亂

Phono-semantic compound (形聲／形声, OC *roːns): phonetic 𤔔 (*[r]ˁo[n]-s) + semantic 乚. The left-side component 𤔔 is itself ideogrammatic, depicting the effort to comb a tangle of threads, hence the semantic link to order and disorder.
Area word of Austroasiatic origin. Compare Khmer ប្រួល (pruəl, “changing; unstable”) < Khmer រួល (ruəl, “to cook; to grill”), and also Khmer កំរោល (kɑmraol, “to go berserk; to become excited”) < Khmer រោល (rool, “to burn; to roast”) (Schuessler, 2007). Burmese ရုန်း (run:, “to struggle, to warp, to cause chaos”) and Tibetan ཁྲལ་ཁྲུལ (khral khrul, “fragments; scattered”) are Austroasiatic loans. Compare also Vietnamese lộn (“to turn the inside out, upside down, to reverse, to return, etc.”) and trộn (“to mix; to blend; to turn upside down”).

cog

乱
乨
乿
𠃶
𠃹
𠃿
𢿢
𢿮
𤕅

The Master said, "When the music master Zhi first entered on his office, the finish of the Guan Ju was magnificent — how it filled the ears!"

The Analects of Confucius, c. 475 – 221 BCE, translated based on James Legge's version

Zǐyuē: “Shī Zhì zhī shǐ, “Guānjū” zhī luàn, yángyáng hū yíng ěr zāi!”

子曰：「師摯之始，《關雎》之亂，洋洋乎盈耳哉！」

子曰：「师挚之始，《关雎》之乱，洋洋乎盈耳哉！」

(obsolete, literary, music or poetry) coda; finale; conclusion of a piece


儷

Phono-semantic compound (形聲／形声, OC *reːls): semantic 人 (“person”) + phonetic 麗 (OC *reːls, *rel).


令

CJKV/code

Sino-Xenic (令):
* → Japanese: 令(りょう) (ryō); 令(れい) (rei)
* → Vietnamese: lệnh (令), lành (令)

Ideogrammic compound (會意／会意): 亼 + 卩.
Usually thought to be related to 命 (OC *mreŋs, “order”) (Schuessler, 2007). As a surname, 令 has many origins, one of them is 令狐 (Línghú).


彎

Sino-Xenic (彎):
* → Japanese: 彎(わん) (wan)
* → Korean: 만(彎) (man)
* → Vietnamese: loan (彎)

Phono-semantic compound (形聲／形声, OC *qroːn): semantic 弓 (“bow”) + phonetic 䜌 (OC *b·roːn, *b·ron, *b·rons).
May be cognate with 迂 (OC *qʷa, *qʷaʔ, *ɢʷa).
; “homosexual”

Han compound

(Chinese calligraphy) a bend (such as in ㇉, ㇌, ㇟, or ㇠)


字

CJKV/code

Sino-Xenic (字):
* → Japanese: 字(じ) (ji)
* → Korean: 자(字) (ja)
* → Vietnamese: tự (字)

→ Proto-Tai: *ɟɤ:ᴮ (“name”)

Lao: ຊື່ (sư̄, “name”)

Thai: ชื่อ (chʉ̂ʉ, “name”)

Zhuang: coh (“name”)

desc

→ Vietnamese: chữ (“script; letter; writing; word”), chửa (“to be pregnant”)

Characters in the same phonetic series (子) (Zhengzhang, 2003)
Phono-semantic compound (形聲／形声, OC *zlɯs): semantic 宀 (“roof”) + phonetic 子 (OC *ʔslɯʔ, “child”).
From Proto-Sino-Tibetan *tsa ~ za (“child; to give birth; to take care; to be kind”). Related to:
* 子 (OC *ʔslɯʔ, “child, son”) (also its phonetic component)
* 慈 (OC *zɯ, “to be kind, loving”)
* 滋 (OC *ʔsɯ, “to nourish, to grow”)
* 詞 (OC *ljɯ, “word, term”)
* 辭 (OC *ljɯ, “word, from testimony”)
Original sense (1): “to become pregnant, to give birth to, to nurture, to love” has essentially become obsolete. The sense (2) “letter, character” is either from a different root or a derivation from the sense “to produce, to generate”.
Cognate with Tibetan ཚ་བོ (tsha bo, “nephew”), Tibetan ཚ་རུས (tsha rus, “descendant”), Tibetan བཙའ (btsa', “to give birth to; to guard”), Tibetan མཛའ (mdza', “kind, peaceful, friendly”) (Quan, 1996), Burmese စာ (ca, “writing, letter”).

cog

(calligraphy) style of handwriting; printing type

(calligraphy) (a calligrapher's) calligraphy work


捺

扌 (“hand”) + 奈 – to press down with the hand, stamp.

yī zì bù èr nà

one character does not have two falling strokes (rule used in calligraphy)

一字不二捺

(Chinese calligraphy) a stroke that falls downwards towards the right (㇏)


撇

Phono-semantic compound (形聲／形声, OC *pʰeːd): semantic 手 (“hand”) + phonetic 敝 (OC *beds, *bed).

Han compound

(Chinese calligraphy) stroke that falls downwards towards the left (㇒)


折

Characters in the same phonetic series (折) (Zhengzhang, 2003)
Originally 㪿, an ideogrammic compound (會意／会意): ⿱屮屮 (“a tree 木 cut in half”) + 斤 (“axe”) – an axe cutting a tree in half.
In the current form, the left side has become 扌 (“hand”).
From Proto-Sino-Tibetan *tsjat (“to cut off; to sever; to break”).

inh

(Chinese calligraphy) a change in direction of a stroke (such as in ㇕, ㇉, or ㇜)


斜

(Chinese calligraphy) a bend to the right (such as in ㇂, ㇃, or ㇠)


提

Phono-semantic compound (形聲／形声, OC *deː, *dje): semantic 扌 (“hand”) + phonetic 是 (OC *djeʔ).

Han compound

(Chinese calligraphy) a rising stroke (㇀)


橫

Phono-semantic compound (形聲／形声, OC *ɡʷraːŋ, *ɡʷraːŋs, *kʷaːŋ): semantic 木 (“wood”) + phonetic 黃 (OC *ɡʷaːŋ).
; “crosswise > door rail; side; cross-grained; unrestrained”
* Related to 衡 (OC *ɡraːŋ, “crossbar”), 桁 (OC *ɡaːŋ, *ɡraːŋ, “purlin”), 珩 (OC *ɡraːŋ, “top horizontal gem of a girdle-pendant”) and 璜 (OC *ɡʷaːŋ, “jade pendant”) (Wang, 1982), and possibly 樑 (OC *raŋ, “roof beam”) (Schuessler, 2007).
* Schuessler (2007) connects these with Khmer ខ្វែង (khvaeng, “to cross; to intersect; to crisscross; diagonal; etc.”) < Old Khmer khveṅ (“to go far around; to encircle; to enclose”). Compare Thai ขวาง (kwǎang, “to lie across; to bar; to obstruct; to thwart”) and the Khmer derivatives កំពែង (kɑmpɛɛng, “enclosing wall; rampart”), កំពង់ (kɑmpŭəng, “crossing-place; ford; port; shore”) (cf. Malay kampung).

cog

(Chinese calligraphy) horizontal stroke (㇐)


磔

(literary, Chinese calligraphy) Synonym of 捺 (nà)


直

desc

→ Old Turkic: tik (vertical, straight, straightforward)

Oghuz: دیك

Azerbaijani: dik

Turkish: dik

Turkmen: dik

Turkmen: dikan (honest, straight, direct)

Oracle bone script: Ideogrammic compound (會意／会意): 目 (“eye”) + 丨 (“vertical stroke”) – vertical stroke above the eye; looking straight ahead.
The line on the side appears in bronze script and subsequently stretched under the 目 shape, while the traditional form appears in seal script.
; "simply; only"
; "straight; right"
; “heterosexual”

Han compound

(Chinese calligraphy) vertical stroke in Chinese characters


真

CJKV/code

Sino-Xenic (真):
* → Japanese: 真(しん) (shin)
* → Korean: 진(眞) (jin)
* → Vietnamese: chân (真)

→ Lao: ຈິງ (ching)

→ Old Turkic: 𐰲𐰃𐰣 (čin)

→ Kazakh: шын (şyn)

→ Uzbek: chin

→ Uyghur: چىن (chin)

→ Karakalpak: шын

→ Nogai: шын (şın)

→ Kyrgyz: чын (cın)

→ Yakut: дьиҥ (jiñ)

→ Tatar: чын (çın)

→ Tuvan: шын (şın)

→ Southern Altai: чын (čïn)

→ Bashkir: ысын (ısın)

→ Turkmen: çyn (чын)

→ Chuvash: чӑн (čăn)

→ Eastern Mari: чын (čyn)

→ Thai: จริง (jing)

Originally phono-semantic compound (形聲／形声, OC *ʔljin): phonetic 𠂈 (OC *l'ɯːnʔ) + 貝 (“cowry”). Often 丁 (OC *rteːŋ, *teːŋ) was added as a second phonetic component. He Linyi posits it to be the original character for 珍 (OC *ʔl'ɯn, “rare; valuable”).
The sound component 𠂈 corrupted into 十 in the modern form, and into 匕 in the orthodox seal script form 眞. The bottom of the character in both forms derives from the components 貝 and 丁 corrupting into 目 and 丌.
From Proto-Sino-Tibetan; cognate with Tibetan བདེན (bden, “true; truth”). Possibly connected with 貞 (OC *teŋ) (Schuessler, 2007).

Han compound

眞
𡙊
𠤛
⿱𥃭大
⿱𥃰大
⿱𥃰六
𰶵
𰶱
⿳上目大
⿳止目六
⿳十且八

(Chinese calligraphy) Short for 真書／真书 (zhēnshū, “regular script”).


