Thousand Character Classic used as style dictionary,with each character given in different styles in each column–1756 Japanese publication
The Thousand Character Classic (Chinese:千字文;pinyin:Qiānzìwén),also known as the Thousand Character Text,is a Chinese poem that has been used as a primer for teaching Chinese characters to children from the sixth century onward. It contains exactly one thousand characters,each used only once,arranged into 250 lines of four characters apiece and grouped into four line rhyming stanzas to facilitate easy memorization. It is sung,akin to alphabet songs for phonetic writing systems. Along with the Three Character Classic and the Hundred Family Surnames,it formed the basis of traditional literacy training in the Sinosphere.
The first line is Tian di xuan huang (traditional Chinese:天地玄黃;simplified Chinese:天地玄黄;pinyin:Tiāndìxuán huáng;Jyutping:Tin1 dei6 jyun4 wong4;lit.'Heaven earth dark yellow') and the last line,Yan zai hu ye (焉哉乎也;Yān zāi hūyě;Yin1 zoi1 fu4 jaa5) explains the use of the grammatical particles yan,zai,hu,and ye.[1]
History
There are several stories of the work's origin. One says that Emperor Wu of the Liang dynasty (r. 502–549) commissioned Zhou Xingsi (traditional Chinese:周興嗣;simplified Chinese:周兴嗣;pinyin:Zhōu Xìngsì,470–521) to compose this poem for his prince to practice calligraphy. Another says that the emperor commanded Wang Xizhi,a noted calligrapher,to write out one thousand characters and give them to Zhou as a challenge to make into an ode. Another story is that the emperor commanded his princes and court officers to compose essays and ordered another minister to copy them on a thousand slips of paper,which became mixed and scrambled. Zhou was given the task of restoring these slips to their original order. He worked so intensely to finish doing so overnight that his hair turned completely white.[2]
The Thousand Character Classic is understood to be one of the most widely read texts in China in the first millennium.[3] The popularity of the book in the Tang dynasty is shown by the fact that there were some 32 copies found in the Dunhuang archaeological excavations. By the Song dynasty,since all literate people could be assumed to have memorized the text,the order of its characters was used to put documents in sequence in the same way that alphabetical order is used in alphabetic languages.[4]
The Buddhist Uyghur Kingdom of Qocho used the thousand character classic and the Qieyun and it was written that "In Qocho city were more than fifty monasteries,all titles of which are granted by the emperors of the Tang dynasty,which keep many Buddhist texts as Tripitaka,Tangyun,Yupuan,Jingyin etc."[5]
In the dynasties following the Song,the Three Character Classic,Hundred Family Surnames,and 1,000 Character Classic came to be known collectively as San Bai Qian (Three,Hundred,Thousand),from the first character in their titles. They were the almost universal introductory literacy texts for students,almost exclusively boys,from elite backgrounds and even for a number of ordinary villagers. Each was available in many versions,printed cheaply,and available to all since they did not become superseded. When a student had memorized all three,he could recognize and pronounce,though not necessarily write or understand the meaning of,roughly 2,000 characters (there was some duplication among the texts). Since Chinese did not use an alphabet,this was an effective,albeit time-consuming,way of giving a "crash course" in character recognition before going on to understanding texts and writing characters.[6]
During the Song dynasty,the noted neo-Confucianism scholar Zhu Xi,inspired by the three classics,wrote Xiaoxue or Elementary Learning[citation needed].
Calligraphy
Due to the fact that the Thousand Character Classic contains a thousand unique Chinese characters,and its wide circulation,it has been highly favored by calligraphers in East Asian countries. According to the Xuanhe Calligraphy Catalogue (宣和画谱), the Northern Song imperial collection included twenty-three authentic works by Sui dynasty calligrapher Zhiyong (a descendant of Wang Xizhi),fifteen of which were copies of the Thousand Character Classic.
