sake; be intoxicated.” <The composition of the kanji 酔: 酉 and 卆>
The kun-yomi 酔う /yo’u/ means “to become drunk; become intoxicated,” and is in 船酔い (“seasickness” /hunayoi/), and 酔っ払い (“a drunken man; drunk” /yopparai/). The on-yomi /sui/ is in 心酔する (“to adore; be fascinated by” /shinsui-suru/), 酔狂な (“eccentric; whimsical” /su’ikyoo-na/), 麻酔 (“anesthesia” /masui/) and 陶酔する (“to be intoxicated; be fascinated” /toosui-suru/).
The seal style writing comprised 酉 “a rice wine cask,” and 星, which was used phonetically for /see/. Together they meant “to sober up from being drunk,” that is “to awaken; have clear awareness.” The kanji 醒 means “to awaken; have clear awareness.” <The composition of the kanji 醒: 酉and 星>
The kun-yomi 醒める /same’ru/ means “to become awake.” The on-yomi /see/ is in 覚醒剤 (“psychostimulant; stimulant drug” /kakuse’ezai/). It is a strange use of this kanji.
The two bronze ware style writings had “a cask of fermented liquid” (酉), and 乍, which was used phonetically for /saku/ to mean “something past,” which is related to the kanji 昨. Rice wine that went bad is vinegar. The kanji 酢 means “vinegar.” <The composition of the kanji 醒: 酉 and 星>
The kun-yomi 酢 /su/ means “vinegar,” 酢豚 (“sweet and sour pork” /su’buta/) and is in 酢の物 (“a vinegared dish” /suno’mono/). The on-yomi /saku/ is in 酢酸 (“acetic acid” /sakusan/).
The seal style writing comprised 酉 “a wine cask,” and 夋, which was used phonetically for /san/ to mean “sour.” When wine goes bad it becomes sour. The kanji means “acidic; sour.” <The composition of the kanji 酸: 酉 and 夋>
The kun-yomi 酸っぱい /suppa/i/ means “sour” and is in 甘酸っぱい (/amazuppa’i/ “sweet and sour”). The on-yomi /san/ is in 酸素 (“oxygen” /sa’nso/), 酸性 (“acidity” /sansee/), 塩酸 (“hydrochloric acid” /ensan/), 酸化する(“to oxidize” /sanka-suru/), 炭酸飲料水 (“carbonated drink” /tansan-inryo’osui/) and 乳酸菌 (“lactic acid bacteria” /nyuusankin/).
Among the kanji we did not look at in this post include 醤油 (“soy sauce” /shooyu’/), which is a seasoning liquid that was made of soy beans with yeast (酵母), and the kyuji 醫 for 医, which had 酉 at the bottom as sake to cleanse an arrow wound. We have also looked at 醸 “fermentation” in an earlier post.
When we look at any of the kanji 酒配酎酵酷酌酬醜酔醒酢酸 in isolation, it may appear to have a complex shape. Once we understand the meaning of the common component 酉, however, it reduces our task to just focusing on the other component, which is likely a component we have studied already in other kanji. So, it becomes a matter of comparing simpler shapes and adding “fermentation” to it. That is the advantage of learning kanji by common components, or bushu in a larger sense. — Sorry for my pitch. I know that our regular readers need no such reminder. The old habit of a classroom teacher stating the obvious is hard to lose. Thank you very much for your reading. -Noriko [September 9, 2017]
In this posting, we are going to look at the kanji 隔融徹撤 and 甚勘堪. “How often are they used?” we may wonder. Just for a curious mind, I have here the information on how frequently these kanji appeared in newspapers, etc., before the Joyo kanji revision (that is, among the 1,945 Joyo kanji.) I have taken this from Yasuyo Tokuhiro’s work: (The letter F stands for frequency order) — 隔 (F1411), 融 (F0826), 徹 (F1177), 撤 (F1363), 甚 (F1075), 勘 (F1515) and 堪 (new Joyo kanji). Her research predated the new Joyo kanji revision in 2010 (the publication was in 2008).
Now let us start with the component 鬲. 鬲 /reki/ is not a kanji we use by itself, but we have the history as shown on the right. (a) in oracle bone style, in brown, (b) and (c) in bronze ware style, in green, and (d) in seal style, in red, was a clay tripod (meaning, three-legged) pot. The legs were thick and hollow, and it was used to keep grains.
The left side of the seal style writing became a bushu kozatohen in kanji. A bushu kozatohen had various meanings – “a hill or mountains placed vertically,” which signified “a pile of dirt; a dirt wall separating the area; a boundary” or “a ladder; a ladder from which a god descends.” For the kanji 隔, one view is that the left side “hill” signified separating an area, and 鬲 was used phonetically for /kaku/ to mean “to block.” Together they meant “to block; separate.” The second view is that placing a tripod in front of a divine ladder signified separation of a sacred area from a secular area. The third view is that inside the pod (鬲) there was a division between grains at the top and water in the legs to cook the contents, and it signified “to separate.” If we take the first view, “hills separating areas” gave the meaning “to isolate; insulate.” The kanji 隔 means “to separate; insulate.”
The kun-yomi 隔てる /hetate’ru/ means “to leave (a distance); shield; separate.” The on-yomi /kaku/ is in 間隔 (“interval spacing; gap” /kankaku/) and 隔離する (“to isolate; quarantine” /kakuri-suru/). <the composition of the kanji 隔: 阝 and 一, 口, 冂, 八 and 丅>
In large seal style, in light blue, which predated small seal style, (in this blog we simply call it seal style) and in seal style, it had 鬲 “a clay tripod to cook in,” and 蟲 that was used phonetically for /chuu/ to mean “to come out.” Together steam coming out during cooking gave the meaning of “something melting coming out.” In seal style, the right side 蟲 became 虫. The kanji 融 means “to melt; dissolve.” <the composition of the kanji 融: 鬲 and 虫>
The kun-yomi 融ける /toke’ru/ “to melt” is not a Jojo kanji reading. The on-yomi /yuu/ is in 金融業 (“financial business” /kinyu’ugyoo/), 金融緩和 (“monetary relaxation” /kinyuukanwa/), 核融合(“nuclear fusion” /kakuyu’ugoo/) and 融解 (“melting; thawing” /yuukai/).
(a) in oracle bone style had “a tripod” and “a hand,” signifying “a person laying tripods in a row by hand.” In (b) in bronze ware style “a footprint” was added to signify “keeping on doing something.” It meant “to penetrate; stick to.” (c) in Old style, in purple, had 彳 “a crossroad,” taking the place of “a footprint,” 鬲 “a tripod” and 攴 “to cause an action.” In (d) in seal style 鬲 was replaced by 育. Some scholars view this as miscopied. The kanji 徹 took (d). The kanji 徹 means “to do thoroughly; penetrate; stick to.”
There is no kun-yomi. The on-yomi /tetsu/ is in 徹底的な (“exhaustive; thorough” /tetteeteki-na/), 貫徹する (“to carry through; achieve” /kantetsu-suru/), 冷徹な (“cool-headed” /reetetsu-na/), and 一徹な (“obstinate; headstrong” /ittetsu-na/). <the composition of the kanji: 彳, 育 and 攵>
There is no ancient writing. The kanji 徹 is closely related to the kanji 徹, originally having the meaning “finishing laying tripods in a row.” On the left side, instead of 彳, a bushu gyooninben “to go on doing,” 扌, a bushu tehen “an act that one does using a hand,” was used. Together they have two seemingly contradictory meanings – one is “to scatter something by hand” and the other “to remove what was laid out by hand.” The kanji 撤 means “to scatter; remove; withdraw from a previous activity.” <the composition of the kanji: 扌, 育 and 攵>
The kun-yomi /maku/ means 水撒き (“watering; sprinkling” /mizuma’ki/), 撒き散らす (“to disperse; scatter” /makichira’su/) and豆撒き (“bean-scattering ceremony” /mame’maki/) on Setsubun day. The on-yomi /tetsu/ is in 撤兵する (“to withdraw the troops from abroad” /teppee-suru/) and 撤退する (“to withdraw from activities” /tettai-suru/) and (案を)撤回する (“to withdraw a proposal” /a’n o tekkai-suru/).
