![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/6242ae93727cda6e316058ba412989f8-769x1024.jpg\")
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![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/0447f2eca0243be9bdb8311c985befe0-1024x694.jpg\")
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\u3000\u300c\u884c\u66f8\u4f53\u6f22\u5b57\uff0b\u5e73\u4eee\u540d\u300d\u3068\u3044\u3046\u300c\u8868\u8a18\u4f53\u300d\u306f\u6c5f\u6238\u6642\u4ee3\u306b\u304a\u3044\u3066\u306f\u3055\u307b\u3069\u7279\u6b8a\u306a\u300c\u8868\u8a18\u4f53\u300d\u3067\u306f\u306a\u304b\u3063\u305f\u3068\u63a8\u6e2c\u3059\u308b\u304c\u3001\u3044\u3064\u3082\u3044\u3064\u3082\u305d\u308c\u304c\u5009\u5352\u306a\u66f8\u8a18\u306e\u305f\u3081\u306e\u300c\u8868\u8a18\u4f53\u300d\u3068\u3044\u3046\u3053\u3068\u3067\u306f\u306a\u304b\u3063\u305f\u3068\u601d\u308f\u308c\u308b\u3002\u300c\u884c\u66f8\u4f53\u6f22\u5b57\uff0b\u5e73\u4eee\u540d\u300d\u3068\u3044\u3046\u300c\u8868\u8a18\u4f53\u300d\u3092\u9078\u629e\u3057\u3066\u4e01\u5be7\u306b\u66f8\u8a18\u3059\u308b\u3068\u3044\u3046\u3053\u3068\u306f\u5f53\u7136\u3042\u3063\u305f\u306f\u305a\u3067\u3001\u305d\u308c\u304c\uff21\u3067\u306f\u306a\u3044\u3060\u308d\u3046\u304b\u3002<\/p>\n\n\n\n \u539f\u7a3f\u7528\u7d19\u3092\u4f7f\u3046\u3088\u3046\u306b\u306a\u3063\u305f\u300c\u66f8\u304d\u624b\u300d\u3001\u30d1\u30bd\u30b3\u30f3\u306b\u3088\u3063\u3066\u6587\u66f8\u3092\u4f5c\u6210\u3059\u308b\u300c\u66f8\u304d\u624b\u300d\u306b\u3068\u3063\u3066\u306f\u30011\u884c\u306e\u5b57\u6570\u304c\u3042\u3089\u304b\u3058\u3081\u5b9a\u307e\u3063\u3066\u3044\u308b\u3053\u3068\u306f\u7279\u5225\u306a\u3053\u3068\u3067\u306f\u306a\u3044\u3002\u3057\u304b\u3057\u30011\u884c\u306e\u5b57\u6570\u304c\u4e00\u5b9a\u3067\u3001\u304b\u3064\u7d19\u9762\u304c\u6589\u6574\u3067\u3042\u308b\u305f\u3081\u306b\u306f\u3001\u6f22\u5b57\u3068\u5e73\u4eee\u540d\u306e\u5927\u304d\u3055\u304c\u305d\u308c\u307b\u3069\u7570\u306a\u3089\u306a\u3044\u3053\u3068\u3001\u9023\u7dbf\u3092\u3057\u306a\u3044\u304b\u305f\u3061\u304c\u81ea\u7136\u3067\u3042\u308b\u3053\u3068\u304c\u3044\u308f\u3070\u300c\u6761\u4ef6\u300d\u3067\u3042\u3063\u305f\u3002\u65e5\u672c\u8a9e\u306e\u6b74\u53f2\u3092\u89b3\u5bdf\u3059\u308b\u306b\u3042\u305f\u3063\u3066\u306f\u3001\u624b\u66f8\u304d\u304b\u5370\u5237\u304b\u3001\u3068\u3044\u3063\u305f\u6587\u5b57\u5316\u306e\u624b\u6bb5\u306b\u7559\u610f\u3059\u308b\u3053\u3068\u306f\u91cd\u8981\u3067\u3042\u308d\u3046\u3002<\/p>\n\n\n\n \u8a3b1<\/a>\u3000\u77e2\u7530\u52c9\uff082012\uff09\u306f\u65e5\u672c\u306e\u300c\u4e2d\u4e16\u5f8c\u671f\u304b\u3089\u8fd1\u4e16\u306b\u304b\u3051\u3066\u300d\u300c\u898f\u7bc4\u3068\u3057\u3066\u306e\u4e2d\u56fd\u6587\u5316\u3078\u306e\u4f9d\u5b58\u306b\u63fa\u3089\u304e\u304c\u751f\u3058\u3001\u65e5\u672c\u306b\u56fa\u6709\u7684\u3067\u3042\u308b\u3082\u306e\u3078\u306e\u81ea\u899a\u304c\u9ad8\u307e\u3063\u3066\u304d\u305f\u300d\u304c\u3001\u300c\u6240\u8b02\u53e4\u9053\u3092\u8ffd\u7a76\u3059\u308b\u3068\u3001\u3064\u307e\u308b\u3068\u3053\u308d\u8a18\u7d00\u4e07\u8449\u3068\u3044\u3046\u7d14\u6f22\u5b57\u6587\u732e\u306b\u884c\u304d\u7740\u304f\u3068\u3044\u3046\u3053\u3068\u3001\u5373\u3061\u65e5\u672c\u306e\u56fa\u6709\u601d\u60f3\u306f\u3001