The kanji 径往律彼得復徒-ぎょうにんべん(2)

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In the last post, we revisited some gyoninben kanji that had been discussed before with a focus on a component other than gyoninben. In this post we are going to look at several more kanji that we have not discussed yet – 径往律彼得復徒.

  1. The kanji 径 “narrow bath; pathway”

History of Kanji 径For the kanji 径, the left side of the ten style, in red, was a “crossroad.” The right side depicted a loom which had warps (three wavy lines) that were held with a horizontal bar at the bottom, signifying “lines that go straight,” together with the sound /ke’e/. Going straight on foot along a narrow path meant “narrow path; pathway.” In the kyujitai, in blue, the wavy lines reflected warp that would get straightened on a loom. In shinjitai the right side became the kanji 又and 土, which is also seen in the kanji 経.

There is no kun-yomi in Joyo-kanji. Sometimes it is used in 小径 (“a little pathway” /komichi/) in a literary style. The on-yomi /ke’e/ is in 直径 (“diameter” /chok’kee/) and 口径 (“caliber; aperture” /kookee/).

  1. 往 “to go; past”

History of Kanji 往The kanji 往 appears to be a combination of a gyoninben and 主 “main.” But its history tells us that it had nothing to do with 主, as shown on the left. In oracle bone style, in brown, the top was a footprint, and the bottom was a king, which was signified by a large ornamental axe. In the last post we happened to see two actual samples of oracle bone style for 王 in our discussion of the kanji 従 (shown in the photo in the last post). “A king advancing” meant “to advance.” In ten style a crossroad “to go” was added. The kanji 往 means “to go” or “something that has gone; past.” In kanji the footprint became a small dot, resulting in the same shape as the kanji 主.

There is no kun-yomi in Joyo kanji. The on-yomi /o’o/ is in 往復 (“return trip; going and coming back” /oohuku/), 往来 (“traffic; street” /oorai/), 往年 (“years gone by; the past” /oonee/) and 往々にして (”more often than not; frequently” /oooonishite/).

History of Kanji 主 (frame)The kanji – In contrast with the origin of the right side of 往, the history of the kanji 主 is shown on the right. In bronze ware, in green, it was a flame of a lamp only. In ten style, it was a whole image of a long-stem oil lamp holder with a burning oil wick at the top. Fire was important and symbolized the master of a house. The kanji 主 meant “master; primary.” By adding a ninben to this origin, we get the kanji 住 “to reside.”

  1. 律 “law; impartially; rules that one follows”

History of Kanji 律For the kanji 律in oracle bone style, the left side was a crossroad, signifying “a way to go” or “to conduct oneself.” The right side was a hand holding a writing brush straight up. It also had the sound /ri’tsu/. Together they signified “to proclaim law.” Law is something that applies to everyone impartially. So it also means “evenly; impartially.” In ten style the right side took the shape that was closer to the current shape 聿, which is called hudezukuri as a bushu. The kanji 律means “law; impartially; rules that one follows.”

There is no kun-yomi. The on-yomi /ri’tsu/ is in 一律に (“impartially” /ichiritsuni/), 法律 (“law” /hooritsu/), 律する (to judge; govern” /rissuru/) and 規律正しく (“in an orderly manner” /kiritsutada’shiku/). Another on-yomi /ri’chi/ is a go-on and is in 律義に (“sincerely; faithfully” /ri’chigini/).

聿 as a bushu in the traditional kanji classification — There are not many kanji that belong to it. The more frequently used kanji are classified in other bushu. For instance the kanji 律 belongs to the gyoninben group, and the kanji 筆 belongs to the bushu takekanmuri group.

History of Kanji 筆 (frame)The kanji is shown on the right side. The oracle bone style was identical to the right side of 律. In bronze ware style, the left one was a straight line for brush handle only whereas the right sample showed brush’s hair at the bottom as well as a handle. In ten style, a bamboo radical, a bushu takekanmuri, was added at the top to signify a writing brush, from the fact that a writing brush had a bamboo handle. By adding the bamboo the kanji 筆means “a writing brush” rather than an act of writing.