Chinese calligraphers such as Chu Suiliang,Sun Guoting,Zhang Xu,Huaisu,Mi Yuanzhang (Northern Song),Emperor Gaozong of Southern Song,Emperor Huizong of Song,Zhao Mengfu,and Wen Zhengming all have notable calligraphic works of the Thousand Character Classic. Manuscripts unearthed from Dunhuang also contain practice fragments of the Thousand Character Classic,indicating that by the 7th century at the latest,using the Thousand Character Classic to practice Chinese calligraphy had become quite widespread.
Japan
Wani,a semi-legendary Chinese-Baekje scholar,[7] is said to have translated the Thousand Character Classic to Japanese along with 10 books of the Analects of Confucius during the reign of Emperor Ōjin (r. 370?-410?). However,this alleged event precedes the composition of the Thousand Character Classic. This makes many assume that the event is simply fiction,but some[who?] believe it to be based in fact,perhaps using a different version of the Thousand Character Classic.
Korea
The Thousand Character Classic has been used as a primer for learning Chinese characters for many centuries. It is uncertain when the Thousand Character Classic was introduced to Korea.
The book is noted as a principal force—along with the introduction of Buddhism into Korea—behind the introduction of Chinese characters into the Korean language. Hanja was the sole means of writing Korean until the Hangul script was created under the direction of King Sejong the Great in the 15th century;however,even after the invention of Hangul,most Korean scholars continued to write in Hanja until the late 19th century.
The Thousand Character Classic's use as a writing primer for children began in 1583,when King Seonjo ordered Han Ho (1544–1605) to carve the text into wooden printing blocks.
The Thousand Character Classic has its own form in representing the Chinese characters. For each character,the text shows its meaning (KoreanHanja:訓;saegim or hun) and sound (Korean Hanja:音;eum). The vocabulary to represent the saegim has remained unchanged in every edition,despite the natural evolution of the Korean language since then. However,in the editions Gwangju Thousand Character Classic and Seokbong Thousand Character Classic,both written in the 16th century,there are a number of different meanings expressed for the same character. The types of changes of saegims in Seokbong Thousand Character Classic into those in Gwangju Thousand Character Classic fall roughly under the following categories:
Definitions turned more generalized or more concrete when semantic scope of each character had been changed
Former definitions were replaced by synonyms
Parts of speech in the definitions were changed
From these changes,replacements between native Korean and Sino-Korean can be found. Generally,"rare saegim vocabularies" are presumed to be pre-16th century,for it is thought that they may be a fossilized form of native Korean vocabulary or affected by the influence of a regional dialect in Jeolla Province.
South Korean senior scholar,Daesan Kim Seok-jin (Korean Hangul:대산김석진),expressed the significance of Thousand Character Classic by contrasting the Western concrete science and the Asian metaphysics and origin-oriented thinking in which "it is the collected poems of nature of cosmos and reasons behind human life".[8]
The first 44 characters of the Thousand Character Classic were used on the reverse sides of some Sangpyeong Tongbo[ko] cash coins of the Korean mun currency to indicate furnace or "series" numbers.[9]
Vietnam
The Vietnamese version of the Thousand Character Classic changed to the Vietnamese verse form lục bát,annotated with chữNôm.
There is a version of Thousand Character Classic that was changed to the Vietnamese lục bát (chữHán:六八) verse form. The text itself is called Thiên tựvăn giải âm (chữHán:千字文解音),and it was published in 1890 by Quan Văn Đường (chữHán:觀文堂). The text is annotated with chữNôm characters,for example,the character 地is annotated with its chữNôm equivalent 坦. Because it was changed to the lục bát verse form,many characters are changed such as in the first line,[10]
First two lines of Thiên tựvăn giải âm 千字文解音
Original text
Vietnamese transliteration
Vietnamese text
Vietnamese alphabet
天地玄黃
Thiên địa huyền hoàng
天𡗶地坦雲𩄲
Thiên trời địa đất vân mây
宇宙洪荒
Vũtrụhồng hoang
雨湄風𩙌晝𣈜夜𣈘
Vũmưa phong giótrúngày dạđêm
Thousand Character Classic shown in 日用常談 Nhật dụng thường đàm (字體全書 Tự thể toàn thư)
Manchu texts
Several different Manchu texts of the Thousand Character Classic are known today. They all use the Manchu script to transcribe Chinese characters. They are utilized in research on Chinese phonology.
