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Guangyun Dong Rhyme 1
The ''Guangyun'' (''Kuang-yun''; ) is a Chinese rime dictionary that was compiled from 1007 to 1008 under the patronage of Emperor Zhenzong of Song. Its full name was ''Dà Sòng chóngxiū guǎngyùn'' (, literally "Great Song revised and expanded rhymes"). Chen Pengnian (, 961–1017) and Qiu Yong () were the chief editors. The dictionary is a revision and expansion of the influential ''Qieyun'' rime dictionary of 601, and was itself later revised as the ''Jiyun''. ''Pingshui Yun'' system, the standard for poetry rhyming after the Song Dynasty, is also based on ''Guangyun''. Until the discovery of an almost complete early 8th century edition of the ''Qieyun'' in 1947, the ''Guangyun'' was the most accurate available account of the ''Qieyun'' phonology, and was heavily used in early work on the reconstruction of Middle Chinese. It is still used as a major source. The ''Guangyun'' has a similar hierarchical organization to the ''Qieyun'': * The dictionary is split into four tone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guangyun Dong Rhyme 1
The ''Guangyun'' (''Kuang-yun''; ) is a Chinese rime dictionary that was compiled from 1007 to 1008 under the patronage of Emperor Zhenzong of Song. Its full name was ''Dà Sòng chóngxiū guǎngyùn'' (, literally "Great Song revised and expanded rhymes"). Chen Pengnian (, 961–1017) and Qiu Yong () were the chief editors. The dictionary is a revision and expansion of the influential ''Qieyun'' rime dictionary of 601, and was itself later revised as the ''Jiyun''. ''Pingshui Yun'' system, the standard for poetry rhyming after the Song Dynasty, is also based on ''Guangyun''. Until the discovery of an almost complete early 8th century edition of the ''Qieyun'' in 1947, the ''Guangyun'' was the most accurate available account of the ''Qieyun'' phonology, and was heavily used in early work on the reconstruction of Middle Chinese. It is still used as a major source. The ''Guangyun'' has a similar hierarchical organization to the ''Qieyun'': * The dictionary is split into four tone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Language
Chinese (, especially when referring to written Chinese) is a group of languages spoken natively by the ethnic Han Chinese majority and many minority ethnic groups in Greater China. About 1.3 billion people (or approximately 16% of the world's population) speak a variety of Chinese as their first language. Chinese languages form the Sinitic branch of the Sino-Tibetan languages family. The spoken varieties of Chinese are usually considered by native speakers to be variants of a single language. However, their lack of mutual intelligibility means they are sometimes considered separate languages in a family. Investigation of the historical relationships among the varieties of Chinese is ongoing. Currently, most classifications posit 7 to 13 main regional groups based on phonetic developments from Middle Chinese, of which the most spoken by far is Mandarin (with about 800 million speakers, or 66%), followed by Min (75 million, e.g. Southern Min), Wu (74 million, e.g. Shangh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rime Dictionary
A rime dictionary, rhyme dictionary, or rime book () is an ancient type of Chinese dictionary that collates Chinese character, characters by tone (linguistics), tone and rhyme, instead of by radical (Chinese character), radical. The most important rime dictionary tradition began with the ''Qieyun'' (601), which codified correct pronunciations for reading the classics and writing poetry by combining the reading traditions of north and south China. This work became very popular during the Tang dynasty, and went through a series of revisions and expansions, of which the most famous is the ''Guangyun'' (1007–1008). These dictionaries specify the pronunciations of characters using the ''fanqie, fǎnqiè'' method, giving a pair of characters indicating the syllable onset, onset and remainder of the syllable respectively. The later rime tables gave a significantly more precise and systematic account of the sounds of these dictionaries by tabulating syllables by their onsets, rhyme g ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emperor Zhenzong Of Song