  1. 彼 “he; she; over there”

History of Kanji 彼The kanji 彼 is a borrowed kanji called 仮借 /kashaku/. Kashaku is one of the six ways of classification 六書 /ri’kusho/ in the Setsumon Kaiji. Kashaku writing means that a writing shape was borrowed to mean something totally unrelated in meaning and sound. In 彼, it was borrowed to be used as a pronoun for “he; she” and “over there.” Generally speaking a pronoun was a borrowed writing, including 我 “I,” 他 “other,” and 是 “this; pointing something close to the speaker.” In ten style a crossroad was added on the left. The kanji 彼 indicated a direction away from the speaker and listener.

The kun-yomi 彼 /ka’re/ means “he,” and 彼女 /ka’nojo/ mean “she.” The on-yomi /hi/ is in 彼岸 /higan/. Higan literally means “the other shore,” which came from “the realm of Buddhist enlightenment.” In the Japanese calendar there are two 彼岸 (usuallyお彼岸 /ohigan/) — they are a spring equinox day and an autumnal equinox day. Each is a national holiday. On ohigan time people pay a visit to a family cemetery to place flowers and the favorite food of the deceased. (On the other hand, お盆 /obo’n/ in mid-August is the time when the spirit of the dead comes home.)

History of kanji 皮 (frame)The kanji 皮 – The kanji 彼 was a borrowed kanji, but when the right side, 皮, is used by itself it is used in the original meaning. The history of 皮 is shown on the right. In bronze ware style the top was an animal head. The bottom right was a hand. (We can see that the bronze ware style writing of 彼 came from 皮). It depicted a scene in which an animal was being skinned by hand. The kanji 皮 meant “skin” or “surface skin” and when it is used as a component it usually carries the sound /hi/ or /ha/, as seen in the kanji 波, 破.

  1. The kanji 得 “to gain; make a profit”

History of Kanji 得For the kanji 得 in oracle bone style, (a) was a combination of a cowry, signifying money or valuables, and a hand at the bottom. (b) had a crossroad added. They meant “to obtain something valuable in one’s hand” and “going out to make a gain.” In bronze ware style, in (c) and (d), the three components were the same as (b). Ten style, (e), had the shape 寸 for a hand. From “going out to gain something valuable in one’s hand,” it meant “to gain; make a profit.” In kanji (f), the cowry became 日 “the sun” that had a line underneath.

The two kun-yomi for 得る, /e’ru/ and /u’ru/, mean “to obtain; gain.” The on-yomi /toku/ is in 得する (“to gain; profit” /tokusuru/), 得意がる (“to congratulate oneself; be full of oneself” /tokuiga’ru/), 得意げに (“looking self-satisfied” /tokuige’ni/), Xが得意だ (“to be strong in” /X ga toku’ida/) and得意先 (“customer” /tokuisaki/).

  1. The kanji復 “to repeat; return way; again”

History of Kanji 復For the kanji 復, in bronze ware style a middle cylindrical shape had a small shape at both ends. This was a tool which one flipped repeatedly to measure grain. Underneath this measuring tool was a “footprint” that signified walking back and forth, also a repeated motion. Together they signified “to repeat.” In bronze ware style, the measuring tool became more elaborate and a crossroad was added to signify repeated going and coming. In ten style, it became two round shapes. The kanji 復 meant “to repeat; return way; again.” The same oracle bone style and bronze ware style shapes appear in other kanji such as 複 and 腹, all three of which have the same sound /hu’ku/.

There is no kun-yomi. The on-yomi /huku/ is in 復習 (“review learning” /hukushuu/), 回復 (“recovery” /kaihuku.), 復元 (“restoration” /hukugen/) and反復 (“repetition” /hanpuku/).

  1. 徒 “on foot; follower; in vain”

History of Kanji 徒For the kanji 徒, in both samples of bronze ware style the left side was a crossroad, the right side was a mound of soil, and the right bottom was a footprint. Together they meant “going on dirt on foot.” In ten style, the footprint shifted to the left side, but in kanji it went back to the original position. In travelling, an accompanying servant walked while his master was on a vehicle. So it meant someone who followed a master or follower. It was also used to mean “without purpose; in vain.”