The Man han ciyan dzi wen (simplified Chinese:满汉千字文; traditional Chinese:滿漢千字文; pinyin:Mǎn hàn qiān zì wén; Jyutping:mun5 hon3 cin1 zi6 man4) written by Chen Qiliang (simplified Chinese:沉启亮; traditional Chinese:沈啓亮; pinyin:Chénqǐliàng; Jyutping:cam4 kai2 loeng6), contains Chinese text and Manchu phonetic transcription. This version was published during the reign of the Kangxi Emperor.[11]
Another text, the Qing Shu Qian Zi Wen (simplified Chinese:清书千字文; traditional Chinese:清書千字文; pinyin:Qīngshū qiān zì wén; Jyutping:cing1 syu1 cin1 zi6 man4) by You Zhen (Chinese:尤珍; pinyin:Yóu Zhēn; Jyutping:jau4 zan1), was published in 1685 as a supplement to the Baiti Qing Wen (simplified Chinese:百体清文; traditional Chinese:百體清文; pinyin:Bǎi tǐ qīngwén; Jyutping:baak3 tai2 cing1 man4). It provides Manchu transcription without original Chinese. It is known for being referred to by Japanese scholar Ogyū Sorai for Manchu studies as early as the 18th century.[12]
The undated ciyan dzi wen which is owned by the Bibliothèque nationale de France is a variant of the Qing Shu Qian Zi Wen. It is believed to have been used by the translation office of the Joseon Dynasty of Korea. It contains Hangul transcription for both Manchu and Chinese.[13] It is valuable to the study of Manchu phonology.
Text variants
The text of the Qiānzì Wén is not available in an authoritative, standardized version. Comparison of various manuscript, printed and electronic editions shows that these do not all contain exactly the same 1,000 characters. In many cases the differences concern just small graphic variations (for example character no. 4, 黃 or 黄, both huáng "yellow"). In other cases variant characters are quite different, although still associated with the same pronunciation and meaning (for example character no. 123, 一 or 壹, both yì "one"). In a few cases, variant characters represent different pronunciations and meanings (for example character no. 132, 竹 zhú "bamboo" or 樹 shù "tree"). These textual variants are not noted or discussed in any existing edition of the text in a western language. In fact, even the text appended to this article differs from the text presented in Wikisource in 25 places (nos. 123 一/壹, 132 竹/樹, 428 郁/鬱, 438 彩/綵, 479 群/羣, 482 稿/稾, 554 回/迴, 617 岳/嶽, 619 泰/恆, 643 綿/緜, 645 岩/巖/, 693 鑒/鑑, 733 沉/沈/, 767 蚤/早, 776 搖/颻, 787 玩/翫, 803 餐/飡, 846 筍/笋, 849 弦/絃, 852 宴/讌, 854 杯/盃, 881 箋/牋, 953 璿/璇, 980 庄/莊). A critical text edition of the Qiānzì Wén, based upon the best manuscript and printed sources, has not yet been attempted.
Chinese characters are logographs used to write the Chinese languages and others from regions historically influenced by Chinese culture. Of the four independently invented writing systems accepted by scholars, they represent the only one that has remained in continuous use. Over a documented history spanning more than three millennia, the function, style, and means of writing characters have evolved greatly. Unlike letters in alphabets that reflect the sounds of speech, Chinese characters generally represent morphemes, the units of meaning in a language. Writing a language's vocabulary requires thousands of different characters. Characters are created according to several principles; aspects of shape and pronunciation may be used to indicate the character's meaning.
A posthumous name is an honorary name given mainly to revered dead people in East Asian culture. It is predominantly used in Asian countries such as China, Korea, Vietnam, Japan, Malaysia and Thailand. Reflecting on the person's accomplishments or reputation, the title is assigned after death and essentially replaces the name used during life. Although most posthumous names are given to royalty, some posthumous names are given to honour significant people without hereditary titles, such as courtiers or military generals.