Emperor Zhenzong of Song (23 December 968 – 23 March 1022), personal name Zhao Heng, was the third emperor of the Song dynasty of China. He reigned from 997 to his death in 1022. His personal name was originally Zhao Dechang, but was changed to Zhao Yuanxiu in 983, Zhao Yuankan in 986, and finally Zhao Heng in 995. He was the third son of his predecessor, Emperor Taizong, and was succeeded by his sixth son, Emperor Renzong at the end of his reign. From 1020 he was seriously ill, but retained power despite this. Because of his illness, day-to-day rule of China was often placed in the hands of his third wife, Empress Liu. Reign Emperor Zhenzong's reign was noted for the consolidation of power and the strengthening of the Song Empire. The empire prospered, and its military might was further reinforced. However, it would also mark the beginning of a foreign policy towards the Khitan-led Liao dynasty in the north that would ultimately result in humiliation. In 1004, the Kh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Qieyun
The ''Qieyun'' () is a Chinese language, Chinese rhyme dictionary, published in 601 during the Sui dynasty. The book was a guide to proper reading of classical texts, using the ''fanqie'' method to indicate the pronunciation of Chinese characters. The ''Qieyun'' and later redactions, notably the ''Guangyun'', are important documentary sources used in the reconstruction of historical Chinese phonology. History The book was created by Lu Fayan (Lu Fa-yen; ) in 601. The preface of the ''Qieyun'' describes how the plan of the book originated from a discussion with eight of his friends 20 years earlier at his home in Chang'an, the capital of Sui dynasty, Sui China. None of these scholars was originally from Chang'an; they were native speakers of differing dialects – five northern and three southern. According to Lu, Yan Zhitui (顏之推) and Xiao Gai (), both men originally from the south, were the most influential in setting up the norms on which the ''Qieyun'' was based. Howe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jiyun
The ''Jiyun'' (''Chi-yun''; ) is a Chinese rime dictionary published in 1037 during the Song Dynasty. The chief editor Ding Du (丁度) and others expanded and revised the '' Guangyun''. It is possible, according to Teng and Biggerstaff (1971:147), that Sima Guang completed the text in 1067. The ''Jiyun'' has 53,525 character entries (Teng & Biggerstaff, 1971: 147), approximately twice as many as the ''Guangyun'', and likewise has 206 rime groups. See also *Rime dictionary *Rime table A rime table or rhyme table () is a Chinese phonological model, tabulating the syllables of the series of rime dictionaries beginning with the ''Qieyun'' (601) by their onsets, rhyme groups, tones and other properties. The method gave a significa ... References * Teng, Ssu-yü and Biggerstaff, Knight. 1971. ''An Annotated Bibliography of Selected Chinese Reference Works'', 3rd ed. Cambridge, Massachusetts: Harvard University Press. Chinese dictionaries Song dynasty literature Middle Chine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pingshui Yun
Pingshui Rhyming Scheme () is a rhyming system of the Middle Chinese language. Compiled in the Jin Dynasty, ''Pingshui Yun'' is one of the most popular rhyming system in Chinese poetry after Tang Dynasty and the official standard in later dynasties. History ''Pingshui Yun'' possibly originated as an abridged version of the rhyme dictionary '' Guangyun'', whose 206-rhyme system was criticized for being overly restrictive. The system was traditionally attributed to Song Dynasty scholar Liu Yuan (劉淵), whose 1252 work ''Renzi Xinkan Libu Yunlüe'' (壬子新刊禮部韻略) divided common Chinese characters in poetry into 107 rhyme categories. However, in 1223, ''Xinkan Yunlüe'' (新刊韻略) was already published by Wang Wenyu (王文鬱) of Jin Dynasty. The latter's contents was almost identical to ''Renzi Xinkan Libu Yunlüe'', with the only difference being that Liu's book splits the rhyme category 迥 into two. A book unearthed from Mogao Caves named ''Paizi Yun'' (排字 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Middle Chinese
Middle Chinese (formerly known as Ancient Chinese) or the Qieyun system (QYS) is the historical variety of Chinese recorded in the '' Qieyun'', a rime dictionary first published in 601 and followed by several revised and expanded editions. The Swedish linguist Bernard Karlgren believed that the dictionary recorded a speech standard of the capital Chang'an of the Sui and Tang dynasties. However, based on the more recently recovered preface of the ''Qieyun'', most scholars now believe that it records a compromise between northern and southern reading and poetic traditions from the late Northern and Southern dynasties period. This composite system contains important information for the reconstruction of the preceding system of Old Chinese phonology (early 1st millennium BC). The ''fanqie'' method used to indicate pronunciation in these dictionaries, though an improvement on earlier methods, proved awkward in practice. The mid-12th-century ''Yunjing'' and other rime tables incorp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Four Tones (Middle Chinese)