History of Kanji 走 (frame)The kanji –The kanji 徒 looks like it comprised of a gyoninben and the kanji 走 “to run.” But the origin of the kanji 走 is not closely related, as shown on the right. In bronze ware style the top was a person running energetically with his hand up, and the bottom was a footprint, emphasizing that this writing was about the use of feet. In ten style, a footprint got extended toward the bottom right. It meant “to run.” In kanji, this running person took the shape 土 “soil” and the last stroke of the footprint got extended

There is one more kanji I hoped to include in this post, 御. However I do not have enough reference materials with me at the moment. Maybe I will have a chance to look at 御 in connection with other components in the future. [October 31, 2015]

The Kanji 徳待役後従 – ぎょうにんべん(1)

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In the last post we have seen that an image of a crossroad became a bushu yukigamae (行) in 行街術衛. A crossroad was where an action took place. On the other hand, when half a crossroad () was used, the move or motion seemed more apparent. We would imagine that half a crossroad () must have derived from the full shape of a crossroad (行). But, from what I see in oracle bone style samples, both shapes already existed by then, as we will see in 1. The name gyooninben comes from the on-yomi /gyo’o/ of the kanji 行, even though the kanji 行 belongs to the bushu yukigamae group in the traditional kanji dictionary.

Since our exploration on this blog started almost two years ago, we have touched several kanji that had a gyooninben as component. This post is to revisit those kanji from the point of view of the gyooninben. (For sample words, please see the original posts.)

  1. The kanji 徳 “virtue; merit; good (acts)”

The first kanji that we came across that contained the bushu gyooninben was the kanji 徳 in connection with an eye (Eye Wide Open (2) 直値植置徳 posted on March 25, 2014.) We saw that the shape 直 originally came from an eye looking straight ahead that was signified by a vertical line. The horizontal line at the top (十) was originally a bulge in the vertical line to emphasize that the line was straight. The angle at the left bottom below 目 was an emphasis of  being straight.

History of Kanji 徳rFor this post I have added a couple of  samples for the kanji 徳. The two oracle bone style sample (a) and (b), in brown, are mirror images − We have seen many times that in oracle bone style whether a component faces right or left did not carry a particular meaning. Each had an eye looking straight ahead, and a crossroad. The writing meant that one behaved oneself in a straight manner. In the second bronze ware style sample, (d), in green, a heart was added. One had to act straight using not only his eyes but also his heart. In ten style (e), in red, a crossroad became more prominent. In kyujitai (f), in blue, the extra line above 心 was the remnant of an angle that 直 had. So the kanji 徳 is a heavy loaded kanji that meant “a way of life in which one should follow his own heart in a straightforward way.” If you live that way you would be someone of “virtue; merit; good (acts).” I am overwhelmed by morality of this kanji every time I see it.

  1. The kanji 待 “to wait”

History of Kanji 待The kanji 待 was discussed along with kanji that contained 寺 as its component (The Kanji 寺-持待侍特時詩等 “to hold; sustain” on January 24, 2015.) In that post, we noted that even though the kanji 寺 “temple” had lost its original meaning, when 寺 was used as its component it kept the original meaning of “to sustain; hold.” In the kanji 待 in bronze ware style, the left side was a crossroad. The right side was a footprint at the top and a hand at the bottom, signifying “to sustain; hold.” Holding back from crossing a crossroad meant “to wait.”

  1. The Kanji 役 “battle; military service; role”

HistoryofKanji役The kanji 役 was discussed with the kanji that contained the bushu rumata/bokuzukuri (The kanji 役投段殺-rumata posted on October 10, 2014.) The bushu rumata/bokuzukuri generally means “to hit,” from someone hitting with a stick. The two oracle bone style samples did not contain a crossroad at all. Instead they had a person on the left, either standing or kneeling. The right side was a hand holding a long object, which was a weapon, with an emphasis on its tip. Together they meant a person readying to go to battle or patrol of the border. It was an ordinary person conscripted for military duty. In ten style the left side became a crossroad, signifying “to go to the front; a soldier leaving for battle.” The kanji 役 originally meant “battle; military service.” From a call to duty, it also meant “role one assumes.”

  1. The kanji 後 “rear; back; behind; after”

History後rThe kanji 後 was discussed in One Foot at a Time (1) 後夏降麦来 on July 5, 2014. That was the first of several articles that discussed various shapes that came from a footprint (footmark). We also compared a forward facing footprint, such as 止, and a backward facing footprint, such as suinyoo 夂. For the kanji 後, the two bronze ware style samples shown here shared a crossroad and a skein of threads without fringes and a backward foot. The left sample had a forward foot as well, which in ten style was dropped. The skein of threads without the fringes signified “short or small.” Together they meant taking short steps or walking backward that resulted in “coming behind or be late in time.” The kanji 後 means “rear; back; behind; after.”