策

CJKV/code

Sino-Xenic (策):
* → Japanese: 策(さく) (saku)

/t͡sʰiɪk̚³²/

/t͡sʰiɪk̚³²/

Phono-semantic compound (形聲／形声, OC *sʰreːɡ): semantic 竹 (“bamboo”) + phonetic 朿 (OC *sʰeɡs).

Han compound

筞
*筴
箣
𠞁
𠞦
𠷽
𢄆
𥳯

Eight Principles of Yong
w:Eight Principles of Yong

(calligraphy) upward horizontal stroke (the fifth of the Eight Principles of Yong)


絕

Originally ideogrammic compound (會意／会意): 刀 (“knife”) + 幺 (“silk”) or ideogrammic compound (會意／会意): 刀 (“knife”) + 𢆶 (“silk”) — to cut silk threads.
Now phono-semantic compound (形聲／形声): semantic 糹 (“silk”) + semantic 刀 (“knife”) + phonetic 巴 (卪).

绝
絶
㔃
𢇍
𠤉
撧
𢴭

被難

to be killed in a disaster, political incident

七絕

七绝


興

Characters in the same phonetic series (興) (Zhengzhang, 2003)
Ideogrammic compound (會意／会意): 舁 (“to raise”) + 同 (“together”) – to hold up together.

Han compound

(poetry) association; speaking first of something else to lead up to the main theme


草

CJKV/code

Sino-Xenic (草):
* → Japanese: 草(そう) (sō)
* → Korean: 초(草) (cho)
* → Vietnamese: thảo (草)

Vietnamese: tháu (“scrawling”)

/t͡sʰɑʊ̯²¹⁴/

/t͡sʰɑʊ̯²¹⁴/

Phono-semantic compound (形聲／形声, OC *sʰuːʔ): semantic 艹 (“grass; plant”) + phonetic 早 (OC *ʔsuːʔ). Originally referred to 皂, and later borrowed for the “grass” sense, replacing 艸.
From Proto-Sino-Tibetan *r-tswa-n (“grass”); cognate with Tibetan རྩྭ (rtswa, “grass”) (Schuessler, 2007; STEDT).
Alternatively, it may be related to 芻 (OC *sʰro, “hay”), from Austroasiatic; compare Mon ချဲ (“grass; weeds; hay”) (Schuessler, 2007).

Han compound

屮
艸
𢂉
𦯑
𦯨
𦳕
𦷣
𦳱
騲

狂草

(calligraphy) Short for 草書／草书 (cǎoshū, “cursive script (grass script)”).


訊

Characters in the same phonetic series (卂) (Zhengzhang, 2003)
Phono-semantic compound (形聲／形声, OC *sins): semantic 言 + phonetic 卂 (OC *sins, *tods).


豎

Possibly phono-semantic compound (形聲／形声, OC *djoʔ): semantic 臤 + phonetic 豆 (OC *doːs).

Han compound

竖
竪
𠐊
㒘
䜿
䝂
𥪛

(Chinese calligraphy) a vertical stroke (㇑)


鉤

(Chinese calligraphy) a stroke with a hook (such as in ㇠, ㇆, ㇚, or ㇟)


點

Phono-semantic compound (形聲／形声, OC *teːmʔ): semantic 黑 (“black”) + phonetic 占 (OC *ʔljem, *tjems) – black dots.


我們

/wɔ²¹⁴ mən⁴/

/wän²¹⁴ mə⁴/

/ŋo⁵³ mən²¹⁻⁵⁵/

/ŋɔː¹³ muːn²¹/

/ŋo²¹³⁻²¹ mɨn¹/

/ŋo⁴⁴⁻³⁵ mun¹¹/

/ŋo³³⁻²¹ muoŋ⁵³/

/ua⁵²⁻³⁵ muŋ⁵⁵/

/ŋu²² mən⁴⁴/

/ɦu²² mən⁴⁴/

/wɔ²¹⁴ mən⁴/

/wän²¹⁴ mə⁴/

/ŋo⁵³ mən²¹⁻⁵⁵/

/ŋɔː¹³ muːn²¹/

/ŋo²¹³⁻²¹ mɨn¹/

/ŋo⁴⁴⁻³⁵ mun¹¹/

/ŋo³³⁻²¹ muoŋ⁵³/

/ua⁵²⁻³⁵ muŋ⁵⁵/

/ŋu²² mən⁴⁴/

/ɦu²² mən⁴⁴/

2020, 杨琳, “流行的词源误说辨正”, in 励耘语言学刊, number 2:

We believe that the sense of “need” of 消 xiāo is self-extended.

Wǒmen rènwéi “xiāo” de xūyào yì shì zìshēn yǐnshēn chūlái de.

我们认为“消”的需要义是自身引申出来的。

我們認為“消”的需要義是自身引申出來的。

(academic writing) we; us (referring to the author(s) of the paper, even if the paper has only one author)

筆者

used in both academic and general writings


草書

CJKV/code

Sino-Xenic (草書):
* → Japanese: 草書(そうしょ) (sōsho)
* → Korean: 초서(草書) (choseo)
* → Vietnamese: thảo thư (草書)

/t͡sʰɑʊ̯²¹⁴⁻²¹ ʂu⁵⁵/

/t͡sʰou̯³⁵ syː⁵⁵/

/t͡sʰo⁵⁵⁴⁻²⁴ t͡sɯ³³/

/t͡sʰo⁵³⁻⁴⁴ su⁴⁴/

/t͡sʰɤ⁴¹⁻⁴⁴ su⁴⁴/

/t͡sʰo⁵³⁻⁴⁴ si⁴⁴/

/t͡sʰau⁴⁴⁵⁻³³ su³³/

/t͡sʰɔ³³ sz̩⁴⁴/

/t͡sʰɑʊ̯²¹⁴⁻²¹ ʂu⁵⁵/

/t͡sʰou̯³⁵ syː⁵⁵/

/t͡sʰo⁵⁵⁴⁻²⁴ t͡sɯ³³/

/t͡sʰo⁵³⁻⁴⁴ su⁴⁴/

/t͡sʰɤ⁴¹⁻⁴⁴ su⁴⁴/

/t͡sʰo⁵³⁻⁴⁴ si⁴⁴/

/t͡sʰau⁴⁴⁵⁻³³ su³³/

/t͡sʰɔ³³ sz̩⁴⁴/

(calligraphy) a Chinese calligraphic style

cursive script
a Chinese calligraphic style


楷書

Sino-Xenic (楷書):
* → Japanese: 楷書(かいしょ) (kaisho)
* → Korean: 해서(楷書) (haeseo)
* → Vietnamese: khải thư (楷書)

/kʰaɪ̯²¹⁴⁻²¹ ʂu⁵⁵/

/kʰaːi̯³⁵ syː⁵⁵/

/kʰai⁵⁵⁴⁻²⁴ t͡sɯ³³/

/kʰai⁴¹⁻⁴⁴ su⁴⁴/

/kʰai⁴⁴⁵⁻³³ su³³/

/kʰai⁵³⁻⁴⁴ su⁴⁴/

/kʰai⁵³⁻⁴⁴ si⁴⁴/

/kʰaɪ̯²¹⁴⁻²¹ ʂu⁵⁵/

/kʰaːi̯³⁵ syː⁵⁵/

/kʰai⁵⁵⁴⁻²⁴ t͡sɯ³³/

/kʰai⁴¹⁻⁴⁴ su⁴⁴/

/kʰai⁴⁴⁵⁻³³ su³³/

/kʰai⁵³⁻⁴⁴ su⁴⁴/

/kʰai⁵³⁻⁴⁴ si⁴⁴/

(Chinese calligraphy) regular script (the newest style of Chinese calligraphy, the most common in modern writings and publications)


波折

/pu̯ɔ⁵⁵ ʈ͡ʂɤ³⁵/

/pɔː⁵⁵ t͡siːt̚³/

/pʰo⁴⁴⁻³³ t͡siɛt̚³²/

/pʰɤ⁴⁴⁻³³ t͡siɛt̚³²/

/pʰo⁴⁴⁻²² t͡siɛt̚³²/

/po⁴⁴⁻²² t͡siɛt̚³²/

/pu̯ɔ⁵⁵ ʈ͡ʂɤ³⁵/

/pɔː⁵⁵ t͡siːt̚³/

/pʰo⁴⁴⁻³³ t͡siɛt̚³²/

/pʰɤ⁴⁴⁻³³ t͡siɛt̚³²/

/pʰo⁴⁴⁻²² t͡siɛt̚³²/

/po⁴⁴⁻²² t͡siɛt̚³²/


行書

Sino-Xenic (行書):
* → Japanese: 行書(ぎょうしょ) (gyōsho)
* → Korean: 행서(行書) (haengseo)
* → Vietnamese: hành thư (行書)

/ɕiŋ³⁵ ʂu⁵⁵/

/hɐŋ²¹ syː⁵⁵/

/hiɪŋ²⁴⁻²² t͡sɯ³³/

/hiɪŋ²⁴⁻¹¹ su⁴⁴/

/hiɪŋ²⁴⁻²² su⁴⁴/

/hiɪŋ²³⁻³³ su⁴⁴/

/hiɪŋ¹³⁻²² si⁴⁴/

/ɦin²² sz̩⁴⁴/

/ɕiŋ³⁵ ʂu⁵⁵/

/hɐŋ²¹ syː⁵⁵/

/hiɪŋ²⁴⁻²² t͡sɯ³³/

/hiɪŋ²⁴⁻¹¹ su⁴⁴/

/hiɪŋ²⁴⁻²² su⁴⁴/

/hiɪŋ²³⁻³³ su⁴⁴/

/hiɪŋ¹³⁻²² si⁴⁴/

/ɦin²² sz̩⁴⁴/

(calligraphy) semi-cursive script; running hand; running script


俳諧

Orthographic borrowing from Japanese 俳(はい)諧(かい) (haikai).