The four tones of Chinese poetry and dialectology () are four traditional tone classes of Chinese words. They play an important role in Chinese poetry and in comparative studies of tonal development in the modern varieties of Chinese, both in traditional Chinese and in Western linguistics. They correspond to the phonology of Middle Chinese, and are named ''even'' or ''level'' ( ''píng''), ''rising'' ( ''shǎng''), ''departing'' or ''going'' ( ''qù''), and ''entering'' or '' checked'' ( ''rù''). (The last three are collectively referred to as ''oblique'' (''zè''), an important concept in poetic tone patterns.) They were reconstructed as mid (˧ or 33), mid rising (˧˥ or 35), high falling (˥˩ or 51), and mid (˧ or 33) with a final stop consonant respectively. Due to historic splits and mergers, none of the modern varieties of Chinese have the exact four tones of Middle Chinese, but they are noted in rhyming dictionaries. Background According to the usual modern analysis, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Entering Tone
A checked tone, commonly known by the Chinese calque entering tone, is one of the four syllable types in the phonology of Middle Chinese. Although usually translated as "tone", a checked tone is not a tone in the phonetic sense but rather a syllable that ends in a stop consonant or a glottal stop. Separating the checked tone allows ''-p'', ''-t'', and ''-k'' to be treated as allophones of ''-m'', ''-n'', and ''-ng'', respectively, since they are in complementary distribution. Stops appear only in the checked tone, and nasals appear only in the other tones. Because of the origin of tone in Chinese, the number of tones found in such syllables is smaller than the number of tones in other syllables. In Chinese phonetics, they have traditionally been counted separately. For instance, in Cantonese, there are six tones in syllables that do not end in stops but only three in syllables that do so. That is why although Cantonese has only six tones, in the sense of six contrasting variatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fanqie
''Fanqie'' ( zh, t= 反切, p=fǎnqiè) is a method in traditional Chinese lexicography to indicate the pronunciation of a monosyllabic character by using two other characters, one with the same initial consonant as the desired syllable and one with the same rest of the syllable (the final). The method was introduced in the 3rd century AD and used in dictionaries and commentaries on the classics until the early 20th century. History Early dictionaries such as the ''Erya'' (3rd century BC) indicated the pronunciation of a character by the ''dúruò'' (讀若, "read as") method, giving another character with the same pronunciation. The introduction of Buddhism to China around the 1st century brought Indian phonetic knowledge, which may have inspired the idea of ''fanqie''. According to the 6th-century scholar Yan Zhitui, ''fanqie'' were first used by Sun Yan (孫炎), of the state of Wei during the Three Kingdoms period (220–280 AD), in his ''Erya Yinyi'' (爾雅音義, "Sound ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Unihan
Han unification is an effort by the authors of Unicode and the Universal Character Set to map multiple character sets of the Han characters of the so-called CJK languages into a single set of unified characters. Han characters are a feature shared in common by written Chinese (hanzi), Japanese (kanji), Korean (hanja) and Vietnamese (chữ Hán). Modern Chinese, Japanese and Korean typefaces typically use regional or historical variants of a given Han character. In the formulation of Unicode, an attempt was made to unify these variants by considering them different glyphs representing the same "grapheme", or orthographic unit, hence, "Han unification", with the resulting character repertoire sometimes contracted to Unihan. Nevertheless, many characters have regional variants assigned to different code points, such as Traditional (U+500B) versus Simplified (U+4E2A). Unihan can also refer to the Unihan Database maintained by the Unicode Consortium, which provides informatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
