Simply described, without reference to origins and evolu- 

 tion, pictograms represent things, as q (jih) for sun or 

 f\ (/ueh) for moon; and ideograms represent ideas, as 9f\ 

 (ming), in which sun and moon are combined to express the 

 idea bright. Phonograms, which compose the great majority 

 of Chinese characters, are compound forms, made up of two 

 parts, a meaningful element and a phonetic, or sound-indi- 

 cating element. Exemplary of phonograms are the following 

 characters, in which the meaningful element differs, but in 

 which the phonetic element is the same. Thus, save for tone 



Form and esthetics 



Although the experience lies on the limen of remem- 

 brance, most of us either recall learning to write or have 

 relived the learning situation through our children. Most 

 simply described, the process includes mastering the forms 

 of letters and their combination in words, and the esthetics 

 of writing them. This latter need is more or less happily 

 satisfied by learning to sit and hold the pen properly, by 



scribing yards of circles (Jx^xKL on lined paper to gain 

 control and fluidity, and by imitating perfectly written, 



* i 



.<* 





ft. 



*- n 

 to <t 



i * 



if -$ 



f £ 



5 ^ 



4* 



.•& 



* 



4k 



5 i 



4 t 



£ J* & * * 



ft * * & * 



4 < 5 * * 



i\ % *, 7 » 



" & K H * 



| & t ** * 



ft £ A »* * 





jFar /*//.• Colophon inscription in "rapid style" 

 by Wang Kuan, dated A.D. 1907. 



Left: Portion of a colophon inscription in the 

 "regular style" by Weng Fang-hang, dated A.D. 

 1791. 



Above: Calligraphic model (fa-t'ieh) of the 

 "grass style" of Yen Chen-ch'ing (T'ang period, 

 A.D. 618-907) . 



(i.e., the pitch associated with spoken Chinese words) the fol- 

 lowing characters all are pronounced tsu: £JL (dish for meat), 

 %L (go), JA. (die), ^g. (ancestor), 4@L (rent), &&. (group, 



organize), §IL (curse), j^g_ (hinder), gp^ (gnaw), Jg_ 

 (pickles). This combination of meaningful and phonetic 

 elements very roughly may be compared to an English- 

 language situation in which the several different meanings 

 of hot would be written in the following manner: pm hot (fire- 

 hot), rjjJS hot (pepper-hot), jj hot (jazz-hot). 



In Chinese, as in English, both science and memory serve 

 as teachers. Science is to be found in the definite principles 

 governing the way in which characters are built, by combin- 

 ing meaningful and phonetic elements, and written, by using 

 the proper number and order of strokes. Memory also plays 

 its part in these areas and, more particularly, in enlarging 

 the stock of characters necessary for sophisticated communi- 

 cation. 



though characterless, models penned in a handwriting manual. 



Despite the differences between English and Chinese, 

 much the same teaching pattern has been followed in China. 

 Forms must be learned, largely by rote at the beginning, 

 and esthetics must be satisfied. As in our own system, this 

 process begins in what is called "small school," comparable 

 to our grade school, and continues into "middle school," 

 comparable to our junior and senior high schools. Tots are 

 given what are known as hung tzu pu, or "red character 

 models" — sheets of paper on which simple characters are 

 printed in red. Transparent paper is laid atop these models, 

 and the student then traces the underlying characters with 

 Chinese brush-pen and ink. Later, the student dispenses 

 with the hung tzu pu and strikes out on his own, imitating 

 calligraphic models set before him. In these initial stages, 

 as in writing English, the teacher at first guides the learner's 

 hand and then, as the student gains confidence and control, 

 allows him to write by himself. 



The student begins with characters that are simple in 



Page k SEPTEMBER 