In bronze ware style, Old style, and seal style it was a brazier (a portable cooking apparatus) with a pot on top. It meant “to cook food thoroughly over a fire.” From cooking food over a heat well it meant “thoroughly” or “excessively.” This is the account by Shirakawa. Another view that other scholars take is based on the account on Setsumon Kaiji — it signified pleasure between a man and a woman. Looking at the bronze ware style writing a brazier with a pot makes more sense to me until I come across something else in the future. The kanji 甚 meant “exceedingly; intense.” <the composition of the kanji 甚: 其 and an angle on the bottom left>
The kun-yomi 甚だしい (“grossly” /hanahadashi’i/) and 甚だ (“immensely; exceedingly” /hanahada/) as an adverb. The on-yomi /jin/ is in甚大な (“tremendous; enormous” /jindai-na/), 幸甚 (“thankful; grateful” /koojin/) as in the phrase 幸甚に存じます “I appreciate it very much” in a very formal correspondence.
The seal style writing comprised 甚 “thoroughly; exceedingly” and 力 “effort.” Together they meant “to look over thoroughly or check against something else.” In Japanese it is also used to mean “perceptiveness; intuition.” The kanji 勘 means “to investigate; perceptiveness; intuition; sixth sense.” <the composition of the kanji 勘; 甚 and 力>
There is no kun-yomi. The on-yomi /kan/ is in 勘違い (“misunderstanding” /kanchi’gai/) 勘のいい(“quick on the uptake; intuitive; perceptive” /kannoi’i/), 勘弁する (“to forgive; pardon” /ka’nben-suru/), 勘ぐる (“to suspect; surmise” /kangu’ru/), 勘定 (“calculation; account” /kanjo’o/) and 割り勘にする (“to share expenses with” /warikan-ni suru).
The seal style writing comprised 土 “soil; ground,” and 甚 “excessive,” which was used phonetically for /kan; tan/. Together they originally meant “a large mound of soil,” possibly “a kiln” (Shirakawa). What was baked in a kiln went through extreme heat and it gave the meaning “to endure; bear.” The kanji 堪 means “to withstand; bear; tolerate.” <the composition of the kanji 堪: 土へん and 甚>
The kun-yomi 堪える /tae’ru/ means “to suffer; endure,” and is in 堪え難い (“intolerable; unbearable” /taegata’i/), 堪え忍ぶ (to abide; bear; stand” /taeshino’bu/). Another kun-yomi /korae’ru / “to bear suffering” is not a Joyo kanji reading, but the word itself is often used in such phrases as 怒りを堪える (“to restrain one’s anger” /ikari’o korae’ru/) and 堪え性のない (“with no perseverance” /koraeshoo-no-na’i/).
There also are two on-yomi. The on-yomi /kan/ is in 堪忍 (“forgiveness” /ka’nnin/) and 堪忍する (“to be patient with; let someone off” /ka’nnin-suru/), the expression 堪忍袋の尾が切れる (“run out of patience; can no longer put up with” /kanninbu’kuro-no o’-ga kire’ru/). I have just realized to my surprise that the other on-yomi /tan/ is not included even on the revised Joyo kanji list. It is in 堪能な (“proficient; expert” /tannoo-na/) and 堪能する (“to enjoy to one’s content” /tannoo-suru/). Sometimes words that are used often are not included in Joyo kanji, while some of the Joyo kanji are rarely used.
The more complex the kanji the more twists it contains in its history, and sometimes it is not worth the time to spend mulling it over. I am afraid this week’s kanji may belong to that group. Hopefully we shall look at kanji that are more familiar to us next week. Thank you very much for your reading. -Noriko [September 2, 2017]
Last week we started exploring kanji that originated food and kitchen, etc. In this second article, two groups of kanji are looked at: The first group is 即既慨概, which contained “food in a raised bowl.” In addition to that three of them contained 旡 “someone with full stomach.” The second group – 会曽層増憎僧贈 – came from “layers in a food steamer” for its meaning and sound.
For the kanji 即 in (a) in oracle bone style, in brown, (b) and (c) in bronze ware style, in green, and (d) in seal style, in red, the left side was “food in a raised bowl,” and the right side was “a person about to take a seat to eat.” A person about to do something gave the meaning “at once; immediately.” The sense of immediacy was also used to mean “accession to a throne” (it happens immediately after a predecessor’s death). The kyuji 卽, (e) in blue, comprised 皀 (often explained as “a bowl of food” and “a spoon” (ヒ)), and 卩 “a kneeling person.” In shinji the left side became the bottom of a bushu shokuhen. The kanji 即 means “immediate; instance; to accede to the throne; namely.”
The kun-yomi 即ち /suna’wachi/ means “namely; just; precisely.” The on-yomi /soku/ is in 即時 (“immediate; prompt” /so’kuji/), 即位 (“enthrone” /so’kui/), 即席 (“instant; impromptu” /sokuseki/), 即興 (“improvised amusement” /sokkyoo/) and 即死 (“instant death” /sokushi/).
For the kanji 既, in (a) and (b) in oracle bone style a person who knelt down in front of food was turning his face away from the food to indicate that he had had enough food. His open mouth is interpreted as belching because of his full stomach. “Having finished eating” gave the meaning “already.” In (c) in bronze ware style and (d) in seal style the two components swapped the positions. In (d) the right side was the reversed shape of 欠 in seal style and became 旡 /ki/ in kanji to mean “full of.” (The kanji 欠 “lack of” and 旡 “full of” had a reverse meaning of each other” in its origin.) The kanji 既 means “already; to be finished.”
The kun-yomi 既に /su’deni/ means “already.” The on-yomi /ki/ is in 既存の (“existing” /kison-no/), 既出 (“aforementioned; previously covered” /kishutsu/), 既婚 (“married” /kikon/), 既製服 (“ready-made clothes; off-the shelf clothing” /kise‘ehuku/), 既成事実 (“an established fact” /kiseeji’jitsu/) and 皆既日食 (“total solar eclipse” /kaiki-ni’sshoku/).
For the kanji 慨, the seal style writing comprised “heart,” and 既 “a person looking backward with an open mouth.” A heart full of emotions signified “to lament; grieve over,” and was used phonetically for /gai/. The kanji 慨 means “to lament; deplore; grieve over.”
The on-yomi /gai/ is in 憤慨 (“resentment; indignation” /hungai/) and 感慨 (“strong feelings; deep emotion” /kangai/).
For the kanji 概, in the seal style writing the top 既 was used phonetically for /gai/, and the bottom meant 木 “tree; wood.” Together they originally meant “a wooden strickle – a rod to level off a heaped measure.” Leveling off grains indicated “roughly equal.” The kanji 概 means “roughly; in general.”
The on-yomi /gai/ is in 大概 (“almost; mostly; for the most part; probably; all probability” /taigai/), 概説 (“a rough summary; a rough sketch; brief account” /gaisetsu/), 概観 (“general view; general survey” /gaikan/ and 概要 (“outline; summary; resume” /gaiyoo/).
For the kanji 会 the oracle bone style writing comprised “a crossroad” (彳), “a container with a lid” (合), signifying “to fit; meet,” and “a footprint” at the bottom. Together they meant “to go on foot to meet (someone).” In bronze ware style and seal style it had “a food steamer with a lid with layers of steaming trays” and “a cooking stove” at the bottom. The crossroad disappeared. The kyuji 會 reflected seal style. The shinji 会 is the simplified form with 云 (a shape that is used in place of a complex shape) under 𠆢 “a cover.” The kanji 会 means “to meet; meeting; association.”