/pʰaɪ̯³⁵ ɕi̯ɛ³⁵/

/pʰaːi̯²¹ haːi̯²¹/

/pʰaɪ̯³⁵ ɕi̯ɛ³⁵/

/pʰaːi̯²¹ haːi̯²¹/

(poetry) haikai (form of Japanese comic verse, featuring satire and puns)


春聯

/ʈ͡ʂʰu̯ən⁵⁵ li̯ɛn³⁵/

/t͡sʰɵn⁵⁵ lyːn²¹/

/t͡sʰun⁴⁴⁻³⁵ liɛn¹¹/

/t͡sʰuŋ⁵⁵ ⁽ˡ⁻⁾nˡieŋ⁵³/

/t͡sʰun⁴⁴⁻²² liɛn²⁴/

/t͡sʰun⁴⁴⁻²² liɛn¹³/

/t͡sʰun⁴⁴⁻³³ liɛn²⁴/

/t͡sʰun⁴⁴⁻³³ liɛn²³/

/t͡sʰuŋ³³⁻²³ liaŋ⁵⁵/

/ʈ͡ʂʰu̯ən⁵⁵ li̯ɛn³⁵/

/t͡sʰɵn⁵⁵ lyːn²¹/

/t͡sʰun⁴⁴⁻³⁵ liɛn¹¹/

/t͡sʰuŋ⁵⁵ ⁽ˡ⁻⁾nˡieŋ⁵³/

/t͡sʰun⁴⁴⁻²² liɛn²⁴/

/t͡sʰun⁴⁴⁻²² liɛn¹³/

/t͡sʰun⁴⁴⁻³³ liɛn²⁴/

/t͡sʰun⁴⁴⁻³³ liɛn²³/

/t͡sʰuŋ³³⁻²³ liaŋ⁵⁵/

貼春聯／贴春联


流麗

/li̯oʊ̯³⁵ li⁵¹/

/lɐu̯²¹ lɐi̯²²/

/li̯oʊ̯³⁵ li⁵¹/

/lɐu̯²¹ lɐi̯²²/

(of poetry, calligraphy, etc.) smooth and beautiful


綿密

(of speech, writing, etc.) meticulous; fine and careful


浮雲

Sino-Xenic (浮雲):
* → Japanese: 浮雲(ふうん) (fuun)
* → Korean: 부운(浮雲) (buun)
* → Vietnamese: phù vân (浮雲)

/fɐu̯²¹ wɐn²¹/

/pʰu²⁴⁻²² hun²⁴/

/pʰu²⁴⁻²² hun²⁴/

/pʰu¹³⁻²² hun¹³/

/pʰu²⁴⁻¹¹ hun²⁴/

/pʰu²³⁻³³ hun²³/

/pʰu⁵⁵⁻¹¹ huŋ⁵⁵/

/fɐu̯²¹ wɐn²¹/

/pʰu²⁴⁻²² hun²⁴/

/pʰu²⁴⁻²² hun²⁴/

/pʰu¹³⁻²² hun¹³/

/pʰu²⁴⁻¹¹ hun²⁴/

/pʰu²³⁻³³ hun²³/

/pʰu⁵⁵⁻¹¹ huŋ⁵⁵/

(literary, figurative, calligraphy) lively, flowing brushwork


古文

/ku²¹⁴⁻²¹ wən³⁵/

/kuː³⁵ mɐn²¹/

/kuː³⁵ mɐn²¹⁻³⁵/

/kɔ⁵³⁻⁴⁴ bun¹³/

/kɔ⁵⁵⁴⁻²⁴ bun²⁴/

/kɔ⁴¹⁻⁴⁴ bun²³/

/kɔ⁵³⁻⁴⁴ bun²⁴/

/kɔ⁴⁴⁵⁻³³ bun²³/

/kou⁵²⁻³⁵ buŋ⁵⁵/

/ku²¹⁴⁻²¹ wən³⁵/

/kuː³⁵ mɐn²¹/

/kuː³⁵ mɐn²¹⁻³⁵/

/kɔ⁵³⁻⁴⁴ bun¹³/

/kɔ⁵⁵⁴⁻²⁴ bun²⁴/

/kɔ⁴¹⁻⁴⁴ bun²³/

/kɔ⁵³⁻⁴⁴ bun²⁴/

/kɔ⁴⁴⁵⁻³³ bun²³/

/kou⁵²⁻³⁵ buŋ⁵⁵/


犀利

/sɐi̯⁵⁵ lei̯²²/

/se⁴⁴⁻²² li²²/

/sɐi̯⁵⁵ lei̯²²/

/se⁴⁴⁻²² li²²/

傲人

nowadays especially of breasts, body curve

His wording in the letter is very sharp.

Tā zài xìn zhōng de yòngcí fēicháng xīlì.

他在信中的用詞非常犀利。

他在信中的用词非常犀利。

(figurative, of eyes, opinions, writing) sharp; incisive; trenchant; caustic


起句

/t͡ɕʰi²¹⁴⁻²¹ t͡ɕy⁵¹/

/hei̯³⁵ kɵy̯³³/

/t͡ɕʰi²¹⁴⁻²¹ t͡ɕy⁵¹/

/hei̯³⁵ kɵy̯³³/


隸書

/tɐi̯²² syː⁵⁵/

/le²²⁻²¹ su⁴⁴/

/le⁴¹⁻²² su³³/

/le²²⁻²¹ su⁴⁴/

/le³³⁻¹¹ su⁴⁴/

/le³³⁻²¹ su⁴⁴/

/ti³⁵⁻¹¹ t͡sɯ³³/

/di²² sz̩ʷ⁵³/

/di²³ sz̩ʷ¹¹/

/di¹¹ sz̩ʷ²⁴/

/di¹¹ sz̩ʷ⁵³/

/dø²² sz̩ʷ⁵³/

/li²² sz̩ʷ⁵³/

/ɦi²² sz̩ʷ⁵³/

/ɦli³¹ sz̩⁵⁵/

/di²² sz̩ʷ⁵¹/

/tɐi̯²² syː⁵⁵/

/le²²⁻²¹ su⁴⁴/

/le⁴¹⁻²² su³³/

/le²²⁻²¹ su⁴⁴/

/le³³⁻¹¹ su⁴⁴/

/le³³⁻²¹ su⁴⁴/

/ti³⁵⁻¹¹ t͡sɯ³³/

/di²² sz̩ʷ⁵³/

/di²³ sz̩ʷ¹¹/

/di¹¹ sz̩ʷ²⁴/

/di²² sz̩ʷ⁵³/

/di¹¹ sz̩ʷ⁵³/

/dø²² sz̩ʷ⁵³/

/li²² sz̩ʷ⁵³/

/ɦi²² sz̩ʷ⁵³/

/ɦli³¹ sz̩⁵⁵/

/di²² sz̩ʷ⁵¹/

(writing) clerical script (an archaic style of Chinese calligraphy)


四聲

/sz̩⁵¹ ʂɤŋ⁵⁵/

/sei̯³³ sɪŋ⁵⁵/

/si⁴¹⁻⁵⁵⁴ siã³³/

/si²¹⁻⁵³ siã⁴⁴/

/sz̩⁵¹ ʂɤŋ⁵⁵/

/sei̯³³ sɪŋ⁵⁵/

/si⁴¹⁻⁵⁵⁴ siã³³/

/si²¹⁻⁵³ siã⁴⁴/

(Chinese phonetics, poetry) the four tones of Middle Chinese (traditional tone classes also used for modern varieties of Chinese)


燕尾

/jɛn⁵¹ weɪ̯²¹⁴⁻²¹⁽⁴⁾/

/jɛn⁵¹ weɪ̯²¹⁴⁻²¹⁽⁴⁾/

Coordinate term: 蠶頭／蚕头 (cántóu)

(calligraphy) dense flourish on the right side of a major stroke in clerical script


送假名

ㄙㄨㄥˋ ㄐㄧㄚˇ ㄇㄧㄥˊ

/sʊŋ⁵¹ t͡ɕi̯ä²¹⁴⁻²¹ miŋ³⁵/

/sʊŋ⁵¹ t͡ɕi̯ä²¹⁴⁻²¹ miŋ³⁵/

Orthographic borrowing from Japanese 送り仮名 (okurigana).

obor

(orthography) okurigana (in the Japanese language, the kana which follow a stem written with kanji, which record how that stem is inflected, and guides recognition of the appropriate kun'yomi reading (word stem associated with the kanji); for example, く (ku) and かべる (kaberu) in 浮(う)く (uk-u, “to float”, intransitive) and 浮(う)かべる (uk-aberu, “to float”, transitive), or む (mu) and きる (kiru) in 生(う)む (umu, “to birth”) and 生(い)きる (ikiru, “to live”))


金文

CJKV/code

Sino-Xenic (金文):
* → Japanese: 金文(きんぶん) (kinbun)
* → Korean: 금문(金文) (geummun)