\u6f22\u5b57\u3068\u3044\u3046\u4e2d\u56fd\u6587\u5316\u306e\u6a29\u5316\u3068\u3067\u3082\u3044\u3046\u3079\u304d\u3082\u306e\u3092\u30d5\u30a3\u30eb\u30bf\u30fc\u306b\u3057\u3066\u3057\u304b\u57a3\u9593\u898b\u308b\u3053\u3068\u304c\u3067\u304d\u306a\u3044\u3068\u3044\u3046\u30b8\u30ec\u30f3\u30de\u306b\u9665\u308b\u3002\u3053\u3053\u306b\u3001\u4e2d\u56fd\u6587\u5316\u30fb\u6f22\u5b57\u306b\u5bfe\u3059\u308b\u6df1\u523b\u306a\u6587\u5b57\u30b3\u30f3\u30d7\u30ec\u30c3\u30af\u30b9\u3068\u3067\u3082\u3044\u3046\u3079\u304d\u3082\u306e\u304c\u751f\u305a\u308b\u300d\uff08624p\uff09\u3068\u8ff0\u3079\u3001\u300c\u6587\u5b57\u30b3\u30f3\u30d7\u30ec\u30c3\u30af\u30b9\u300d\u3068\u3044\u3046\u6982\u5ff5\u3092\u4eee\u8a2d\u3057\u305f\u4e0a\u3067\u3001\u300c\u8fd1\u4e16\u306e\u5c1a\u53e4\u601d\u60f3\u304c\u5bbf\u547d\u7684\u306b\u7a81\u304d\u5f53\u305f\u3089\u306a\u3051\u308c\u3070\u306a\u3089\u306a\u304b\u3063\u305f\u6587\u5b57\u30b3\u30f3\u30d7\u30ec\u30c3\u30af\u30b9\u306b\u5bfe\u3057\u3066\u3001\u6642\u4ee3\u306e\u6f6e\u6d41\u3068\u3057\u3066\u306f\u4f1d\u8aac\u7684\u306a\u3082\u306e\u306b\u9003\u3052\u9053\u3092\u6c42\u3081\u3001\u7406\u6027\u7684\u306a\u89e3\u6c7a\u306b\u81f3\u3089\u306a\u304b\u3063\u305f\u306e\u306b\u5bfe\u3057\u3066\u3001\u9234\u5c4b\u306f\u4e07\u8449\u4eee\u540d\u30fb\u65e5\u672c\u6f22\u5b57\u97f3\u306e\u79d1\u5b66\u7684\u7814\u7a76\u306b\u57fa\u76e4\u3092\u7f6e\u3044\u305f\u3046\u3048\u3067\u3001\u5f53\u4ee3\u306e\u4eee\u540d\u66f8\u8a18\u306b\u3064\u3044\u3066\u305d\u306e\u53ef\u80fd\u6027\u3092\u5f15\u304d\u51fa\u3059\u3068\u3044\u3046\u65b9\u5411\u3092\u63a1\u3063\u305f\u3068\u3044\u3046\u3053\u3068\u3067\u3042\u308b\u3002\u305d\u3046\u3057\u305f\u6587\u5b57\u610f\u8b58\u306f\u3001\u5e73\u4eee\u540d\u5b57\u4f53\u306b\u3088\u308b\u6e05\u6fc1\u306e\u66f8\u304d\u5206\u3051\u3068\u3001\u5e73\u4eee\u540d\u306e\u6a2a\u4e26\u3073\u66f8\u8a18\u3068\u3057\u3066\u5b9f\u8df5\u3055\u308c\u305f\u3002\u6b21\u4e16\u4ee3\u306e\u56fd\u5b66\u8005\u305f\u3061\u306b\u306f\u6df1\u5c64\u3068\u3057\u3066\u305d\u306e\u6587\u5b57\u610f\u8b58\u306f\u7406\u89e3\u3055\u308c\u306a\u304b\u3063\u305f\u304c\u3001\u5b9f\u8df5\u3055\u308c\u305f\u66f8\u8a18\u69d8\u5f0f\u304c\u5f15\u304d\u7d99\u304c\u308c\u3066\u3044\u304f\u3002\u3053\u306e\u3046\u3061\u7279\u306b\u5e73\u4eee\u540d\u306e\u6a2a\u4e26\u3073\u66f8\u8a18\uff1d\u5e73\u4eee\u540d\u306e\u6977\u66f8\u7684\u7528\u6cd5\u306f\u3001\u6f22\u5b57\u5e73\u4eee\u540d\u4ea4\u308a\u6587\u306e\u6d3b\u7248\u5370\u5237\u306e\u57fa\u76e4\u6574\u5099\u3092\u3044\u3061\u65e9\u304f\u6210\u3057\u9042\u3052\u305f\u3082\u306e\u3068\u3057\u3066\u3001\u5148\u99c6\u7684\u610f\u7fa9\u3092\u6301\u3064\u3082\u306e\u3067\u3042\u308b\u300d\uff08634p\uff09\u3068\u8ff0\u3079\u3066\u3044\u308b\u3002\u6c5f\u6238\u6642\u4ee3\u306b\u751f\u304d\u305f\u3042\u308b\u4eba\u7269\u304c\u3001\u4e0a\u8a18\u306e\u3088\u3046\u306a\u610f\u5473\u5408\u3044\u3067\u306e\u300c\u6587\u5b57\u30b3\u30f3\u30d7\u30ec\u30c3\u30af\u30b9\u300d\u3092\u6301\u3063\u3066\u3044\u305f\u304b\u3069\u3046\u304b\u3092\uff08\u8ab0\u306b\u3067\u3082\u308f\u304b\u308b\u3088\u3046\u306a\u304b\u305f\u3061\u3067\uff09\u660e\u3089\u304b\u306b\u3059\u308b\u3053\u3068\u306f\u96e3\u3057\u3044\u3053\u3068\u304c\u4e88\u60f3\u3055\u308