The kun-yomi 会う /a’u/ means “ to meet,” and is in 出会う (“to encounter” /dea’u/). The on-yomi /kai/ is in 会合 (“meeting” /kaigoo/), 会議 (“conference; meeting” /ka’igi/), 会計 (“accounts; bill; check” /kaikee/), 会話 (“conversation” /kaiwa/) and in the expression 会心の笑み (“smile of satisfaction” /kaishin-no-e-mi’/). nother on-yomi /e/ is in 会釈 (“a bow” /e’shaku/) and会得する (“to grasp; understand” /etoku-suru/).
For the kanji 曽, (a) and (b) in bronze ware style was “a steamer” from which steam was rising (八) at the top. A steamer had layers of trays or baskets, and from that it meant “to layer; layered.” The kyuji 曾, (d), reflected (c) in seal style, and became simplified to 曽 in shinji, changing ハ to a truncated ソ, 田 and曰. It was also borrowed to mean “once; on one occasion; formerly” or “three generations ago.” The kanji 曽 means “to lay something on top of another; formerly.”
The kun-yomi /katu/ is in 曽て (“formerly; once” /ka’tsute/). The on-yomi /soo/ is in 曽祖父 (“great-grandfather” /sooso-hu/) and曾孫 (“great-grandchild” /sooson/).
For the kanji 層 the seal style comprised 尸 , a bushu shikabane “roof,” and 曾 “layers; to add” and was used phonetically for /soo/. Something in multiple levels meant “stratum.” It is also used for “class of people.” The kyuji 層, 2, reflected 1. The kanji 層 means “layer; stratum.”
There is no kun-yomi. The on-yomi /soo/ is in 層になる (“to become the layer” /so’o-ni-naru/), 断層 (“fault; dislocation; a gap; difference” /dansoo/) and 階層 (“class; rank; level in society” /kaisoo/).
For the kanji 増the seal style writing comprised 土 “dirt; soil,” and 曾 “layer; to add,” which was used phonetically for /soo/. Together adding soil to existing layers meant “to increase.” The kyuji 增, 2, was simplified to 増. The kanji 増 means “to add; increase.”
The kun-yomi 増す /masu/ means “to increase.” Another kun-yomi /huya’su/ 増やす (transitive verb) and 増える /hue’ru/ (intransitive verb) are “to increase; add.” The on-yomi /zoo/ is 増加 (“increase” /zooka/), 増水 (“the rise of a river; flooding” /zoosui/), 倍増 (“redoubling” /baizoo/) and 増長する (“to grow impudent; become presumptuous; be puffed up (with pride)” /zoochoo-suru/).
For the kanji 憎 the seal style writing comprised “heart,” which became 忄, a bushu risshinben, and 曾 “layers; to add,” which was used phonetically for /zoo/. Together “certain emotions that accumulated” gave the meaning “hate.” The kyuji 憎, 2, became shinji 憎. The kanji 憎 means “to hate; detest; abhor; hateful.”
The kun-yomi 憎む /niku’mu/ means “to hate,” and is in 憎しみ (“hatred; animosity; bad blood” /nikushimi/) and 憎い (“detestable; annoying; fantastic; remarkable” /niku’i/). The on-yomi /zoo/ is in 憎悪 (“hatred” /zo’oo/) and 愛憎 (“love and hatred” /aizoo/).
For the kanji 僧 the seal style writing comprised “a person,” and 曾, which was used phonetically for /soo/. The writing was used as a phonetic rendition of the Buddhism word sampha in Sanskrit. The kanji 僧 means “monk; priest.”
There is no kun-yomi. The on-yomi /soo/ is in 僧侶 (“monk” /so’oryo/).
For the kanji 贈 the seal style writing comprised 貝 “cowry” signifying “valuable; monetary value,” and 曾 “layers; to add,” which was used phonetically for /soo; zoo/. Giving a present was an act of one conferring or giving a valuable item to another person. The kyuji 贈, 2, was simplified to 贈. The kanji 贈 means “to give; present.”
The kun-yomi 贈る /okuru/ means “to give (a gift).” The on-yomi /zoo/ is in 贈答品 (“gift” /zootoohin/) and 寄贈する (“to contribute; donate” /kazoo-suru/).
The second group会曽層増憎僧贈 is rather straight forward — The common component (曽) was used phonetically for /so; soo; zoo/ as well as to mean “to add; layer.” With 尸, a bushu shikabane 層 means “stratum; level”; with 土, a bushu tsushiben 増 means “to add”; with忄, a bushu risshinben, 憎 means “hatred”; with イ, a bushu ninben, 僧 means “monk”; and with 貝means a bushu kaihen “to give a present,” and even in kanji会, with 𠆢, a bushu hitoyane 會, in kyuji.
There are many more kanji that originated from things in kitchen and we shall be exploring them in the next few postings. Thank you very much for your reading. – Noriko [August 26, 2017]
The new area of topics we are going to explore in the this and next several postings is around a kitchen, cooking, measuring, etc. We start kanji with a bushu shokuhen “eating; food” – 食飯餓館飽飾飲餌養. A bushu shokuhen has one stroke fewer than the kanji 食, as shown on the right. We shall also see that not all the kanji with a bushu shokuhen originated from 食.
For the kanji 食, in (a), (b) and (c) in oracle bone style, in brown, it was “food in a raised bowl with a lid.” (b) had the dotted lines on both sides. I am unable to find the account for this in reference, but I am wondering if they signified that there was so much food that it was spilling over. It meant “food; to eat.” (d), in green, was in bronze ware style. In seal style (e), in red, some scholars analyze it as 皀 with 𠆢 — “a cover” (𠆢), “food” (白) and “a spoon; ladle” (ヒ). The kanji 食 means “to eat; food.” <The composition of the kanji: 𠆢 and 良>
The kun-yomi 食べる /tabe’ru/ means “to eat,” and is in 食べ物 (“food” /tabe’mono/). Another kun-yomi 食う /ku’u/ has many uses — 食う (/ku’u/ “to eat” – a male speaker’s style; or used for an animal), 電池を食う (“to use up battery” /de’nchi-o ku’u/), 足止めを食う or 食らう (“to be prevented leaving” /ashidome-o-ku’u; kura’u/), 虫が食う (“to be eaten by worms” /mushi-ga-ku’u/), 食い止める (“to stop; hold back” /kuitome’ru/), 食ってかかる (“to go at someone; lash out at someone” /ku’ttekakaru/) and 食い違う (“do not match; go wrong” /kuichigau/). The on-yomi /shoku/ is in 食事 (“meal” /shokuji/), 朝食 (“breakfast” /chooshoku/), 食材 (“food; ingredients” /shokuzai/), 粗食 (“plain food” /soshoku/), 食料品 (“foodstuffs; groceries” /shokuryoohin/) and 給食 (“school lunch” /kyuushoku/).
For the kanji 飯, in bronze ware style and seal style it comprised “food in a raised bowl with a lid,” and 反, which was used phonetically for /han/. Together they originally meant “cooked grains such as rice and millet.” The kanji 飯 means “cooked rice; meal.” <The composition of the kanji 飯: a bushu shokuhen and 反>
The kun-yomi 飯 /meshi’/ means (“mea” /meshi’/ by a male speaker), and is in 昼飯 (“lunch” /hirumeshi/ by a male speaker), 握り飯 (“rice ball” /nigirimeshi/) and 朝飯前 (“piece of cake; snap” /asamashima’e/). The on-yomi /han/ is in (お)赤飯 (“steamed sticky rice with red azuki beans” for a celebratory meal /oseki’han/ or /sekihan/), 炊飯器 (“(electric) rice cooker” /suiha’nki/), 五目ご飯 (“rice cooked with a few other ingredients” /gomoku-go’han/) and in the expression 日常茶飯事 (“daily occurrence” /nichijoosaha’nji/). /-Pan/ is in 残飯 (“leftovers from a meal” /zanpa’n/).
