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The laosheng (Chinese: 老生; pinyin: lǎoshēng; lit. 'old sheng') is a dignified older role, usually distinguished by a long, thin, three-part beard. [1] These characters have a gentle and cultivated disposition and typically wear long robes with water sleeves, high-soled boots, and fabric headdresses.
The xiaosheng (Chinese: 小生; pinyin: xiǎoshēng; lit. 'little (gentle)man') is a male role type in Chinese opera and a subtype of the sheng. Most xiaosheng characters are young Confucian scholars or, less often, young warriors. Unlike laosheng actors, xiaosheng actors do not wear a beard.
The areas where Chinese characters were historically used—sometimes collectively termed the Sinosphere—have a long tradition of lexicography attempting to explain and refine their use; for most of history, analysis revolved around a model first popularized in the 2nd-century Shuowen Jiezi dictionary. [7]
Chinese character external structure is on how the writing units are combined level by level into a complete character. There are three levels of structural units of Chinese characters: strokes, components, and whole characters. [3] For example, character 字 (character) is composed of two components, each of which is composed of three stokes:
Chinese characters "Chinese character" written in traditional (left) and simplified (right) forms Script type Logographic Time period c. 13th century BCE – present Direction Left-to-right Top-to-bottom, columns right-to-left Languages Chinese Japanese Korean Vietnamese Zhuang (among others) Related scripts Parent systems (Proto-writing) Chinese characters Child systems Bopomofo Jurchen ...
Jin Ping Mei (Chinese: 金瓶梅)—translated into English as The Plum in the Golden Vase or The Golden Lotus—is a Chinese novel of manners composed in vernacular Chinese during the latter half of the 16th century during the late Ming dynasty (1368–1644).
It also refers to Baoyu's dream in chapter five, set in a "red chamber", a dream where the fates of many of the characters are foreshadowed. "Mansion" is one of the definitions of the Chinese character "樓" (lóu), but the scholar Zhou Ruchang writes that in the phrase hónglóu it is more accurately translated as "chamber". [35]
Obviously, learning by component analysis is much more efficient than learning by analyzing each character to strokes. Component analysis is also used in Chinese character encoding for computer input. [6] There are two methods for Chinese character dividing, hierarchical dividing and plane dividing. Hierarchical dividing separates layer by ...