c\u308b\u3002\u307e\u305f\u3001\u300c\u305d\u3046\u3057\u305f\u6587\u5b57\u610f\u8b58\u300d\u304c\u306a\u305c\uff08\u5177\u4f53\u7684\u306b\u306f\uff09\u300c\u5e73\u4eee\u540d\u5b57\u4f53\u306b\u3088\u308b\u6e05\u6fc1\u306e\u66f8\u304d\u5206\u3051\u3068\u3001\u5e73\u4eee\u540d\u306e\u6a2a\u4e26\u3073\u66f8\u8a18\u3068\u3057\u3066\u5b9f\u8df5\u3055\u308c\u305f\u300d\u304b\u3068\u3044\u3046\u8aac\u660e\u306f\u5fc5\u8981\u3067\u306f\u306a\u3044\u3060\u308d\u3046\u304b\u3002\u672c\u7a3f\u3067\u306f\u300c\u6587\u5b57\u610f\u8b58\u300d\u3092\u63aa\u304d\u3001\u300c\u66f8\u8a18\u69d8\u5f0f\u300d\u306e\u307f\u3092\u8a71\u984c\u306b\u3059\u308b\u3002<\/p>\n\n\n\n \u4eca\u91ce\u771f\u4e8c 2005\u3000\u300e\u6587\u732e\u304b\u3089\u8aad\u307f\u89e3\u304f\u65e5\u672c\u8a9e\u306e\u6b74\u53f2\u3014\u9ce5\u77b0\u30fb\u866b\u77b0\u3015\u300f\uff08\u7b20\u9593\u66f8\u9662\uff09<\/p>\n\n\n\n \u4eca\u91ce\u771f\u4e8c 2011\u3000\u65e5\u672c\u8a9e\u8b1b\u5ea7\u7b2c3\u5dfb\u300e\u4e8c\u3064\u306e\u30c6\u30ad\u30b9\u30c8\uff08\u4e0b\uff09\u660e\u6cbb\u671f\u306e\u6587\u732e\u300f\uff08\u6e05\u6587\u5802\uff09<\/p>\n\n\n\n \u4eca\u91ce\u771f\u4e8c 2013\u3000\u65e5\u672c\u8a9e\u8b1b\u5ea7\u7b2c7\u5dfb\u300e\u30dc\u30fc\u30eb\u8868\u7d19\u672c\u300f\uff08\u6e05\u6587\u5802\uff09<\/p>\n\n\n\n \u4eca\u91ce\u771f\u4e8c 2015\u3000\u65e5\u672c\u8a9e\u8b1b\u5ea7\u7b2c10\u5dfb\u300e\u8a00\u8a9e\u306e\u63fa\u308c\u300f\uff08\u6e05\u6587\u5802\uff09<\/p>\n\n\n\n \u6a4b\u672c\u76f4\u7d00\u7de8\u30001983\u3000\u53e4\u7248\u672c3\u7a2e\u300e\u6a2a\u7b1b\u6edd\u53e3\u306e\u8349\u5b50\u300f\uff08\u548c\u6cc9\u66f8\u9662\uff09<\/p>\n\n\n\n \u77e2\u7530\u3000\u52c9 2012\u3000\u300e\u56fd\u8a9e\u6587\u5b57\u30fb\u8868\u8a18\u53f2\u306e\u7814\u7a76\u300f\uff08\u6c72\u53e4\u66f8\u9662\uff09<\/p>\n\n\n\n Last installment looked at the history and principles of orientation and directionality in written Japanese. Today, with very few exceptions, Japanese is written left-to-right in horizontally oriented texts and right-to-left in vertically oriented ones. The topic of this installment is the size of characters and their appearance on the page or screen. The next installment, which focuses on furigana<\/em>, a fundamental type of interlineal glosses, will be a partial translation of Konno\u2019s important The History of Furigana <\/em>(\u300e\u632f\u4eee\u540d\u306e\u6b74\u53f2\u300f, 2009; 2020) split into two parts.<\/p>\n\n\n\n Regardless of directional orientation, all characters belonging to the three primary character sets of the Japanese script, i.e., Sinographs, hiragana, and katakana, are written within a single square box of uniform proportion. This box is usually imaginary, though lined writing paper (\u539f\u7a3f\u7528\u7d19) intended for vertically oriented texts are regularly used today for a variety of purposes such as writing practice, the writing of manuscripts, and certain school assignments. (The example below of such paper is available to download for free here<\/a>).