  1. The kanji 従 “to follow”

History of Kanji 従The kanji 従 was discussed in connection with two people standing side by side (The Kanji 人仁従縦比皆階陛 – Posture (3) on April 5, 2015.) The first oracle bone style sample (a) was just two people standing viewed from the side, signifying “a person following another.” In the second oracle bone style sample (b), a crossroad was added on the left side, giving the sense of forward motion. In bronze ware style (c) a footprint was further added below the two people adding the sense of walking. In ten style (d) this footprint was moved to the left, just below a crossroad. When a crossroad and a footprint were aligned vertically, they usually became the precursor to the bushu shinnyoo. However something interesting took place in this kanji. In kyujitai (e) this footprint moved back to the original position, below two people, leaving the crossroad back in its original shape. The two people were kept as two small 人, which became the two stroke ソ shape in shinjitai.  Unless we are shown the original shapes we would never have guessed that the current shape 従 originated from just two standing persons.

Yesterday in Tokyo I had a chance to see a few actual pieces of oracle bone writing that dated from the 13th century B. C. The visit to this small museum (Taito-ward Calligraphy Museum 台東区立書道博物館 in Tokyo near the Uguisudani station on the Yamanote Line) was on my agenda for my visit to Japan this time, but for various reasons it was only yesterday that I was able to visit it. This museum originated from a private collection by an artist-calligrapher before the WWII and was donated by his family to the Taito-ku (ward) in Tokyo more recently. Unlike many art museums in Japan, which started as private collections of wealthy art loving industrialists who had amassed a fortune in modern times, this collection is a modest one and the layout of of the exhibit is rather outdated and not as easy for a visitor to see the objects because of poor lighting. Nonetheless the opportunity to see first-hand the actual archeological pieces was exciting to me. It was also very timely for discussing the kanji 従 in today’s post.

甲骨文(王従)台東区立書道博物館rrOn the right, (A) is a piece of an animal bone with oracle bone writing carved, taken from the article in Yomiuri Shinbun (October 20, 2015). (B) is what I  reproduced from the photo. The left side may be incomplete because it is not legible. (C) is the kanji based on my reading with the help of the accompanying article in the paper. (This exhibit did not give out any literature that I was able to bring home.)  It reads vertically from the right top to the left bottom. It says “The king (王) asked for a forecast (貞) on whether he would make a certain tribe chief (sanzui and 止) follow (従) him or not.” A new sentence starts from the third writing 王, 従, then moves to the left writing. Even in this tiny piece of cow’s bone (the piece is only one inch-wide), we see two samples of the kanji 従 – They were two people standing, one following another.

Oracle bone writing was the record of fortune-telling or divination in answer to a prayer or question made to the god by a ruler. The belly side of a tortoise or a piece of animal bone was heated, and the cracks that appeared were read as the answer from the god. From the contents of this piece, we glimpse the nature of 甲骨文 /kookotsubun/, literally “shell and bone writing,” to be divination. English name goes by its function and it is called “oracle bone” writing. Oracle bone writings were “discovered” as ancient writings only in 1899. The discovery of oracle bone style writing since then has changed the understanding of the ancient Yin 殷 (Shang 商) dynasty and the origin of Chinese characters. Some were brought to Japan. I am hoping to see several more items at the Tokyo National Museum next week. (For bronze ware style writing, I was able to see some items of superb quality at the special exhibit brought from China held at the same museum several years ago.)

This post was revisiting the kanji we had looked at before from the point of a gyooninben. I will continue with a few new kanji with gyooninben next time. [October 25, 2015]

P.S. I have learned that there are various collections of oracle bones in Japan. Most notable one is in Kyoto University. The photos of “rubbing” of these bones were published by Shigeki Kaizuka in 1960, 1968. Another collection is with Tokyo University. I do not know if these collections can be viewed if we make a request in advance.  I would like to try that in my next stay in Tokyo. An experience of looking at real pieces is so different from looking at the “rubbing” of the pieces in print.  [January, 2017}