/t͡ɕin⁵⁵ wən³⁵/

/kɐm⁵⁵ mɐn²¹/

/kim³³⁻²³ buŋ⁵⁵/

/t͡ɕin⁵⁵ wən³⁵/

/kɐm⁵⁵ mɐn²¹/

/kim³³⁻²³ buŋ⁵⁵/

(writing, palaeography) Chinese bronze inscriptions

鐘

Chinese bronze inscriptions; bronze script

Chinese bronze inscriptions, bronze script


古文字

/ku²¹⁴⁻²¹ wən³⁵ t͡sz̩⁵¹/

/kuː³⁵ mɐn²¹ t͡siː²²/

/ku²¹⁴⁻²¹ wən³⁵ t͡sz̩⁵¹/

/kuː³⁵ mɐn²¹ t͡siː²²/

(writing, palaeography) pre-Qin script, such as jinwen or jiaguwen


鐘鼎文

ㄓㄨㄥ ㄉㄧㄥˇ ㄨㄣˊ

/ʈ͡ʂʊŋ⁵⁵ tiŋ²¹⁴⁻²¹ wən³⁵/

/t͡sʊŋ⁵⁵ tɪŋ³⁵ mɐn²¹/

/ʈ͡ʂʊŋ⁵⁵ tiŋ²¹⁴⁻²¹ wən³⁵/

/t͡sʊŋ⁵⁵ tɪŋ³⁵ mɐn²¹/


杜詩

/tu⁵¹ ʂʐ̩⁵⁵/

/tu⁵¹ ʂʐ̩⁵⁵/


盛唐

/ʂɤŋ⁵¹ tʰɑŋ³⁵/

/sɪŋ²² tʰɔːŋ²¹/

/siɪŋ²²⁻²¹ tɔŋ²⁴/

/siɪŋ⁴¹⁻²² tɔŋ²⁴/

/siɪŋ²²⁻²¹ tɔŋ¹³/

/siɪŋ³³⁻¹¹ tɔŋ²⁴/

/siɪŋ³³⁻²¹ tɔŋ²³/

/ʂɤŋ⁵¹ tʰɑŋ³⁵/

/sɪŋ²² tʰɔːŋ²¹/

/siɪŋ²²⁻²¹ tɔŋ²⁴/

/siɪŋ⁴¹⁻²² tɔŋ²⁴/

/siɪŋ²²⁻²¹ tɔŋ¹³/

/siɪŋ³³⁻¹¹ tɔŋ²⁴/

/siɪŋ³³⁻²¹ tɔŋ²³/

Emperor Xuanzong
w:Emperor Xuanzong of Tang

(poetry, historical) High Tang; Flourishing Tang; Golden Tang (713–755; the golden era in Tang poetry, the period from the Kaiyuan era to the Tianbao era of Emperor Xuanzong)


主筆

/ʈ͡ʂu²¹⁴⁻³⁵ pi²¹⁴⁻²¹⁽⁴⁾/

/t͡syː³⁵ pɐt̚⁵/

/t͡su⁴¹⁻⁴⁴ pit̚³²/

/t͡su⁵⁵⁴⁻²⁴ pit̚⁵/

/t͡su⁵³⁻⁴⁴ pit̚³²/

/ʈ͡ʂu²¹⁴⁻³⁵ pi²¹⁴⁻²¹⁽⁴⁾/

/t͡syː³⁵ pɐt̚⁵/

/t͡su⁴¹⁻⁴⁴ pit̚³²/

/t͡su⁵⁵⁴⁻²⁴ pit̚⁵/

/t͡su⁵³⁻⁴⁴ pit̚³²/

(calligraphy) most important stroke in a Chinese character


律詩

CJKV/code

Sino-Xenic (律詩):
* → Japanese: 律(りっ)詩(し) (risshi)
* → Korean: 률시(律詩) (ryulsi), 율시(律詩) (yulsi)
* → Vietnamese: luật thi (律詩)

/ly⁵¹ ʂʐ̩⁵⁵/

/lɵt̚² siː⁵⁵/

/l̃uʔ⁵⁻⁵⁵ si⁵⁵/

/lut̚⁴⁻³² si⁴⁴/

/lut̚²⁴⁻² si³³/

/lut̚¹²¹⁻²¹ si⁴⁴/

/lut̚⁴⁻³² si⁴⁴/

/lut̚⁴⁻³² si⁴⁴/

/liɪʔ¹¹ sz̩²³/

/ly⁵¹ ʂʐ̩⁵⁵/

/lɵt̚² siː⁵⁵/

/l̃uʔ⁵⁻⁵⁵ si⁵⁵/

/lut̚⁴⁻³² si⁴⁴/

/lut̚²⁴⁻² si³³/

/lut̚¹²¹⁻²¹ si⁴⁴/

/lut̚⁴⁻³² si⁴⁴/

/lut̚⁴⁻³² si⁴⁴/

/liɪʔ¹¹ sz̩²³/


斜鉤

/ɕi̯ɛ³⁵ koʊ̯⁵⁵/

/t͡sʰɛː²¹ ŋɐu̯⁵⁵/

/ʑia²² kɤ⁴⁴/

/ɕi̯ɛ³⁵ koʊ̯⁵⁵/

/t͡sʰɛː²¹ ŋɐu̯⁵⁵/

/ʑia²² kɤ⁴⁴/

(Chinese calligraphy) downwards-right concave hooked stroke


懷古

/xu̯aɪ̯³⁵ ku²¹⁴⁻²¹⁽⁴⁾/

/waːi̯²¹ kuː³⁵/

/xu̯aɪ̯³⁵ ku²¹⁴⁻²¹⁽⁴⁾/

/waːi̯²¹ kuː³⁵/


聲韻

/ʂɤŋ⁵⁵ yn⁵¹/

/sɪŋ⁵⁵ wɐn²²/

/sɪŋ⁵⁵ wɐn¹³/

/saŋ²⁴⁻¹¹ i̯un⁵⁵/

/ʂɤŋ⁵⁵ yn⁵¹/

/sɪŋ⁵⁵ wɐn²²/

/sɪŋ⁵⁵ wɐn¹³/

/saŋ²⁴⁻¹¹ i̯un⁵⁵/


骨氣

/ku²¹⁴⁻²¹ t͡ɕʰi⁵¹/

/ku²¹⁴ t͡ɕʰi⁴/

/ku³⁵ t͡ɕʰi⁵¹/

/ku³⁵ t͡ɕʰi³/

/kʷɐt̚⁵ hei̯³³/

/kut̚³²⁻⁴ kʰi²¹/

/kut̚⁵⁻²⁴ kʰi⁴¹/

/kut̚³²⁻⁵ kʰi²¹/

/kut̚³²⁻⁴ kʰi¹¹/

/kut̚³²⁻⁴ kʰi²¹/

/kuk̚²⁻⁴ kʰi²¹³/

/ku²¹⁴⁻²¹ t͡ɕʰi⁵¹/

/ku²¹⁴ t͡ɕʰi⁴/

/ku³⁵ t͡ɕʰi⁵¹/

/ku³⁵ t͡ɕʰi³/

/kʷɐt̚⁵ hei̯³³/

/kut̚³²⁻⁴ kʰi²¹/

/kut̚⁵⁻²⁴ kʰi⁴¹/

/kut̚³²⁻⁵ kʰi²¹/

/kut̚³²⁻⁴ kʰi¹¹/

/kut̚³²⁻⁴ kʰi²¹/

/kuk̚²⁻⁴ kʰi²¹³/

(figurative, calligraphy) vigour of strokes


筆觸

/pi²¹⁴⁻²¹ ʈ͡ʂʰu⁵¹/

/pɐt̚⁵ t͡sʊk̚⁵/

/pi²¹⁴⁻²¹ ʈ͡ʂʰu⁵¹/

/pɐt̚⁵ t͡sʊk̚⁵/

(painting, calligraphy) brush stroke in Chinese painting and calligraphy


淋漓

/lim²³⁻³³ li²³/

/lim²⁴⁻²² li²⁴/

/lim¹³⁻²² li¹³/

/lim²⁴⁻¹¹ li²⁴/

/lim²³⁻³³ li²³/

/lim²⁴⁻²² li²⁴/

/lim¹³⁻²² li¹³/

/lim²⁴⁻¹¹ li²⁴/

(of mood, writing, speech, etc.) free from inhibition; unreserved; unrestrained; hearty


襯字

/ʈ͡ʂʰən⁵¹⁻⁵³ t͡sz̩⁵¹/

/t͡sʰɐn³³ t͡siː²²/

/ʈ͡ʂʰən⁵¹⁻⁵³ t͡sz̩⁵¹/

/t͡sʰɐn³³ t͡siː²²/

(poetry) character inserted into a line of verse (especially in qu) or lyrics for balance