<\/p>\n\n\n\n These lined papers are standardized, each containing 20 rows of 20 cells (\u30de\u30b9\u76ee). The resulting 400 blocks are of uniform size, with all characters and punctuation marks occupying a single cell. There are standard rules surrounding formatting as well as exceptions to the one character, one cell rule: for example, punctuation marks must not come at the beginning of a line and are thus written in the same box as the character occupying a line\u2019s final cell; Latin characters are to be written horizontally with two characters per cell; intertextual glosses (\u632f\u4eee\u540d), the topic of the next installment, appear in a smaller size and to the right of the cell(s) containing the character(s) they gloss.[1]<\/a><\/p>\n\n\n\n The existence of these boxes, whether visualized or not, means that all characters composed in such an environment regardless of complexity \u2013 \u201ccomplexity\u201d here referring to the number of strokes used to write a single character \u2013 are each allotted a uniform amount of space. More precisely, it is generally true that all characters appearing in contemporary handwritten or printed texts are imagined appearing within, and proportional to, a uniform square box. For example, the following three Sinographs \u4e00 \u511f \u4bc2, written in one, seventeen, and thirty four strokes, respectively, occupy the same amount of space. The same is true for all hiragana and katakana.<\/p>\n\n\n\n This principle of proportional distribution has a long history. Consider the below inscription on a bronze grain vessel from around the second half of the eleventh century BC.<\/p>\n\n\n\n Edward Shaughnessy tells us that \u201c[i]nside the bottom of the basin, an inscription of eleven characters runs from top to bottom in two columns reading right to left: Zhong Cheng zuo you bao yi yong xiang wang ni wei yong<\/em>[2]<\/a> [is translated as] \u2018Zhong Cheng makes his treasured vessel, to use to feast the king\u2019s reciprocal immortalizing\u2019\u201d (Shaughnessy, 222). Now, it is true that the lines here are uneven: the line on the right contains six Singographs while the line on the left contains five. I do not know why this is the case, but I cannot help seeing what looks like the early stages of a proportional distribution beginning to take shape. The final Sinograph on the right column \u7c0b clearly occupies more space than, say, the fourth Sinograph of the same line \u53c8; nevertheless, they are similar enough that a general sense of even distribution is not ruined. Let us look at another ancient example: recall the oracle bone inscription cited by Konno in the previous installment.<\/p>\n\n\n\n Even here, where exceptions to the invisible box rule abound (e.g., \u53d7, which appears as the bottom character in lines 2 and 8, or \u5e74, which opens and closes the text), we can perhaps see the beginnings of a general recognition of the invisible box.<\/p>\n\n\n\n At times, the invisible box is referred to as a character\u2019s external frame <\/em>(\u5916\u67a0), and for good reason. It is within the external frame that a centered character appears. In other words, when speaking of a character\u2019s size we are often referring to the size of the character frame within which an enclosed character expands or shrinks in a fixed manner relative to the surrounding frame. This principle is true for both horizontal and vertical text. Though the introduction of characters not belonging to the three primary sets (e.g., characters from the Latin alphabet) complicates things, printed text is overall evenly distributed across the page. Diversions from this norm, on the occasions when they do occur, are usually witnessed in relation to the character frame of a single character or character-string. The historical reasons for this adherence to a principle of proportional distribution is closely associated with developments in Chinese print culture \u2013 which is traceable to at least the ninth century[3]<\/a> \u2013 and thus, within the context of early written Japanese, readily witnessed in texts written in literary Sinitic (or in all Sinographs in the case of texts written in ma\u2019y\u014dgana<\/em>).[4]<\/a><\/p>\n\n\n\n For example, consider the inscription found on the Sakitama-Inariyama sword, which was unearthed in Saitama prefecture in the late 1960s and dated to somewhere between the late fifth to seventh century. Though written entirely in Sinographs, the inscription contains numerous Japanese names, strongly suggesting the inscription was made in Japan.[5]<\/a> While the content of that inscription is not the focus here, it is relevant that most characters seem to adhere to the principle of proportional distribution. The images below, to be read from left to right, contains the character string \u8f9b\u4ea5\u5e74\u4e03\u6708\u4e2d\u8a18\u4e4e\u7372\u5c45\u81e3\u4e0a\u7956\u540d followed by its continuation\u610f\u5bcc\u6bd4\u579d\u5176\u5150\u591a\u52a0\u5229\u8db3\u5c3c\u5176\u5150.[6]<\/a> Both images are taken from Okimori (2003, 20).<\/p>\n\n\n\n On the other hand, in later texts written in vernacular Japanese and primarily utilizing the hiragana syllabary (e.g., waka<\/em>, kana z\u014dshi<\/em>, etc.), the concept of a fixed character distribution is prioritized less than the visual aesthetic of the characters on the page and the way they interact with the characters coming before and after. Consider this page from the 11th century K\u014dya edition of the Kokin Wakash\u016b<\/em>.[7]<\/a> The text is a dynamic one in that one characters shape depends on its context, a context which is ever changing and, at times, left to the discretion of the scribe.<\/p>\n\n\n\n This tradition, too, is witnessed in texts from China: it is related to the Chinese cursive script style (\u8349\u66f8) of calligraphy, a mode of expression said to, perhaps unsurprisingly, be capable of representing the emotional state of the writer.[8]<\/a> As you can see in the image below, it is common for the strokes comprising a single Sinograph to connect with each other. At times, too, the final stroke of one Sinograph serves as the first stroke of another.<\/p>\n\n\n\n Indeed, it is this same cursive script style that served as an intermediary step in the transition from Sinograph to hiragana. Consider, for example, the relationship between the five Sinographs \u5b89 \u4ee5 \u5b87 \u8863 \u65bc, their cursive forms These differences in written styles are just that: styles. The Sinograph \u5b89 is denotatively the same in its cursive form While the Regular Script is what handwriting and printed text in Japan is largely based on, it would be wrong to think different writing styles did not, nor do not, coexist. In fact, it is not wrong to think of the entire set of hiragana as cursived and domesticated Sinographs that now coexist with the very Sinographs they originated from. The chart below provides the standard hiragana set together with the Sinographs they were derived from provided in both the Standard Script and Cursive Script (IMAGE).