For the kanji 餓, the seal style writing comprised “food in a raised bowl with a lid,” and 我, which was used phonetically for /ga/ to mean “to starve.” The kanji 餓 means “to starve.” A few postings ago, we looked at another kanji that meant “to starve” – the kanji 飢. The kanji 飢 focuses on lack of food (such as in famine). <The composition of the kanji 餓: a bushu shokuhen and 我>
There is no kun-yomi. The on-yomi /ga/ is in 飢餓 (“starvation” /ki’ga/), 餓死 (“death due to starvation” /ga’shi/) and 餓鬼 (“imp” /ga’ki/; “young mischievous kid; brat” spoken by a male speaker” /gaki’/).
For the kanji 館, the seal style writing had “food in a raised bowl with a lid” (食), and 官 “a place where military officers stay,” which was used phonetically for /kan/. Together they originally meant “a place where many people gather and eat.” The kanji 館 means “a large building; mansion.” <The composition of the kanji 館: a bushu shokuhen and 官>
The kun-yomi 館 /yataka/ means “a mansion; a large house.” The on-yomi /kan/ is in 旅館(“Japanese-style inn” /ryokan/), 会館 (“hall; clubhouse; building” /kaikan/), 図書館 (“library” /tosho’kan/), 大使館 (“embassy” /taishi’kan/) and 水族館 (“aquarium” /suizoku’kan/).
For the kanji 飽, in Old style the left side of (a), in purple, had “a covered bowl of food.” The right side had “a hand” over “a baby.” Together they meant “feeding a baby to full stomach.” The top of (b) is not clear, but it could be two doors to an altar, and (b) means “to offer food to satisfy a god.” In seal style in (c) the right side was replaced by 包 “to wrap up completely,” from a baby in mother’s womb, and was used phonetically for /hoo/ to mean “full.” After eating much food one’s stomach was full. With too much of anything one gets weary of. The kanji 飽 means “to become tired of; be saturated; weary; full.” <The composition of the kanji 飽: a bushu shokuhen and 包>
The kun-yomi 飽きる /aki’ru/ means “to grow weary of; become tired of.” It is in 飽きが来る (“to grow tired of” /aki’ga-kuru/), 飽き足らない (“unsatisfying” /akitaranai/), 聞き飽きた (“I got tired of hearing it” /kikia’kita/) and 飽くまで (“to the bitter end; to the last; stubbornly” /aku’made/). The on-yomi /hoo/ is in 飽和 (“saturation” /hoowa/).
For the kanji 飾, the left side of the seal style writing had 食 “food in a raised bowl with a lid” and 人 “person” on the right top, and 巾 “cloth” at the bottom. Together they meant “a person in front of a bowl of food wiping the bowl with a piece of cloth.” It meant “to make it clean or pretty.” The kanji 飾 meant “to decorate; embellish.” <The composition of the kanji 飾: a bushu shokuhen, a short ノ, 一 and 巾>
The kun-yomi 飾る /kazaru/ means “to decorate,” and is in 髪飾り(“hair accessory” /kamika’zari/), 飾り付け (“decoration” /kazaritsuke/) and 着飾る (“to dress up” /kikazaru/). The on-yomi /shoku/ is in 修飾語 (“modifier” in grammar /shuushokugo/), 服飾デザイナー (“dress designer” /hukushoku-deza’inaa/) and 粉飾決算 (“fraudulent account; window dressing settlement” /hunshoku-ke’ssan/).
In the next three kanji – 飲餌養, the bushu shokuhen originated from something other than “food in a raised bowl with a lid.”
For the kanji 飲, in oracle bone style (a) had “a person trying to drink wine from a large wine cask.” If we look at (a) closely, the tongue was a forked shape, as was in the ancient writings of the kanji 舌 “tongue,” indicating eating. It meant “to drink (wine).” (b) in oracle bone style was a large wine cask (酉) with a stopper at the top. The left side of (c) and (d) in bronze ware style and (e) in seal style had a wine cask with a stopper. The right side was a person trying to drink or opening his mouth wide. In the kyuji 飮, (f) in blue, the cask was replaced by a bushu shokuhen “to eat; food.” The reason could be that a bushu 酉 was primarily used for fermented liquid and the kanji 飲 is more inclusive of liquids and food that one drinks or swallows without chewing. The kanji 飲 meant “to drink; swallow.” <The composition of the kanji 飲: a bushu shokuhen and 欠 >
The kun-yomi 飲む /no’mu/ means “to drink; swallow,” and is in 飲み込む (“to swallow; understand” /nomiko’mu/), 飲み込みがいい (“quick to comprehend” /nomikomi-ga-ii/), 飲食店 (“restaurant” /inshoku’ten/), 飲料水 (“drinking water” /inryo’osui/) and 誤飲 (“drinking or swallowing by mistake” /goin/).
For the kanji 餌, the two seal style writings, (a) and (b), had totally different shapes. (a) was “a vessel to keep grains” (鬲) with 耳 on top, which was used phonetically for /ji/ to mean “flour dumpling.” Together they originally meant “steamed dumpling.” (b) had “food on a raised bowl with a lid” on the left side, and 耳 “ear,” which was used phonetically for /ji/. The kanji 餌 means “animal feed; bait; lure.” <The composition of the kanji 餌: a bushu shokuhen and 耳>
The kun-yomi 餌 (“bait; lure; animal feed” /esa’; e’/), and is in 餌付ける (“to feed (to domesticate)” /ezuke’ru/) and 餌食になる (“to become a victim” /e’jiki-ni-naru/). The on-yomi /ji/ is not on the Joyo kanji list.
For the kanji 養, (a) in oracle bone style and (b) and (c) in bronze ware style had a sheep on the left, which was used phonetically for /yoo/ to mean “to feed.” The right side was “a stick held by a hand,” signifying “action.” Together they signified sheep farming. The right side would have become 攴 in kanji, but in seal style, (d), the kanji 食 “to eat; food” replaced it. The kanji 養 means “to support (by providing food); nourish; foster.” <The composition of the kanji 養: 羊 with a short last stroke, 八 and 良> (P. S. — Actually (a) was “a cow; ox,” judging from the shape of the horns. August 20, 2017)
Other kanji such as 飼 “to keep animal,” 飢 “to starve” and 餅 “rice cake” do not have ancient writing and are phonetic-semantic kanji, in which a bushu shokuhen signified “food.”
In this posting we have seen in all the kanji that a bushu shokuhen, which is one stroke fewer than the kanji 食, pertains to food, eating or drinking. Some kanji even did not contain 食 in earlier writings, but for the meaning of “food; eating” a bushu shokuhen took over as a semantic feature. We shall continue exploring the topic around food preparation and eating in the next several postings. Thank you very much for your reading. – Noriko [August 19, 2017]
In this fourth posting on kanji that originated from different sorts of tables, we are going to explore kanji with “a sickbed”– 病痛疾疲疫痴嫉痩療痢痘症. What is common among those twelve kanji is 疒, a bushu yamaidare (/yamai’dare/). /Ya’mai/ (病) is an old word for “sickness” and /-dare/ is a voicing assimilation of /tare/ that means “to hang down; droop.” A bushu whose name ends with /-dare/ has a shape that begins with a top component that hangs down to the bottom left.