詩句

/ʂʐ̩⁵⁵ t͡ɕy⁵¹/

/siː⁵⁵ kɵy̯³³/

/sɨ²⁴⁻¹¹ ki⁵⁵/

/si⁵⁵⁻⁵³ ⁽ᵏ⁻⁾uɔ²¹³/

/si⁴⁴⁻²² ku²¹/

/si⁴⁴⁻²² ku²¹/

/si⁴⁴⁻³³ ku¹¹/

/si⁴⁴⁻³³ ku²¹/

/sz̩⁵⁵ t͡ɕy²¹/

/ʂʐ̩⁵⁵ t͡ɕy⁵¹/

/siː⁵⁵ kɵy̯³³/

/sɨ²⁴⁻¹¹ ki⁵⁵/

/si⁵⁵⁻⁵³ ⁽ᵏ⁻⁾uɔ²¹³/

/si⁴⁴⁻²² ku²¹/

/si⁴⁴⁻²² ku²¹/

/si⁴⁴⁻³³ ku¹¹/

/si⁴⁴⁻³³ ku²¹/

/sz̩⁵⁵ t͡ɕy²¹/


敘事詩

/ɕy⁵¹⁻⁵³ ʂʐ̩⁵¹ ʂʐ̩⁵⁵/

/t͡sɵy̯²² siː²² siː⁵⁵/

/ɕy⁵¹⁻⁵³ ʂʐ̩⁵¹ ʂʐ̩⁵⁵/

/t͡sɵy̯²² siː²² siː⁵⁵/


排律

/pʰaɪ̯³⁵ ly⁵¹/

/pʰaːi̯²¹ lɵt̚²/

/pɛ⁵³⁻³³ l̃uʔ⁵/

/ba²² liɪʔ⁴⁴/

/pʰaɪ̯³⁵ ly⁵¹/

/pʰaːi̯²¹ lɵt̚²/

/pɛ⁵³⁻³³ l̃uʔ⁵/

/ba²² liɪʔ⁴⁴/


絕句

/t͡ɕy̯ɛ³⁵ t͡ɕy⁵¹/

/t͡syːt̚² kɵy̯³³/

/t͡suoʔ⁵⁻²¹ kuɔ²¹³/

/t͡suat̚¹²¹⁻²¹ ku²¹/

/ʑiɪʔ¹¹ t͡ɕy²³/

/t͡ɕy̯ɛ³⁵ t͡ɕy⁵¹/

/t͡syːt̚² kɵy̯³³/

/t͡suoʔ⁵⁻²¹ kuɔ²¹³/

/t͡suat̚¹²¹⁻²¹ ku²¹/

/ʑiɪʔ¹¹ t͡ɕy²³/


對仗

/tu̯eɪ̯⁵¹⁻⁵³ ʈ͡ʂɑŋ⁵¹/

/tɵy̯³³ t͡sœːŋ²²/

/tui²¹⁻⁵³ tiɔŋ²²/

/tui⁴¹⁻⁵⁵⁴ tiɔŋ²²/

/tui²¹⁻⁵³ tiaŋ²²/

/tui²¹³⁻⁵⁵ t͡siaŋ³⁵/

/tu̯eɪ̯⁵¹⁻⁵³ ʈ͡ʂɑŋ⁵¹/

/tɵy̯³³ t͡sœːŋ²²/

/tui²¹⁻⁵³ tiɔŋ²²/

/tui⁴¹⁻⁵⁵⁴ tiɔŋ²²/

/tui²¹⁻⁵³ tiaŋ²²/

/tui²¹³⁻⁵⁵ t͡siaŋ³⁵/

(poetry) to use antithesis; to have a matching of both sound and sense in two lines, sentences, etc., usually with the matching words in the same part of speech


虞美人

/y³⁵ meɪ̯²¹⁴⁻²¹ ʐən³⁵/

/y³⁵ meɪ̯²¹⁴⁻²¹ ʐəɻ³⁵/

/jyː²¹ mei̯¹³ jɐn²¹/

/y³⁵ meɪ̯²¹⁴⁻²¹ ʐən³⁵/

/y³⁵ meɪ̯²¹⁴⁻²¹ ʐəɻ³⁵/

/jyː²¹ mei̯¹³ jɐn²¹/


天仙子

/tʰi̯ɛn⁵⁵ ɕi̯ɛn⁵⁵ t͡sz̩²¹⁴⁻²¹⁽⁴⁾/

/tʰi̯ɛn⁵⁵ ɕi̯ɛn⁵⁵ t͡sz̩²¹⁴⁻²¹⁽⁴⁾/


楷體

/kʰaɪ̯²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

/kʰaɪ̯²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/


十四行詩

/ʂʐ̩³⁵ sz̩⁵¹ xɑŋ³⁵ ʂʐ̩⁵⁵/

/sɐp̚² sei̯³³ hɔːŋ²¹ siː⁵⁵/

/ʂʐ̩³⁵ sz̩⁵¹ xɑŋ³⁵ ʂʐ̩⁵⁵/

/sɐp̚² sei̯³³ hɔːŋ²¹ siː⁵⁵/


永字八法

ㄩㄥˇ ㄗˋ ㄅㄚ ㄈㄚˇ

юн цзы ба фа

/jʊŋ²¹⁴⁻²¹ t͡sz̩⁵¹ pä⁵⁵ fä²¹⁴⁻²¹⁽⁴⁾/

/wɪŋ¹³ t͡siː²² paːt̚³ faːt̚³/

/jʊŋ²¹⁴⁻²¹ t͡sz̩⁵¹ pä⁵⁵ fä²¹⁴⁻²¹⁽⁴⁾/

/wɪŋ¹³ t͡siː²² paːt̚³ faːt̚³/

(calligraphy) the Eight Principles of Yǒng


一絕

/i⁵⁵⁻⁵¹ t͡ɕy̯ɛ³⁵/

/i⁵⁵⁻⁵¹ t͡ɕy̯ɛ³⁵/


中鋒

/ʈ͡ʂʊŋ⁵⁵ fɤŋ⁵⁵/

/tiɔŋ⁴⁴⁻²² hɔŋ⁴⁴/

/tiɔŋ³³ hɔŋ³³/

/tiɔŋ⁴⁴⁻²² hɔŋ⁴⁴/

/tiɔŋ⁴⁴⁻³³ hɔŋ⁴⁴/

/tiɔŋ⁴⁴⁻³³ hɔŋ⁴⁴/

/ʈ͡ʂʊŋ⁵⁵ fɤŋ⁵⁵/

/tiɔŋ⁴⁴⁻²² hɔŋ⁴⁴/

/tiɔŋ³³ hɔŋ³³/

/tiɔŋ⁴⁴⁻²² hɔŋ⁴⁴/

/tiɔŋ⁴⁴⁻³³ hɔŋ⁴⁴/

/tiɔŋ⁴⁴⁻³³ hɔŋ⁴⁴/


五言詩

/u²¹⁴⁻²¹ jɛn³⁵ ʂʐ̩⁵⁵/

/ŋ̍¹³ jiːn²¹ siː⁵⁵/

/ŋɔ̃⁵³⁻⁴⁴ ɡiɛn²⁴⁻²² si⁴⁴/

/ŋɔ̃⁵⁵⁴⁻²⁴ ɡiɛn²⁴⁻²² si³³/

/ŋɔ̃⁵³⁻⁴⁴ ɡiɛn¹³⁻²² si⁴⁴/

/ŋɔ̃⁵³⁻⁴⁴ ɡiɛn²⁴⁻¹¹ si⁴⁴/

/ŋɔ̃⁴¹⁻⁴⁴ ɡiɛn²³⁻³³ si⁴⁴/

/u²¹⁴⁻²¹ jɛn³⁵ ʂʐ̩⁵⁵/

/ŋ̍¹³ jiːn²¹ siː⁵⁵/

/ŋɔ̃⁵³⁻⁴⁴ ɡiɛn²⁴⁻²² si⁴⁴/

/ŋɔ̃⁵⁵⁴⁻²⁴ ɡiɛn²⁴⁻²² si³³/

/ŋɔ̃⁵³⁻⁴⁴ ɡiɛn¹³⁻²² si⁴⁴/

/ŋɔ̃⁵³⁻⁴⁴ ɡiɛn²⁴⁻¹¹ si⁴⁴/

/ŋɔ̃⁴¹⁻⁴⁴ ɡiɛn²³⁻³³ si⁴⁴/

(poetry) a type of poem with five characters in each line


七言詩

/t͡ɕʰi⁵⁵ jɛn³⁵ ʂʐ̩⁵⁵/

/t͡sʰɐt̚⁵ jiːn²¹ siː⁵⁵/

/t͡ɕʰi⁵⁵ jɛn³⁵ ʂʐ̩⁵⁵/

/t͡sʰɐt̚⁵ jiːn²¹ siː⁵⁵/

(poetry) a type of poem with seven characters in each line


行雲流水

ㄒㄧㄥˊ ㄩㄣˊ ㄌㄧㄡˊ ㄕㄨㄟˇ

синъюньлюшуй

/ɕiŋ³⁵ yn³⁵ li̯oʊ̯³⁵ ʂu̯eɪ̯²¹⁴⁻²¹⁽⁴⁾/

/hɐŋ²¹ wɐn²¹ lɐu̯²¹ sɵy̯³⁵/

/ɕiŋ³⁵ yn³⁵ li̯oʊ̯³⁵ ʂu̯eɪ̯²¹⁴⁻²¹⁽⁴⁾/

/hɐŋ²¹ wɐn²¹ lɐu̯²¹ sɵy̯³⁵/

(of calligraphy, writing, etc.) very smooth and natural; natural and unforced style


起承轉合

ㄑㄧˇ ㄔㄥˊ ㄓㄨㄢˇ ㄏㄜˊ

цичэнчжуаньхэ

/t͡ɕʰi²¹⁴⁻²¹ ʈ͡ʂʰɤŋ³⁵ ʈ͡ʂu̯än²¹⁴⁻²¹ xɤ³⁵/

/hei̯³⁵ sɪŋ²¹ t͡syːn³⁵ hɐp̚²/

/hei̯³⁵ sɪŋ²¹ t͡syːn³⁵ hɐp̚²/

(poetry) structure of traditional Chinese poetry: introduction, elucidation, transition and conclusion


乾巴巴

/kän⁵⁵ pä⁵⁵ pä⁵⁵/

/kɔːn⁵⁵ paː⁵⁵ paː⁵⁵/

/kaŋ³³⁻²³ pa³³⁻²³ pa³³/

/kän⁵⁵ pä⁵⁵ pä⁵⁵/

/kɔːn⁵⁵ paː⁵⁵ paː⁵⁵/

/kaŋ³³⁻²³ pa³³⁻²³ pa³³/

(ideophonic, of speech, writing, etc.) dull; boring; insipid


菩薩蠻

/pʰu³⁵ sä⁵¹ män³⁵/

/pʰu³⁵ sä⁵¹ män³⁵/


真書

/ʈ͡ʂən⁵⁵ ʂu⁵⁵/

/t͡sɐn⁵⁵ syː⁵⁵/

/t͡sin⁴⁴⁻²² su⁴⁴/

/t͡sin⁴⁴⁻²² su⁴⁴/

/t͡sin⁴⁴⁻³³ su⁴⁴/

/t͡sin⁴⁴⁻³³ su⁴⁴/

/ʈ͡ʂən⁵⁵ ʂu⁵⁵/

/t͡sɐn⁵⁵ syː⁵⁵/

/t͡sin⁴⁴⁻²² su⁴⁴/

/t͡sin⁴⁴⁻²² su⁴⁴/

/t͡sin⁴⁴⁻³³ su⁴⁴/

/t͡sin⁴⁴⁻³³ su⁴⁴/

(Chinese calligraphy) Alternative name for 楷書／楷书 (kǎishū, “regular script”).