<\/p>\n\n\n\n To demonstrate what written Japanese would look like if hiragana were written exclusively as the Sinographs from which they were derived, allow me to rewrite the opening line of Hashimoto Osamu\u2019s 1981 Momojiri musume<\/em>. The first line is the original and, obviously, I hope, the second line is my thought experiment.<\/p>\n\n\n\n \u5927\u304d\u306a\u58f0\u3058\u3083\u8a00\u3048\u306a\u3044\u3051\u3069\u3001\u3042\u305f\u3057\u3001\u3053\u306e\u9803\u304a\u9152\u3063\u3066\u304a\u3044\u3057\u3044\u306a\u3063\u3066\u601d\u3046\u306e\u3002 No one would do this nor should they. Nevertheless, I provide it here for a few reasons. First, notice that every character on both lines occupy an identical amount of space. Because they are all the same font and size \u2013 MS Mincho 12 \u2013 they are all surrounded by the same invisible box. Second, I note that line two is a text adhering to the principles of man\u2019y<\/em>\u014d<\/em>gana<\/em>, the ancient method of writing Japanese I discussed earlier that represents Japanese words phonetically vis-a-vis Sinographs. Replacing Sinographs with hiragana makes the text far easier to read and vice versa. Finally, notice how the text has domesticated the highly cursived Sinographs by removing them from their cursive context and transforming them into completely new characters. One step in the process of domestication was making sure they, too, adhered to the principle of proportional distribution.<\/p>\n\n\n\n In summation, then, one key to understanding the architecture of written Japanese is to understand its relationship to the architecture of written Chinese \u2013 which may lead us, perhaps, to begin conceptualizing an even larger architecture of the Sinographosphere \u2013 and, here specifically, the application of the principle of proportional distribution, a rule that is applied more or less depending on which style one is writing in. A style will usually be consistent throughout a text, and formal texts are almost always written in a style that adheres to said principle, whether handwritten or printed. Printed texts almost universally adhere to this principle. It is also my guess that most written texts today stick close to this principle except for, for example, skilled writers and calligraphers writing in an epistolary style or practicing calligraphy. The complex relationship between medium (paper, computer, etc.) and style (Cursive, Regular, etc.) is something I hope to explore in more detail at a later date.<\/p>\n\n\n\n Cheng Tingyou, trans. Ren Lingjuan. Chinese Calligraphy<\/em>, China International Press 2003.<\/p>\n\n\n\n Edgren, J.S. \u201cChina\u201d in A Companion to the History of the Book<\/em>, Wiley-Blackwell 2007.<\/p>\n\n\n\n H\u00f6llmann, Thomas O. Chinese Script: History, Characters, Calligraphy<\/em>, Columbia University Press 2017.<\/p>\n\n\n\n Lurie, David. Realms of Literacy: Early Japan and the History of Writing<\/em>, Harvard University Asia Center 2011.