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Zhao is a Chinese-language surname. The name is first in the Hundred Family Surnames – the traditional list of all Chinese surnames – because it was the emperor's surname of the Song dynasty (960–1279) when the list was compiled. The first line of the poem is 趙錢孫李.
The Three Character Classic, commonly known as San Zi Jing, also translated as Trimetric Classic, is one of the Chinese classic texts. It was probably written in the 13th century and is mainly attributed to Wang Yinglin during the Song dynasty. It is also attributed to Ou Shizi (1234–1324).
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The Hundred Family Surnames, commonly known as Bai Jia Xing, also translated as Hundreds of Chinese Surnames, is a classic Chinese text composed of common Chinese surnames. An unknown author compiled the book during the Song dynasty (960–1279). The book lists 507 surnames. Of these, 441 are single-character surnames and 66 are double-character surnames. About 800 names have been derived from the original ones.
The literary inquisition, also known as speech crime (以言入罪), refers to official persecution of intellectuals for their writings in China. The Hanyu Da Cidian defines it as "when a ruler persecuted intellectuals by deliberately extracting words or phrases from an author's writings to fabricate charges against them." ("旧时谓统治者为迫害知识分子，故意从其著作中摘取字句，罗织成罪"). Literary inquisitions took place under each of the dynasties ruling China, although the Qing dynasty was particularly notorious for the practice.
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Emperor Hui Zong Zhao Ji's "Thousand Character Classic in Cursive Script" (赵佶草书千字文) scroll is a notable calligraphy purportedly crafted in the fourth year of the Xuanhe era of the Song dynasty. The scroll measures 31.5 centimeters in height and 1172 centimeters in width, crafted on an exclusively made palace paper known as "Yunlong Jinjian" (云龙金笺纸), distinguished by hand-drawn cloud and dragon patterns with gold powder on white hemp paper. The scroll stretches over 10 feet in length without any seams. The back of the calligraphy scroll bears the seal of "Imperial Calligraphy" (御书) and a monogram (花押) devised and utilized by Zhao Ji. Currently, it is housed in the Liaoning Provincial Museum.
↑ Idema, Wilt L. (2017). "Chapter 17: Elite versus Popular Literature". In Denecke, Wiebke; Li, Wai-yee; Tian, Xiaofei (eds.). The Oxford Handbook of Classical Chinese Literature (1000 BCE-900 CE). New York, NY: Oxford University Press. p.234. ISBN9780199356591.
↑ Wilkinson, Endymion (2012). Chinese History: A New Manual. Cambridge, MA: Harvard University Asia Center. ISBN9780674067158., pp. 295, 601
↑ Ikegami Jirō (池上二郎): Manchu Materials in European Libraries (Yōroppa ni aru Manshūgo bunken ni tsuite; ヨーロッパにある満洲語文献について), Researches on the Manchu Language (満洲語研究; Manshūgo Kenkyū), pp.361–363, Publish date: 1999.
↑ Kanda Nobuo 神田信夫: Ogyū Sorai no "Manbunkō" to "Shinsho Senjimon" 荻生徂徠の『満文考』と「清書千字文」 (On Ogyū Sorai's "Studies of Written Manchu" and "The Manchu Thousand-Character Classic"), Shinchōshi Ronkō 清朝史論考 (Studies on Qing-Manchu History: Selected Articles), pp. 418-431頁, 2005.
↑ Kishida Fumitaka 岸田文隆: On Ciyan dzi wen/Ch'ien-tzu-wen (千字文) in Bibliothèque Nationale (I) (パリ国民図書館所蔵の満漢「千字文」について (I); Pari Kokumin Toshokan shozō no Mankan "Senjimon" ni tsuite (I)), Journal of the Faculty of Humanities Toyama University (富山大学人文学部紀要; Toyama Daigaku Jinbungakubu Kiyō) No.21, pp.77-133, 1994.
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