骨力

/ku²¹⁴⁻²¹ li⁵¹/

/kʷɐt̚⁵ lɪk̚²/

/kut̚³²⁻⁴ liɪk̚⁴/

/ku²¹⁴⁻²¹ li⁵¹/

/kʷɐt̚⁵ lɪk̚²/

/kut̚³²⁻⁴ liɪk̚⁴/


賦比興

ㄈㄨˋ ㄅㄧˇ ㄒㄧㄥˋ

/fu⁵¹ pi²¹⁴⁻²¹ ɕiŋ⁵¹/

/fu⁵¹ pi²¹⁴⁻²¹ ɕiŋ⁵¹/

First described in The Rites of Zhou (《周禮》):
*

"The Grand Master master teaches six forms of poems: … feng (風), fu (賦 ), bi (比), xing (興), ya (雅), and song (頌); …

dàshī:...... jiào liùshī, yuē fēng, yuē fù, yuē bǐ, yuē xìng, yuē yǎ, yuē sòng;......

大師：……教六詩，曰風，曰賦，曰比，曰興，曰雅，曰頌；……

大师：……教六诗，曰风，曰赋，曰比，曰兴，曰雅，曰颂；……

(poetry) fu bi xing, a Chinese structural concept comprising three literary techniques used to create poetry.


八分

/pä⁵⁵ fən⁵⁵/

/pä⁵⁵ fən⁵⁵/


法書

/fä²¹⁴⁻²¹ ʂu⁵⁵/

/fä²¹⁴⁻²¹ ʂu⁵⁵/


尖音符

/t͡ɕi̯ɛn⁵⁵ in⁵⁵ fu³⁵/

/t͡siːm⁵⁵ jɐm⁵⁵ fuː²¹/

/t͡ɕi̯ɛn⁵⁵ in⁵⁵ fu³⁵/

/t͡siːm⁵⁵ jɐm⁵⁵ fuː²¹/


重音符

/ʈ͡ʂʊŋ⁵¹ in⁵⁵ fu³⁵/

/t͡sʰʊŋ¹³ jɐm⁵⁵ fuː²¹/

/ʈ͡ʂʊŋ⁵¹ in⁵⁵ fu³⁵/

/t͡sʰʊŋ¹³ jɐm⁵⁵ fuː²¹/


一言詩

/i⁵⁵⁻⁵¹ jɛn³⁵ ʂʐ̩⁵⁵/

/jɐt̚⁵ jiːn²¹ siː⁵⁵/

/i⁵⁵⁻⁵¹ jɛn³⁵ ʂʐ̩⁵⁵/

/jɐt̚⁵ jiːn²¹ siː⁵⁵/

(poetry) a one-character line in a poem; a type of poem with one-character lines


今文

/t͡ɕin⁵⁵ wən³⁵/

/kɐm⁵⁵ mɐn²¹/

/t͡ɕin⁵⁵ wən³⁵/

/kɐm⁵⁵ mɐn²¹/

(writing, palaeography) Alternative name for 隸書／隶书 (lìshū, “clerical script”).


打油詩

/tä²¹⁴⁻²¹ joʊ̯³⁵ ʂʐ̩⁵⁵/

/taː³⁵ jɐu̯²¹ siː⁵⁵/

/tä²¹⁴⁻²¹ joʊ̯³⁵ ʂʐ̩⁵⁵/

/taː³⁵ jɐu̯²¹ siː⁵⁵/


曲屎

/kʰiɪk̚³²⁻⁵ sai⁵³/

/kʰiɪk̚³²⁻⁴ sai⁵³/

/kʰiak̚⁵⁻²⁴ sai⁵⁵⁴/

/kʰiɪk̚³²⁻⁵ sai⁵³/

/kʰiɪk̚³²⁻⁴ sai⁵³/

/kʰiak̚⁵⁻²⁴ sai⁵⁵⁴/

(Hokkien, poetry) character inserted into a line of verse (especially in qu) or lyrics for balance


正楷

/ʈ͡ʂɤŋ⁵¹ kʰaɪ̯²¹⁴⁻²¹⁽⁴⁾/

/t͡sɪŋ³³ kʰaːi̯³⁵/

/t͡siã²¹⁻⁵³ kʰai⁵³/

/t͡siã⁴¹⁻⁵⁵⁴ kʰai⁵⁵⁴/

/t͡siã²¹⁻⁵³ kʰai⁵³/

/t͡siã¹¹⁻⁵³ kʰai⁵³/

/t͡siã²¹⁻⁴¹ kʰai⁴¹/

/ʈ͡ʂɤŋ⁵¹ kʰaɪ̯²¹⁴⁻²¹⁽⁴⁾/

/t͡sɪŋ³³ kʰaːi̯³⁵/

/t͡siã²¹⁻⁵³ kʰai⁵³/

/t͡siã⁴¹⁻⁵⁵⁴ kʰai⁵⁵⁴/

/t͡siã²¹⁻⁵³ kʰai⁵³/

/t͡siã¹¹⁻⁵³ kʰai⁵³/

/t͡siã²¹⁻⁴¹ kʰai⁴¹/

(Chinese calligraphy) regular script (the newest style of Chinese calligraphy, the most common in modern writings)


小韻

/ɕi̯ɑʊ̯²¹⁴⁻²¹ yn⁵¹/

/siːu̯³⁵ wɐn²²/

/siːu̯³⁵ wɐn¹³/

/ɕi̯ɑʊ̯²¹⁴⁻²¹ yn⁵¹/

/siːu̯³⁵ wɐn²²/

/siːu̯³⁵ wɐn¹³/

(poetry) in a pentasyllabic couplet, having a non-final syllable that shares the main rhyme


視覺方言

ㄕˋ ㄐㄩㄝˊ ㄈㄤ ㄧㄢˊ

шицзюэ фанъянь

/ʂʐ̩⁵¹ t͡ɕy̯ɛ³⁵ fɑŋ⁵⁵ jɛn³⁵/

/ʂʐ̩⁵¹ t͡ɕy̯ɛ³⁵ fɑŋ⁵⁵ jɛn³⁵/


省略符號

ㄕㄥˇ ㄌㄩㄝˋ ㄈㄨˊ ㄏㄠˋ

шэнлюэ фухао

/ʂɤŋ²¹⁴⁻²¹ ly̯ɛ⁵¹ fu³⁵ xɑʊ̯⁵¹/

/saːŋ³⁵ lœːk̚² fuː²¹ hou̯²²⁻³⁵/

/saːŋ³⁵ lœːk̚² fuː²¹ hou̯²²/

/ʂɤŋ²¹⁴⁻²¹ ly̯ɛ⁵¹ fu³⁵ xɑʊ̯⁵¹/

/saːŋ³⁵ lœːk̚² fuː²¹ hou̯²²⁻³⁵/

/saːŋ³⁵ lœːk̚² fuː²¹ hou̯²²/


體勢

Sino-Xenic (體勢):
* → Korean: 체세(體勢) (chese)

/tʰi²¹⁴⁻²¹ ʂʐ̩⁵¹/

/tʰe⁵⁵⁴⁻²⁴ se⁴¹/

/tʰe⁵³⁻⁴⁴ se²¹/

/tʰi²¹⁴⁻²¹ ʂʐ̩⁵¹/

/tʰe⁵⁵⁴⁻²⁴ se⁴¹/

/tʰe⁵³⁻⁴⁴ se²¹/

(Chinese calligraphy) character structure and momentum


清瘦

/t͡ɕʰiŋ⁵⁵ ʂoʊ̯⁵¹/

/t͡sʰɪŋ⁵⁵ sɐu̯³³/

/t͡sʰiɪŋ⁴⁴⁻²² sɔ²¹/

/t͡ɕʰiŋ⁵⁵ ʂoʊ̯⁵¹/

/t͡sʰɪŋ⁵⁵ sɐu̯³³/

/t͡sʰiɪŋ⁴⁴⁻²² sɔ²¹/

(of calligraphy, poetry, etc.) delicate and vigorous


行法

/ɕiŋ³⁵ fä²¹⁴⁻²¹⁽⁴⁾/

/ɕiŋ³⁵ fä²¹⁴⁻²¹⁽⁴⁾/

(literary, calligraphy) semi-cursive script style


飛白

/feɪ̯⁵⁵ paɪ̯³⁵/

/feɪ̯⁵⁵ paɪ̯³⁵/


飛白書

/feɪ̯⁵⁵ paɪ̯³⁵ ʂu⁵⁵/

/feɪ̯⁵⁵ paɪ̯³⁵ ʂu⁵⁵/


真楷

/ʈ͡ʂən⁵⁵ kʰaɪ̯²¹⁴⁻²¹⁽⁴⁾/

/ʈ͡ʂən⁵⁵ kʰaɪ̯²¹⁴⁻²¹⁽⁴⁾/

(Chinese calligraphy) regular script (the newest style of Chinese calligraphy, the most common in modern writings and publications)