<\/p>\n\n\n\n Okimori Takuya. Nihongo no tanj<\/em>\u014d: kodai no moji to hy\u014dki<\/em>, Yoshikawa Kobunkan 2003.<\/p>\n\n\n\n Shaughnessy, Edward L. \u201cThe Beginnings of Writing in China\u201d in Visible Language: Inventions of Writing in the Middle East and Beyond<\/em>, Oriental Institute of the University of Chicago 2010.<\/p>\n\n\n\n [1]<\/a> Though much more ought to be said about the cultural history of lined paper, including its usage outside of Japan, Wikipedia<\/a> offers a good summation of the history of, and rules governing, them.<\/p>\n\n\n\n [2]<\/a> The corresponding Sinographs are \u4ef2\u722f\u4f5c\u53c8\u5bf6\u7c0b\u7528\u9109\u738b\u9006X, with X being a Sinograph no longer in use. I also note that some sources offer the Sinograph \u5f5d in place of \u7c0b, though that debate is beyond the scope of the current discussion.<\/p>\n\n\n\n [3]<\/a> See for example Edgren (2007. 103-4).<\/p>\n\n\n\n [4]<\/a> And yet even this is not a hard rule. Consider, for example, the copy of the Man’y\u014dsh\u016b <\/em>known as the Kanazawa Many\u014d \u91d1\u6ca2\u4e07\u8449 in which the text most closely resembles a cursive style, something I discuss shortly.<\/p>\n\n\n\n [5]<\/a> For a discussion of this sword and others, see Lurie (2011, 91-99).<\/p>\n\n\n\n [6]<\/a> The \u201cJapanese\u201d of the text, by the way, includes the phonetic representation of names like Wowake as \u4e4e\u7372\u5c45, the method of representing the Japanese language vis-a-vis Sinographs called man\u2019y\u014dgana<\/em>.<\/p>\n\n\n\n [7]<\/a> K\u014dya edition, volume 20th , one handscroll, 25.5cm, 2.6m long (total). ink on mica decorated paper, About ACE 1050, Heian period, in Kochi Tosa Yamauchi Family Treasury and Archives, Kochi, Japan.
\u3000\u3000\u307f\u306a\u3088\u308a\u5148\u306b\u305f\u3064\u81ea\u5929\u4e0a\u3088\u308a<\/p>
\u3000\u3000\u4e94\u6570\u3088\u308a\u3075\u308a\u6cf0\u5c71\u65e2\u306b\u3053\u3093\u308d\u3093\u3088\u308a<\/p>
\u3000\u3000\u307f\u306a\u4e94\u6570\u3088\u308a\u308b\u6cf0\u5c71\u65e2\u3053\u3093\u308d\u3093<\/p><\/blockquote>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/824772a7e9eb67779a0d80e2d007aac3-722x1024.jpg\")
\u3000\u5c0a\u3075\u3057\u3066\u4e94\u884c\u306e\u4fe1\u3092\u5b88\u308b\u4eba\u9053\u5c0a\u3075\u3057
\u3000\u3066\u842c\u3082\u3064\u306e\u5168\u3057\u304d\u3092\u306a\u3059\u3068\u4f0d\u5b50\u80e5
\u3000\u304b\u95d8\u5bf3\u6703\u306e\u6298\u304b\u3089\u6b64\u516d\u554f\u3092\u660e\u3059\u6b64\u3053\u3068
\u3000\u306b\u3057\u3066\u4eba\u9593\u306f\u842c\u7269\u306e\u9577\u305f\u308a\u5176\u842c\u7269\u306e
\u3000\u9577\u305f\u308b\u4eba\u9593\u306e\u4e3b\u5f93\u3092\u72af\u3059\u72d0\u3042\u308a\u5247\u5510
\u3000\u5929\u671d\u306e\u4e09\u56fd\u306b\u50b3\u4f86\u3059\u59cb\u3081\u5510\u571f\u6bb7\u7d02\u738b
\u3000\u306e\u540e\u3068\u4e5f\u6bb7\u4ea1\u3072\u3066\u5f8c\u5929\u7afa\u306b\u308f\u305f\u308a
\u3000\u6591\u8db3\u5927\u738b\u306e\u5a66\u4eba\u3068\u306a\u308a\u307e\u305f\u5510\u571f\u306b\u304d
\u3000\u305f\u3064\u3066\u518d\u3072\u751f\u5316\u3057\u3066\u5468\u306e\u5e7d\u738b\u306b\u8fd1\u4ed8<\/p><\/blockquote>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/07b4b5b8f3fa73a0e1adc1f2e1119a0d-684x1024.jpg\")