For the kanji 疾 (a) in oracle bone style, in brown, was “a sick person with perspiration due to high fever or blood (indicated by the three dots) lying in bed” that was placed vertically. On the other hand, (b) in bronze ware style, in green, was “a person” and “an arrow” at the bottom right, together signifying “a wounded person shot with an arrow.” An arrow was also used phonetically for /shitsu/. (c) in seal style, in red, was (a) and (b) combined – “a sick bed” and “an arrow.” In (d) in Old style, in purple, an arrow was placed under 厂. The kanji 疾comprises a bushu yamaidare (疒) and “an arrow” (矢). Having an arrow as its component, it also meant “very fast.” The kanji 疾 means “illness; very fast.” ＜the composition of the kanji 疾: 疒 and 矢＞
There is no kun-yomi in Joyo kanji. The on-yomi /shitsu/ is in 疾患 (“disease; malady; ailment” /shikkan/), 疾病 (“disease; malady” /shippee/), 疾走する (“to sprint; run at full speed” /shissoo-suru/) and 疾風 (“gale; strong wind” /shippuu/).
For the kanji 病, the seal style writing comprised “a bed” that was vertically placed, and 一, signifying “a person lying down” on the right side, and 丙, which was used phonetically for /hee; byoo/ to mean “to add; increase.” Together they originally signified someone’s illness had deteriorated or “ill; sick.” In kanji “a person lying in a sickbed” became 疒, a bushu yamaidare. The kanji means “illness; sick; something unhealthy.” ＜the composition of the kanji 病: 疒 and 丙＞
The kun-yomi 病 /ya’mai/ means “sickness; illness,” as in 病に倒れる (“to fall ill” /ya’mai-ni taore’ru/. The on-yomi /byoo/ is in 病気 (“illness; disease” /byooki/), 病床 (“one’s sickbed” /byooshoo/), 病欠 (“absence due to illness” /byooketsu/), 病死 (“death from an illness; natural death” /byooshi/), 病的な (“morbid; unsound; unhealthy; abnormal” /byooteki-na/) and 金欠病 (“having little money” colloquial among friends /kinketsubyoo/). Another on-yomi /pee/ is in 疾病 (“disease” /shippee/).
For the kanji 痛, the seal style writing had the elements of a bushu yamaidare. On the right side below a line, 甬 “a wooden pail,” was used phonetically for /tsuu/ to mean “to pass through.” In sickness what passed through one’s body was “pain; ache.” A pain running through a body could be “piercing and severe.” The kanji 痛 means “pain; ache; severe; piercing.” ＜the composition of the kanji 痛: 疒, マ and 用＞
The kun-yomi 痛い /ita’i/ means “to ache; be in pain,” 痛々しい (“pitiful; pathetic” /itaitashi’i/) and 手痛い (“serious; costly” /teita’i/). The on-yomi /tsuu/ is in 苦痛な (“painful” /kutsuu-na/), 沈痛な (“grave; sad” /chintsuu-na/), 痛感する (“to feel acutely; take something to heart” /tsuukan-suru/) and 痛切に (“keenly; poignantly; acutely” /tsuusetsu-ni/).
For the kanji 疲, the seal style writing had the components for 疒, a bushu yamaidare, and 皮, which was used phonetically for /hi/ to mean “to be tired.” The kanji 疲 means “fatigue; to become tired; worn out.” ＜the composition of the kanji 疲: 疒 and 皮＞
The kun-yomi 疲れる /tsukare’ru/ means “to become fatigued; become tired,” and is in the expression お疲れ様でした (“Thank you for your hard work” /otsukaresama-de’shita/). /-Zukare, -づかれ/ is in 気疲れ (“mental fatigue; nervous exhaustion” /kizukare/. The on-yomi /hi/ is in 疲労 (“fatigue” /hiroo/), 金属疲労 (“metal fatigue” /kinzokuhi’roo/) and 疲弊する (“to grow impoverished; become exhausted” /hihee-suru/).
For the kanji 疫, the seal style writing comprised the elements of a bushu yamaidare. The right side under a line (“a person”) was “a hand holding a weapon” (殳, a bushu hokozukuri), which was /eki/ phonetically, and is believed to be an abbreviated form of the kanji 役. The kanji 役, when pronounced as /eki/, meant “conscripted for a battle or frontier work,” and it had the connotation that it was something everyone did reluctantly. So, 疒, a bushu yamaidare and 殳 together meant “illness that everyone unwillingly got” – that is, “an epidemic.” The kanji 疫 means “epidemic.” ＜the composition of the kanji 疫: 疒 and 殳＞
There is no kun-yomi. The on-yomi /eki/ is in 疫病 (“an epidemic” /ekibyoo/) and 検疫 (“quarantine” /ken-eki/).
The seal style of the kanji 痴 comprised the components of a bushu yamaidare, and 疑 “to doubt; unsure,” which was used phonetically for /chi/. The kanji 疑 had the origin that someone stood still not knowing which way to go or what to do. Together someone who was in such a sick condition that he could not judge correctly meant “foolish; idiocy” The kyuji reflected the seal style, but in the shinji 痴, 疑 was replaced by 知 “to know,” which was phonetically /chi/. It is interesting to see that components (疑 and 知) that had almost opposite meanings were used to carry the same meaning. ＜the composition of the kanji 痴: 疒 and 知＞
There is no kun-yomi. The on-yomi /chi/ is in 痴呆症 (“dementia” /chihooshoo/), 白痴 (“idiocy; an idiot” /hakuchi/) and 愚痴 (“silly complaint; grumble” /guchi/), as in 愚痴をこぼす (“to whine; grumble” /guchi-o-kobo’u/).
The seal style writing of the kanji 嫉 had 女 “a woman” and 疾, which was used phonetically for /shitsu/, as we have just seen in 1 above. According to Shirakawa, Setsumon gave the writing with イ, a ninben “a person,” rather than 女 “woman” as on the left side of 疾 to be the Correct writing, but Setsumon did not seem to have given any seal style sample. (The seal style on the left is from Shirakawa.) Together they meant “jealous.” The kanji 嫉 means “to be jealous; envy.” ＜the composition of the kanji 嫉: 女 and 嫉＞
There is no kun-yomi. The on-yomi /shitsu/ is in 嫉妬する (“to be jealous” /shitto-suru/) and 嫉妬心 (“jealous feeling; envy” /shitto’shin/).
For the kanji 痩 the seal style writing had “a table” on the left, and the right side had a line on top, and 叟 “an elder person” was used phonetically for /soo/. “A sick old person” gave the meaning “to become haggard; emaciated.” ＜the composition of the kanji 疲: 疒 and 皮＞
The kun-yomi 痩せる /yaseru/ means “to become thin; lose weight.” The on-yomi /soo/ is in 瘦身 (“slim figure; lean figure” /sooshin/).
In seal style (a) and (b) had the components for a bushu yamaidare. The right side 尞 of (a) underneath 一 was used phonetically for /ryoo/. 2 had 樂 “comfort,” which is the kyuji for the kanji 楽. Together they meant “relieving pains of a sick person.” The kanji 療 means “medical treatment.” ＜the composition of the kanji 疲: 疒 and 尞＞
There is no kun-yomi. The on-yomi /ryoo/ is in 治療 (“treatment; care; remedy” /chiryoo/), 療法 (“therapy; treatment” /ryoohoo/) and 療養中 (“under medical treatment” /ryooyoochuu/).
There is no ancient writing. The kanji 痢 comprises “a person in sick bed” and 利, which was used phonetically for /ri/ and to mean “quick.” The kanji 痢 mean “diarrhea.” ＜the composition of the kanji 痢: 疒 and 利＞
There is no kun-yomi. The on-yomi /ri/ is in 下痢 (“diarrhea” /geri/) and 赤痢 (“dysentery” /se’kiri/).