字態

/t͡sz̩⁵¹⁻⁵³ tʰaɪ̯⁵¹/

/t͡sz̩⁵¹⁻⁵³ tʰaɪ̯⁵¹/

(linguistics, calligraphy) character form


書派

/ʂu⁵⁵ pʰaɪ̯⁵¹/

/ʂu⁵⁵ pʰaɪ̯⁵¹/


結體

/t͡ɕi̯ɛ³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

/t͡ɕi̯ɛ³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

(Chinese calligraphy) structure of a Chinese character


回鋒

/xu̯eɪ̯³⁵ fɤŋ⁵⁵/

/xu̯eɪ̯³⁵ fɤŋ⁵⁵/

(Chinese calligraphy) to turn the tip of the brush slightly in the opposite direction when writing a stroke


露鋒

/lu⁵¹ fɤŋ⁵⁵/

/lu⁵¹ fɤŋ⁵⁵/

(Chinese calligraphy) to expose the tip of the brush when writing a stroke


藏鋒

/t͡sʰɑŋ³⁵ fɤŋ⁵⁵/

/t͡sʰɔːŋ²¹ fʊŋ⁵⁵/

/t͡sʰɑŋ³⁵ fɤŋ⁵⁵/

/t͡sʰɔːŋ²¹ fʊŋ⁵⁵/

(Chinese calligraphy) to hide the tip of the brush when writing a stroke


入筆

/ʐu⁵¹ pi²¹⁴⁻²¹⁽⁴⁾/

/ʐu⁵¹ pi²¹⁴⁻²¹⁽⁴⁾/

(Chinese calligraphy) to start writing a stroke of a Chinese character


起筆

/t͡ɕʰi²¹⁴⁻³⁵ pi²¹⁴⁻²¹⁽⁴⁾/

/kʰi⁵³⁻⁴⁴ pit̚³²/

/kʰi⁵⁵⁴⁻²⁴ pit̚⁵/

/kʰi⁵³⁻⁴⁴ pit̚³²/

/kʰi⁵³⁻⁴⁴ pit̚³²/

/kʰi⁴¹⁻⁴⁴ pit̚³²/

/t͡ɕʰi²¹⁴⁻³⁵ pi²¹⁴⁻²¹⁽⁴⁾/

/kʰi⁵³⁻⁴⁴ pit̚³²/

/kʰi⁵⁵⁴⁻²⁴ pit̚⁵/

/kʰi⁵³⁻⁴⁴ pit̚³²/

/kʰi⁵³⁻⁴⁴ pit̚³²/

/kʰi⁴¹⁻⁴⁴ pit̚³²/


行筆

/ɕiŋ³⁵ pi²¹⁴⁻²¹⁽⁴⁾/

/hɐŋ²¹ pɐt̚⁵/

/ɕiŋ³⁵ pi²¹⁴⁻²¹⁽⁴⁾/

/hɐŋ²¹ pɐt̚⁵/

(Chinese calligraphy) to continue writing the stroke of a Chinese character (after putting pen to paper)


法帖

/fä²¹⁴⁻²¹ tʰi̯ɛ⁵¹/

/fä²¹⁴⁻²¹ tʰi̯ɛ⁵¹/


漆書

/t͡ɕʰi⁵⁵ ʂu⁵⁵/

/t͡ɕʰi⁵⁵ ʂu⁵⁵/

From an ancient method of transcribing texts. Despite the name, "lacquer writing" was actually written in black ink; they were only given this name because the radiance of the glossy black characters written in ink is suggestive of lacquer.

(historical, calligraphy) lacquer script


發筆

/ɸa̠²⁴ pi²⁴/

/ɸa̠²⁴ pi²⁴/

(Xiang, Chinese calligraphy) to start writing a stroke of a Chinese character


意象主義

ㄧˋ ㄒㄧㄤˋ ㄓㄨˇ ㄧˋ

/i⁵¹⁻⁵³ ɕi̯ɑŋ⁵¹ ʈ͡ʂu²¹⁴⁻²¹ i⁵¹/

/i⁵¹⁻⁵³ ɕi̯ɑŋ⁵¹ ʈ͡ʂu²¹⁴⁻²¹ i⁵¹/


書論

/ʂu⁵⁵ lu̯ən⁵¹/

/ʂu⁵⁵ lu̯ən⁵¹/

(calligraphy, literary) theory of calligraphy


終聲

/ʈ͡ʂʊŋ⁵⁵ ʂɤŋ⁵⁵/

/t͡sʊŋ⁵⁵ sɪŋ⁵⁵/

/ʈ͡ʂʊŋ⁵⁵ ʂɤŋ⁵⁵/

/t͡sʊŋ⁵⁵ sɪŋ⁵⁵/

(orthography) batchim (the final consonant (or consonant cluster) at the end of a Korean syllable)


怒張

/nu⁵¹ ʈ͡ʂɑŋ⁵⁵/

/nu⁵¹ ʈ͡ʂɑŋ⁵⁵/

(calligraphy, of strokes) to be vigorous; to be robust


韻律學

ㄩㄣˋ ㄌㄩˋ ㄒㄩㄝˊ

/yn⁵¹⁻⁵³ ly⁵¹ ɕy̯ɛ³⁵/

/yn⁵¹⁻⁵³ ly⁵¹ ɕy̯ɛ³⁵/


詩體學

/ʂʐ̩⁵⁵ tʰi²¹⁴⁻²¹ ɕy̯ɛ³⁵/

/ʂʐ̩⁵⁵ tʰi²¹⁴⁻²¹ ɕy̯ɛ³⁵/


詩律學

/ʂʐ̩⁵⁵ ly⁵¹ ɕy̯ɛ³⁵/

/ʂʐ̩⁵⁵ ly⁵¹ ɕy̯ɛ³⁵/


落句

/lo(ʔ)¹²¹⁻²¹ ku²¹/

/lo(ʔ)¹²¹⁻²¹ ku²¹/

(Southern Min, poetry) to read a poem smoothly with fluid rhymes


首劃

/ʂoʊ̯²¹⁴⁻²¹ xu̯ä⁵¹/

/ʂoʊ̯²¹⁴⁻²¹ xu̯ä⁵¹/


首聯

/ʂoʊ̯²¹⁴⁻²¹ li̯ɛn³⁵/

/sɐu̯³⁵ lyːn²¹/

/ʂoʊ̯²¹⁴⁻²¹ li̯ɛn³⁵/

/sɐu̯³⁵ lyːn²¹/


頸聯

/t͡ɕiŋ²¹⁴⁻²¹ li̯ɛn³⁵/

/kɛːŋ³⁵ lyːn²¹/

/t͡ɕiŋ²¹⁴⁻²¹ li̯ɛn³⁵/

/kɛːŋ³⁵ lyːn²¹/

(poetry) the fifth and sixth lines of a lüshi


頷聯

/xän⁵¹ li̯ɛn³⁵/

/xän⁵¹ li̯ɛn³⁵/

(poetry) the third and fourth lines of a lüshi


八分書

/pä⁵⁵ fən⁵⁵ ʂu⁵⁵/

/paːt̚³ fɐn⁵⁵ syː⁵⁵/

/pä⁵⁵ fən⁵⁵ ʂu⁵⁵/

/paːt̚³ fɐn⁵⁵ syː⁵⁵/


榜書

/pɑŋ²¹⁴⁻²¹ ʂu⁵⁵/

/pɑŋ²¹⁴⁻²¹ ʂu⁵⁵/


擘窠書

/pu̯ɔ⁵¹ kʰɤ⁵⁵ ʂu⁵⁵/

/pu̯ɔ⁵¹ kʰɤ⁵⁵ ʂu⁵⁵/


毛邊紙

/mɑʊ̯³⁵ pi̯ɛn⁵⁵ ʈ͡ʂʐ̩²¹⁴⁻²¹⁽⁴⁾/

/mɑʊ̯³⁵ pi̯ɛn⁵⁵ ʈ͡ʂʐ̩²¹⁴⁻²¹⁽⁴⁾/


毛邊

/mɑʊ̯³⁵ pi̯ɛn⁵⁵/

/mɑʊ̯³⁵ pi̯ɛn⁵⁵/

(calligraphy) Short for 毛邊紙／毛边纸 (máobiānzhǐ, “maobian paper”).


小寫字母

ㄒㄧㄠˇ ㄒㄧㄝˇ ㄗˋ ㄇㄨˇ

/ɕi̯ɑʊ̯²¹⁴⁻³⁵ ɕi̯ɛ²¹⁴⁻²¹ t͡sz̩⁵¹ mu²¹⁴⁻²¹⁽⁴⁾/

/siːu̯³⁵ sɛː³⁵ t͡siː²² mou̯¹³/

/siːu̯³⁵ sɛː³⁵ t͡siː²² mou̯¹³/

(orthography, typography) minuscule (lower-case letter)


帖學

/tʰi̯ɛ⁵¹ ɕy̯ɛ³⁵/

/tʰi̯ɛ⁵¹ ɕy̯ɛ³⁵/


聯句

/li̯ɛn³⁵ t͡ɕy⁵¹/

/liɛn²⁴⁻²² ku²¹/

/liɛn²⁴⁻²² ku⁴¹/

/liɛn¹³⁻²² ku²¹/

/liɛn²⁴⁻¹¹ ku¹¹/

/liɛn²³⁻³³ ku²¹/

/li̯ɛn³⁵ t͡ɕy⁵¹/

/liɛn²⁴⁻²² ku²¹/

/liɛn²⁴⁻²² ku⁴¹/

/liɛn¹³⁻²² ku²¹/

/liɛn²⁴⁻¹¹ ku¹¹/

/liɛn²³⁻³³ ku²¹/


聯句

/li̯ɛn³⁵ t͡ɕy⁵¹/

/liɛn²⁴⁻²² ku²¹/

/liɛn²⁴⁻²² ku⁴¹/

/liɛn¹³⁻²² ku²¹/

/liɛn²⁴⁻¹¹ ku¹¹/

/liɛn²³⁻³³ ku²¹/

/li̯ɛn³⁵ t͡ɕy⁵¹/

/liɛn²⁴⁻²² ku²¹/

/liɛn²⁴⁻²² ku⁴¹/

/liɛn¹³⁻²² ku²¹/

/liɛn²⁴⁻¹¹ ku¹¹/

/liɛn²³⁻³³ ku²¹/


宮詞

/kʊŋ⁵⁵ t͡sʰz̩³⁵/

/kʊŋ⁵⁵ t͡sʰz̩³⁵/


比興

/pi²¹⁴⁻²¹ ɕiŋ⁵¹/

/pi²¹⁴⁻²¹ ɕiŋ⁵¹/

(poetry) allusion / metaphor, and inspiration arising from it


並序

/piŋ⁵¹⁻⁵³ ɕy⁵¹/

/piŋ⁵¹⁻⁵³ ɕy⁵¹/

《歸去來兮辭（並序）》

《归去来兮辞（并序）》


直音

Orthographic borrowing from Japanese 直音.