There is no ancient writing. The kanji 痘 comprised a bushu yamaidare, and 豆, which was used phonetically for /too/ and meant “bean.” 豆 originally meant “a raised tall bowl” that was /too/ phonetically, as seen in kanji such as 頭 “head.” It came to mean “bean.” A disease that gave pustules is smallpox. The kanji 痘 means “smallpox. ＜the composition of the kanji 痘: 疒 and 豆＞
There is no kun-yomi. The on-yomi /too/ is in 種痘 (“smallpox vaccine” /shutoo/).
There is no ancient writing for the kanji 症. The kanji 症 comprises 疒 “sick bed,” and 正, which was used phonetically for /shoo/ to mean “sign.” Together they meant “how an illness manifests.” The kanji 症 means “symptom of illness.” ＜the composition of the kanji 症: 疒 and 正＞
There is no kun-yomi. The on-yomi /shoo/ is in 症状 (“symptom” /shoojo’o/), 既往症 (“past illnesses” /kiooshoo/), 炎症を起こす (“to cause inflammation” /enshoo-o oko’su/) and 重症 (“severely ill” /juushoo/).
In the last four postings we have explored various shapes that originated from a table with legs — 几・其・丙・爿・ 疒. I am surprised at the extent of the use of a table in kanji, some even given a 90-degree turn. In the next posting we shall move onto another topic. I am thinking about the area of a kitchen and cooking. Thank you very much for your reading. – Noriko [August 6, 2017]
This is the third post on kanji that originated from “a table.” We are going to explore a table with two legs that were placed vertically – 爿. The kanji in this post are 将奨状壮荘装 and 床.
For the kanji 将, in bronze ware style, in green, it had爿”a vertically placed two-legged table,” 月 “a piece of meat,” and 刀 “a knife.” Together they signified placing the offering of sacrificial animal meat on an altar table right before a battle. The person who conducted the rite was a military leader – thus it meant “military leader; general.” It was conducted right before embarking on a battle – thus it meant “immediate future.” In seal style, in red, and the kyuji 將, in blue, the bottom became 寸 “hand.” In shinji 将, the legs of the table were simplified to a ハ shape, vertically placed, and the piece of meat was replaced by “a hand with fingers showing from above.” The kanji 将 means “a military leader; general; immediate future.” ＜the composition of the kanji 将: the reduced shape of 爿, a small ノ, a truncated ツ and 寸＞
The kun-yomi /ma’sa/ is in 将に (“just; precisely” /ma’sa-ni/), not included in Joyo kanji kun-reading. The on-yomi /sho’o/ is in 将軍 (“general; shogunate in Japanese history” /shogun/), 大将 (“admiral; general; chief” /ta’ishoo/), 将校 (“commissioned officer” /sho’okoo/), 主将 (“captain” /shushoo/) and 将来 (“near future” /sho’orai/).
For the kanji 奨 the seal style writing had a vertically placed table (爿), “ a piece of meat” (月), which was used phonetically for 將 /shoo/, and “dog” (犬) at the bottom right. Together they meant “to recommend; encourage.” The role of a dog is not clear, but some scholars view it that “setting a dog on” gave the meaning “to instigate; encourage.” (Personally I do not feel this explanation sits well.) In the kyuji 奬 the bottom was replaced by 大 “person.” (In many of the kanji that contained 犬 “a dog” in ancient writing, it lost the short stroke, and became 大 “person” or “big.”) The kanji 奨 means “to urge; commend; encourage.” ＜the composition of the kanji 奨: 将 and 大>
There is no kun-yomi in Joyo kanji. The on-yomi /sho’o/ is in 奨励する (“to give encouragement to; promote” /suishoo-suru/), 推奨する (“to recommend; endorse”) and 奨学金 (“scholarship; stipend” /shoogakukin/).
For the kanji 状 the seal style writing comprised “a vertically placed table” (爿), which was used phonetically for /joo/, and “a dog” (犬). For this kanji Setsumon explained it as “the shape of a dog.” It meant “shapes; conditions.” One reported the condition of a matter by a letter, thus it also meant “letter; a piece of paper.” The kanji 状 means “state; condition; letter.” <the composition of the kanji 状: the reduced shape of 爿 and 犬>
There is no kun-yomi. The on-yomi /joo/ is in 状態 (“condition” /jootai/), 状況 (“situation” /jookyoo/), 白状する (“to confess” /ha’kujoo-suru/), 状差し (“letter holder” /joosa’shi/), 紹介状 (“letter of introduction” /shookaijoo/), 令状 (“warrant” /reejoo/) and 礼状 (“thank you letter” /reejoo/).
For the kanji 壮 the seal style writing comprised 爿 “a table with legs that was placed vertically” and was used phonetically for /shoo; soo/. The right side 士, “man; warrior,” came from an ceremonial axe to signify that a man belongs to the “warrior class.” Together they meant “grand; manly; strong.” <the composition of the kanji 壮: a reduced shape of 爿 and 士>
There is no kun-yomi. The on-yomi /soo/ is in 壮大な (“grand; magnificent /soodai-na/). 勇壮な (“brave; heroic; valiant; gallant” /yuusoo-na/), 壮観 (“thrilling sight; spectacle view” /sookan/), 壮行会 (“farewell party; a rousing send-off” /sooko’okai/) and 悲壮な (“in the midst of grief; tragic but courageous” /hisoo-na/).
For the kanji 荘, (a) in bronze ware style had爿“a vertically placed table,” 由 and 口, together having the meaning “grandness in religious ceremony, and meant “grand; solemn.” (b) in Old style, in purple, had a table (爿), deceased bones (歹) on a table (几). (For the Old style (b) I have not been able to find an analysis in references.) (c) in seal style had 艸 “grass” and 壮, which was /soo/ phonetically. Together a place where many trees and plants vigorously grew gave the meaning “villa; manor.” The kanji 荘 means “villa; manor; solemn; grand.” <the composition of the kanji 荘: 艹 and 壮>
There is no kun-yomi. The on-yomi /soo/ (in kan-on) is in 別荘 (“villa; vacation home; country place” /be’ssoo/), 荘重な (“solemn; imposing” /soochoo-na/) and 荘厳な (“solemn; majestic” /soogon-na/).’’ Another on-yomi /shoo/ (in go-on) is in 荘園 (“a private estate owned by a noble, temple or shrine” /shooen/).
For the kanji 装 in seal style the top 壮 was used phonetically for /soo/ to mean “grand; manly,” and the bottom 衣 meant “clothes” from “collar.” From putting on a good outfit to look grand it meant “to put on good clothes; equip with gear.” It also meant “to pretend.” The kanji 装 means “to wear clothes; equip; pretend.” <the composition of the kanji 装: 壮 and 衣>
The kun-yomi 装う /yosooo/ means “to dress oneself; be attired; feign; pretend.” The on-yomi /soo/ (in kan-on) is in 偽装する (“to camouflage something as” /gisoo-suru/), 装備する (“to equip” /so’bi-suru/), 装飾 (“decoration” /sooshoku/), and 正装 (“formal attire” /seesoo/). Another on-yomi /shoo/ (in go-on) is in 衣装 (“clothing; attire” /i’shoo/) and 装束 (“costume; attire” /sho’ozoku/), as in 白装束 (“white shroud” /shirosho’ozoku/).
There is one more kanji that I would like to bring in – the kanji 床, even though 爿 does not appear on the surface. The kanji 床 had the Correct writing style 牀, in green, on the left. The kanji 牀 comprised 爿 “table; wooden plank,” which was used phonetically for /shoo/, and 木 “wood.” Together they meant “wooden floor; wooden bed.” The kanji 床 became a popular writing for 牀 in much later times. The kanji 床 means “floor; bed.” <the composition of the kanji 床: 广 and 木>
The kun-yomi 床 /yuka/ means “floor.” Another kun-yomi 床 /toko/ means “sleeping futon laid out,” 床を取る (“to lay futon” /toko-o to’ru/), perhaps a slightly old expression, and is also in 床の間 (“alcove; the recess in a Japanese room in which a scroll may be hung” /tokonoma/) and 床屋 (“barber shop” /tokoya/). /-Doko/ is in 寝床 (“sleeping bed; berth” /nedoko/). The on-yomi /shoo/ is in 温床 (“hotbed” /onshoo/), 起床時間 (“the hour of rising; the time one gets up” /kishooji’kan/), 病床 (“sick bed” /byooshoo/) and 臨床試験 (“clinical trial” /rinshoo-shi’ken/).
It seems that we need one more posting before finishing this topic. In the next posting we shall look at kanji that originated from 疒 “illness” from “a person lying on a bed.” Thank you very much for your reading. – Noriko [July 29, 2017]
In this post we are going to explore another table shape – 丙. The seven kanji 丙柄商更梗硬便 have either 丙 in kanji 丙柄 or in earlier writings of the kanji 商更梗硬便.
The kanji 丙 has quite limited use in the current writing system, but it had a longer history than some other kanji. (a) in oracle bone style and (b), (c) and (d) in bronze ware style was a pictograph of a table or a pedestal to place something on. Unlike 几, the legs were fortified with diagonal supports. It was used phonetically for /hee/ and was borrowed to mean a certain time in the Chinese calendar. In (e) another line was added to indicate that this table was a place to put something on or a pedestal. In Japanese 丙 was also used to indicate a lowest grade in 甲乙丙 /ko’o o’tsu he’e/ “Top, Medium and Low.” The kanji 丙 means “the third-class; poor grade.” <the composition of the kanji 丙: 一 and 内＞
The kun-yomi /hinoe/ is a name of the calendar time. The on-yomi /koo/ is in 丙種 (“C-grade; third grade” /he’eshu/).
(a) in oracle bone style had a tree on top of a base, whereas in (b) in seal style the two components were placed side by side. Together they signified a ladle with a long wooden stick. A long wooden stick or handle could be a tool to manipulate something or even a person. From that it also meant “power; to handle power; manner in which a matter is handled.” In Japanese it also means “pattern.” The kanji 柄 means “a handle; power; to manipulate; demeanor; pattern.” < the composition of the kanji 柄: 木 and 丙>
The kun-yomi 柄 /e/ means “handle.” Another kun-yomi /gara/ means “pattern,” and is in 大柄な (“a person with a large build; large pattern,” /oogara-na/), 人柄 (“a person’s character; disposition” /hitogara/), 家柄 (“social standing of a family; good family” /iegara/), 柄の悪い (“vulgar” /gara-no-waru’i/) and 間柄 (“relationship” /aidagara/). The on-yomi /hee/ is in 横柄な(“arrogant; disdainful” /o’ohee-na/). It is also used in 柄杓(“ladle with a long handle” /hishaku/).
(a) and (b) in oracle bone style comprised “a tattooing needle” at the top and “a table” at the bottom. In (c) and (d) in bronze ware style and (e) in seal style, 口 “mouth or a box of benedictions” was added. There have been various views on the origin of 商. One view is that a person who had the power to tattoo criminals also talked or prayed to a god to ask the will of a god. The meaning of god was dropped but the meaning of asking someone if he is interested in trading business. It meant “commerce.” Another view, which is often cited, is that 商 /sho’o/ (Shang in Chinese) was the capital of the ancient dynasty 殷, Yin (Shang). When the Shang dynasty fell they became merchants travelling around the country. From that the kanji 商 meant “trade; commerce.” ＜the composition of the kanji 商: 立 without the last stroke, 冂, 八 and 口＞
The kun-yomi 商い /aki’nai/ means “sale.” The on-yomi /shoo/ is in 商品 (“merchandize” /sho’ohin/), 商売 (“business; trade; transaction” /sho’obai/), 商談 (“business negotiation” /shoodan/), 商才 (“business acumen” /shoosai/) and 年商 (“annual turnover; annual business volume” /nenshoo/).
In oracle bone style (a) had “a table” at the top and “a hand with a stick” signifying “to hit; cause something.” In bronze ware style in (b) and (c) another table was added, signifying “repeat” or “replacing.” (d) in seal style became 丙 at the top and 攴 at the bottom. In kanji, the two components were coalesced into one, in which an elongated shape of a hand (又) may be recognized in the last two strokes. The kanji 更 means “again; further; to change.”
The kun-yomi 更に (“in addition to; furthermore” /sa’ra-ni/), 今更 (“at this late time; afresh” /imasara/). Another kun-yomi 更ける /huke’ru/ means “to grow late; (time) advance,” and is in 夜更け (“deep in the night; late at night” /yohuke’/). The on-yomi /koo/ is in 更衣室 (“a clothes changing room; locker room” /kooishitu/), 更新する (to renew” /kooshin-suru/) and 更生 (“rehabilitation; regeneration” /koosee/).
The seal style writing was comprised of 木 on the left, and 丙 and攴 (which became 更 in kanji), which was used phonetically for /koo/. It is used for a mountain elm tree, which was thorny and hard. The kanji 梗 means “hard.” ＜the composition of the kanji梗: 木 and 更＞
There is no kun-yomi. This kanji is rarely used, except in medical terms such as 脳梗塞 (“cerebral infarction” /nooko’osoku/) and 心筋梗塞 (“cardiac infarction; heart infarction”/shinkinko’osoku/), and a flower called 桔梗 /kikyoo/ “balloon flower; platycodon,” an elegant dark blue-purple flower that appears in Japanese design. (I have never seen any in the U. S., except on a nursery catalogue.)
There is no ancient writing for the kanji 硬. The kanji is comprised of 石 “rock; stone” and 更, which was used phonetically for /koo/ to mean “hard.” Together they meant something solid and hard like a rock. The kanji 硬 means “hard; rigid.” ＜the composition of the kanji硬: 石 and 更＞
The kun-yumi 硬い /katai/ means “hard; rigid.” The on-yomi /koo/ is強硬な (“strong; firm; aggressive” /kyookoo-na/), 生硬な (“raw; crude; unrefined” /seekoo-na/), 硬貨 (“coin; metallic money” /ko’oka/), 硬直した (“rigid; stiff” /koochokushita/) and 態度を硬化させる (“to stiffen one’s attitude” /ta’ido o ko’oka-saseru/).
The seal style writing comprised イ“person” and 更 “to renew.” From the meaning of “a person changed something to make it better,” it meant “convenient; service.” It is also used for something that happened regularly such as “service; bowel movement.” The kanji 便 means “convenient; service; bowel movement.” ＜the composition of the kanji便: イ and 更＞
The kun-yomi /ta’yori/ means “letter.” The on-yomi /ben/ is in 便利な (“convenient; handy” /be’nri-na/), 不便な (“inconvenient” /hu’ben-na/), 便宜を図る (“to accommodate” /be’ngi-o haka’ru/), バスの便がいい (“to have good bus service” /ba’su-no-bn-ga i’i/), 小便 (“urin” /shoobe’n/) and 大便 (“excrement” /daiben/). Another on-yomi /bin/ is in 全日空001便 (“the All Nippon Airways flight number 1” /zenni’kkuu ichibin/), 航空便 (“airmail” /kookuubin/), 便乗する (“yo avail oneself of; jump on the bandwagon; take a ride” /binjoo-suru/) and 穏便な (“amicable; peaceful” /onbin-na/).
There are a couple of more “table shapes” that developed into kanji components (爿 and 疒). We shall continue with these shapes in the next post. Thank you very much for your reading. – Noriko [July 23, 2017]
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.
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＞
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/).