/ʈ͡ʂʐ̩³⁵ in⁵⁵/

/t͡sɪk̚² jɐm⁵⁵/

/ʈ͡ʂʐ̩³⁵ in⁵⁵/

/t͡sɪk̚² jɐm⁵⁵/

(Japanese orthography and phonology) a mora that consists of either (1) one vowel or (2) one consonant and one vowel, and is spelt with only one full-sized kana, such as あ (a), き (ki) or ぶ (bu)


初唐

/ʈ͡ʂʰu⁵⁵ tʰɑŋ³⁵/

/t͡sʰɔː⁵⁵ tʰɔːŋ²¹/

/ʈ͡ʂʰu⁵⁵ tʰɑŋ³⁵/

/t͡sʰɔː⁵⁵ tʰɔːŋ²¹/

初唐四傑／初唐四杰

(poetry, historical) early Tang (618–712; the period from the Wude era of Emperor Gaozu to the early Xiantian era of Emperor Xuanzong)


中唐

/ʈ͡ʂʊŋ⁵⁵ tʰɑŋ³⁵/

/ʈ͡ʂʊŋ⁵⁵ tʰɑŋ³⁵/

Emperor Daizong
w:Emperor Daizong of Tang

Emperor Wenzong
w:Emperor Wenzong of Tang

(poetry, historical) middle Tang (766-835; the period from the Dali era of Emperor Daizong to the Dahe era of Emperor Wenzong)


波磔

/pu̯ɔ⁵⁵ ʈ͡ʂɤ³⁵/

/pu̯ɔ⁵⁵ ʈ͡ʂɤ³⁵/


流水行雲

ㄌㄧㄡˊ ㄕㄨㄟˇ ㄒㄧㄥˊ ㄩㄣˊ

люшуйсинъюнь

/li̯oʊ̯³⁵ ʂu̯eɪ̯²¹⁴⁻²¹ ɕiŋ³⁵ yn³⁵/

/lɐu̯²¹ sɵy̯³⁵ hɐŋ²¹ wɐn²¹/

/liu⁵⁵⁻¹¹ t͡sui⁵²⁻³⁵ kĩã⁵⁵⁻¹¹ huŋ⁵⁵/

/li̯oʊ̯³⁵ ʂu̯eɪ̯²¹⁴⁻²¹ ɕiŋ³⁵ yn³⁵/

/lɐu̯²¹ sɵy̯³⁵ hɐŋ²¹ wɐn²¹/

/liu⁵⁵⁻¹¹ t͡sui⁵²⁻³⁵ kĩã⁵⁵⁻¹¹ huŋ⁵⁵/

(of calligraphy, writing, etc.) very smooth and natural; natural and unforced style


病起

/piŋ⁵¹ t͡ɕʰi²¹⁴⁻²¹⁽⁴⁾/

/piŋ⁵¹ t͡ɕʰi²¹⁴⁻²¹⁽⁴⁾/

(poetry) "rising from sickness", a classical genre of poem


樂府詩

/ɥɛ⁵¹ fu²¹⁴⁻²¹ ʂʐ̩⁵⁵/

/ɥɛ⁵¹ fu²¹⁴⁻²¹ ʂʐ̩⁵⁵/


五律

/u²¹⁴⁻²¹ ly⁵¹/

/u²¹⁴⁻²¹ ly⁵¹/

Classical Chinese poetry
w:Classical Chinese poetry forms

(poetry) five-character eight-line regulated verse (a form of Classical Chinese poetry)


字牙

/t͡sz̩⁵¹ jä³⁵/

/t͡sz̩⁵¹ jä³⁵/

(calligraphy) Manchu-script "tooth" stroke


詩行

/ʂʐ̩⁵⁵ xɑŋ³⁵/

/ʂʐ̩⁵⁵ xɑŋ³⁵/


草寫體

ㄘㄠˇ ㄒㄧㄝˇ ㄊㄧˇ

/t͡sʰɑʊ̯²¹⁴⁻³⁵ ɕi̯ɛ²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

/t͡sʰɑʊ̯²¹⁴⁻³⁵ ɕi̯ɛ²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/


草寫

/t͡sʰɑʊ̯²¹⁴⁻³⁵ ɕi̯ɛ²¹⁴⁻²¹⁽⁴⁾/

/t͡sʰɑʊ̯²¹⁴⁻³⁵ ɕi̯ɛ²¹⁴⁻²¹⁽⁴⁾/


草體

/t͡sʰɑʊ̯²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

/t͡sʰou̯³⁵ tʰɐi̯³⁵/

/t͡sʰɑʊ̯²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

/t͡sʰou̯³⁵ tʰɐi̯³⁵/

(calligraphy) cursive hand of a phonetic alphabet


草字

/t͡sʰɑʊ̯²¹⁴⁻²¹ t͡sz̩⁵¹/

/t͡sʰou̯³⁵ t͡siː²²/

/ˈt͡sʰau²¹³⁻²⁴ t͡sʰz̩¹¹/

/t͡sʰo³³⁻⁵⁵ t͡sɛi²⁴²/

/t͡sʰɑʊ̯²¹⁴⁻²¹ t͡sz̩⁵¹/

/t͡sʰou̯³⁵ t͡siː²²/

/ˈt͡sʰau²¹³⁻²⁴ t͡sʰz̩¹¹/

/t͡sʰo³³⁻⁵⁵ t͡sɛi²⁴²/


奶酪陷阱體

ㄋㄞˇ ㄌㄠˋ ㄒㄧㄢˋ ㄐㄧㄥˇ ㄊㄧˇ

ㄋㄞˇ ㄌㄨㄛˋ ㄒㄧㄢˋ ㄐㄧㄥˇ ㄊㄧˇ

nǎilào xiànjǐng tǐ [Phonetic:nǎilàoxiànjíngtǐ]

найлао сяньцзин ти

/naɪ̯²¹⁴⁻²¹ lɑʊ̯⁵¹⁻⁵³ ɕi̯ɛn⁵¹ t͡ɕiŋ²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

nǎiluò xiànjǐng tǐ [Phonetic:nǎiluòxiànjíngtǐ]

найло сяньцзин ти

/naɪ̯²¹⁴⁻²¹ lu̯ɔ⁵¹⁻⁵³ ɕi̯ɛn⁵¹ t͡ɕiŋ²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

(calligraphy) A style of handwriting popularized in the early 2020s, characterized by a flow adapted to horizontal writing.


衡水體

ㄏㄥˊ ㄕㄨㄟˇ ㄊㄧˇ

/xɤŋ³⁵ ʂu̯eɪ̯²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

/xɤŋ³⁵ ʂu̯eɪ̯²¹⁴⁻³⁵ tʰi²¹⁴⁻²¹⁽⁴⁾/

(Mainland China, calligraphy) a simple and legible style of print handwriting for English


變音符號

ㄅㄧㄢˋ ㄧㄣ ㄈㄨˊ ㄏㄠˋ

бяньинь фухао

/pi̯ɛn⁵¹ in⁵⁵ fu³⁵ xɑʊ̯⁵¹/

/pi̯ɛn⁵¹ in⁵⁵ fu³⁵ xɑʊ̯⁵¹/

(orthography) diacritical mark (a special mark added to a letter to indicate different a pronunciation, stress, tone or meaning)


蠶頭

/t͡sʰän³⁵ tʰoʊ̯³⁵/

/t͡sʰän³⁵ tʰoʊ̯³⁵/

Coordinate term: 燕尾 (yànwěi)

(calligraphy) dense flourish on the left side of a major stroke in clerical script


字法

/t͡sz̩⁵¹ fä²¹⁴⁻²¹⁽⁴⁾/

/t͡sz̩⁵¹ fä²¹⁴⁻²¹⁽⁴⁾/


沉雄

/ʈ͡ʂʰən³⁵ ɕi̯ʊŋ³⁵/

/ʈ͡ʂʰən³⁵ ɕi̯ʊŋ³⁵/

(of poetry, calligraphy, etc.) deep and powerful


晚唐

/wän²¹⁴⁻²¹ tʰɑŋ³⁵/

/maːn¹³ tʰɔːŋ²¹/

/wän²¹⁴⁻²¹ tʰɑŋ³⁵/

/maːn¹³ tʰɔːŋ²¹/

(poetry, historical) late Tang (875-907; the period from the Qianfu era of Emperor Xizong to the Tianyou era of Emperor Ai)