The seal style writing had “hand” on the left side. The right side had “a tiger” and “a boar; pig,” but was used phonetically for /kyo/. Together they meant “to be based on a (particular) place.” The right side of the kyuji 據 was different from the kyuji 處 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.
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; famished.” The on-yomi /ki/ is in 飢饉 (“famine” /ki’kin/), 水飢饉 (“water shortage; drought” and 飢餓 (“starvation” /ki’ga/).
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.
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/).
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 Old style, in purple, the sun was inside the base. In seal style, on the right side the sun was replaced by a moon (月). A moon had a cycle of waxing and waning — “thus, a cycle of time.” 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.
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/).
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/).
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 with 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]
This is the fourth posting on kanji that contain the shape 貝. In the first two postings, we explored the shape 貝 related to a “cowrie” that signified “money; value.” In the third posting we explored the shape 貝 related to a “three-legged bronze vessel.” In this posting we are continuing with a three-legged bronze vessel – the kanji 則側測賊. I have realized this week that there is another shape, 賁, that contains 貝 and can be explained as a cowrie. The 墳噴憤 are added to conclude our exploration of the shape 貝.
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.”
In the last post in discussing the kanji 敗 we touched upon ambiguity of interpreting 貝 as a cowrie or a three- or four-legged bronze vessel. We can see that the kanji 則 is another example. Kyoshin (許慎 Xu Shen), the compiler of Setsumon Kaiji at the turn of the second century A.D., took them (in (d) in 則, I believe) as cowries.
There is no kun-yomi. The on-yomi /soku/ is in 規則 (“rules; bylaw; statutory instrument” /ki’soku/), 法則 (“law; principle; rule” /hoosoku/), 鉄則 (“ironclad rule; inviolable rule” /tessoku/) and 変則的な (“irregular” /hensokuteki-na/).
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 kun-yomi /-kawa; -gawa/ is in 向こう側 (“opposite side; the other side” /mukoogawa/), 裏側 (“behind; the back side” /uragawa/) and 片側 (“one side” /katagawa/). The on-yomi /soku/ is in 側面 (“aspect; side view; profile; flank” /sokumen/) and 側近 (“close adviser; member of one’s entourage”).
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.”
The kun-yomi 測る /haka’ru/ means “to measure. The on-yomi /soku/ is in 測量 (“location survey” /sokuryoo/), 推測する (“to guess; presume; speculate” /suisoku-suru/) and 目測 (“eye-estimation; measurement with the eye” /mokusoku/).
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.”
There is no kun-yomi. The on-yomi /zoku/ is in 賊が押し入る (“a robber breaks into it” /zoku-ga-oshiiru/), 海賊 (“pirate” /kaizoku/), 海賊版 (“pirated edition” /kaizokuban/), 盗賊 (“robber; thief” /toozoku/), 盗賊の一味 (“a pack of thieves” /toozoku-no ichi’mi/) and 賊軍 (“rebels; rebel army” /zokugun/).
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.”
There is no kun-yomi. The on-yomi /hun/ is in 古墳 (“ancient burial mound; ancient tomb” /kohun/), 古墳時代 (“tumulus period; Kofun period” /kohunji’dai/) and 墳墓 (“tomb; grave” /hu’nbo/).
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 kun-yomi 噴き出す /hukida’su/ means “to spout out; erupt; blow out.” The on-yomi /hun/ is in 噴出 (“to gush out; eject” /hunshutu/), 噴水 (“fountain” /hunsui/) and 火山の噴火 (“volcanic eruption” /kazan-no hunka/).
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 kun-yomi 憤る /ikidoo’ru/ means “to be furious about; seethe with anger.” The on-yomi /hun/ is in 憤慨する (“to get very angry; feel indignant” /hungai-suru/), 義憤 (“righteous indignation” /gihun/) and 憤激する (“to flare up; explode with anger” /hungai-suru/).
We shall move to another topic in the next post. Thank you very much for your reading. – Noriko [July 8, 2017]
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.
The kun-yomi 鼎 /kanae/ means “three-legged bronze vessel,” and is in the phrase 鼎の軽重を問われる /kanae-no-keechoo-o toware’ru/ means “to have one’s ability called in question.” The on-yomi /tee/ is in 鼎立する (“to be a three-cornered contest” /teeritsu-suru/).
(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.
There is no kun-yomi. The on-yomi /in/ is in 人員 (“number of people or staff” /jin-in/), 会社員 (“company employee” /kaisha’in/), 公務員 (“government employee” /koomu’in/). 事務員 (“administrative staff; clerical worker” /jimu’in/), 満員 (“full house; no vacancy” /man-in/) and 定員 (“seating capacity; quota” /teein/).
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 kun-yomi 円 /maru/ is in 円みのある (“rounded” /marumi-no-a’ru/). The on-yomi /en/ is 日本円 (“Japanese yen” /nihon-en/), 百円 (“a hundred yen” /hyaku-en/), 円形 (“round shape; ring shape” /enkee/), 楕円形 (“ellipse; oval” /daenkee/), 円周 (“circumference of a circle” /enshuu/) and 円熟した (“matured; mellowed” /enjuku-shita/).
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.”
The kun-yomi 損なう /sokona’u/ means “to suffer; impair; mar.” Another kun-yomi 損ねる /sokone’ru/ means “to hurt; offend,” as in 気分を損ねる (“to hurt one’s feeling” /ki’bun-o sokone’ru/). It also makes up a verb to mean “failed,” as in やり損ねる (“to fail to do” /yarisokone’ru/). The on-yomi /son/ is in 損害 (“damage; harm” /songai/), 損失 (“loss” /sonshitsu/) and 破損する (“to suffer damage; suffer breakage” /hason-suru/).
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.”
There is no kun-yomi. The on-yomi /tee/ is in 貞淑な “feminine modesty; virtuous” /teeshuku/), 貞操 (“chastity; honor; virtue” /teesoo/) and 貞女 (“virtuous woman; good faithful wife” /teejo/).
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.”
There is no kun-yomi. The on-yomi /tee/ is in 探偵 (“detective” /tantee/), 偵察 (“scouting; reconnaissance; patroling” /teesatsu/) and 内偵 (“private scouting; secret investigation” /naitee/).
(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).”
There is no kun-yomi in Joyo kanji. The on-yomi /gu/ is in 具 (“topping; main ingredients” /gu/) as in ちらしずしの具 (“toppings for chirashi-zushi” /chirashizu’shi-no gu/), 具体的な (“concrete; specific” /gutaiteki-na/), 道具 (“tool” /doogu/), 家具 (“furniture” /ka’gu/) and 器具 (“equipment” /ki’gu/).
The shapes of the two different origins, “cowrie” and “three-legged bronze ware vessel,” were distinctively different in oracle bone style as well in bronze ware style. It is only seal style that the two merged and became 貝 (except the kanji 鼎).
There is one kanji that I held back from the last week’s article — the kanji 敗.
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 kun-yomi 敗れる /yabure’ru/ means “to lose a fight.” The on-yomi /hai/ is in 勝敗 (“victory and defeat; result of a match” /shoohai/), 敗北 (“defeat” /haiboku/), 失敗する (“to fail; fail; make a mistake” /shippai-suru/), 腐敗する (“to become corrupt; degenerate” /huhai-suru/) and 成敗する (“to punish” /se’ebai-suru/), a slightly archaic word.
The history of the kanji 敗 having both a cowrie and a legged bronze ware vessel in oracle bone style puzzled me a little, and I wondered if there was any significance to it. Another reason why I held back the kanji 敗 from the last post was that I wondered if the double shapes in (c) and another kanji (則) shared the same origin or not. I am inclined to sort the kanji 敗into a sub-group “cowrie” of 貝 for the time being. I shall discuss the double shapes in the kanji 則 in the next post. Thank you very much for your reading. -Noriko [July 2, 2017]