\u306d\u3084\u3078\u305f\u3061\u3082\u3069\u3089\u3093\u3068\u307f\u3092
\u3072\u305d\u3081\u3057\u3084\u3046\u3058\u306e\u3059\u304d\u3088\u308a
\u3055\u3057\u306e\u305e\u3051\u3070\u304a\u305f\u309e\u306f\u3088\u306d\u3093
\u305f\u3042\u3044\u3082\u306a\u304f\u3088\u304e\u3088\u308a\u304b\u305f\u624b
\u3055\u3057\u3044\u3060\u3057\u304b\u3059\u304b\u306b\u3072\u309e\u304f\u3044\u3073\u304d\u306e
\u3053\u3091\u6bcd\u306e\u304a\u5c71\u306f\u76ee\u3092\u3055\u307e\u3057\u304a\u304d
\u304b\u3078\u308a\u3064\u309d\u3042\u3093\u3069\u3093\u306e\u706b\u306b\u3066\u305f\u3070\u3053\u3092
\u3059\u3072\u3064\u3051\u3064\u304d\u309d\u307f\u309d\u305f\u3064\u308b\u305d\u306e\u3075\u305b\u3044
\u306a\u3080\u3055\u3093\u307c\u3046\u3068\u304a\u304b\u306a\u304c\u304e\u3084\u3046
\u3066\u3093\u306a\u3092\u3082\u304b\u305f\u3078\u306b\u307f\u3092\u3088\u305b\u3066
\u3044\u304d\u3092\u306e\u3093\u3067\u305e\u304b\u304f\u308c\u3090\u308b\u304a\u5c71\u306f
\u305d\u308c\u3068\u304d\u3082\u3064\u304b\u305a\u3057\u304c
\u3091\u3082\u3093\u3092\u3086\u308a\u3055\u307e\u3057
\u306a\u306b\u304b\u304d\u3093\u3058\u3088\u304c
\u3056\u308f\u3005\u3005\u3068\u3082\u3057\u4eba\u3054\u3091
\u304c\u3059\u308b\u3084\u3046\u306a\u3068\u3044\u3075\u306b
\u307e\u304f\u3089\u3092\u305d\u3070\u305f\u3066\u309d
\u3057\u304c\u3091\u3082\u3093\u3082\u304d\u309d\u3059\u307e\u3057
\u306a\u308b\u307b\u3069\u304c\u3066\u3093\u306e\u3086\u304b\u306c
\u3082\u306e\u304a\u3068\u307e\u30a2\u306e\u308a\u52a9\u3092\u304a\u3053\u3059\u304c
\u3088\u3044\u3068\u3044\u3075\u3046\u3061\u3064\u304d\u3060\u3059\u306f\u3084
\u304c\u306d\u306e\u3053\u3091\u306b\u3073\u3064\u304f\u308a\u3088\u304e\u306f\u306d
\u306e\u3051\u304a\u3073\u3072\u304d\u3057\u3081\u3066\u3057\u304c\u3091\u3082\u3093
\u305f\u3061\u3044\u3048\u3067\u3093\u3068\u3059\u308b\u304b\u3069\u306e\u6238\u3092
\u305d\u3068\u3088\u308a\u3051\u308f\u3057\u304f\u3044\u3061\u305f\u309d\u304d<\/p><\/blockquote>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/1015c44cac75e13adae3bec0034e705e-1024x771.jpg\")
![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/d5a2aaa6612f17a8792c5be21c5c4248-726x1024.jpeg\")
\n\n\n\n\u53c2\u8003\u6587\u732e<\/h2>\n\n\n\n
\n\n\n\n(Not) Thinking Outside the (Imaginary) Box<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image001-1024x742.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image003.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image005.jpg\")
![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image008-1.jpg\")
<\/figure><\/li>![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image009-2.jpg\")
<\/figure><\/li><\/ul><\/figure>\n<\/div><\/div>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image010-1.png\")
![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image012.png\")
![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image014.png\")
, and \u3042\u3044\u3046\u3048\u304a, the first five characters of the hiragana syllabary.<\/p>\n\n\n\nSize and the Question of Style<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image016.jpg\")
. The hiragana \u3042, on the other hand, is recognized as a different character simply because we say it is. Understanding that Sinographs can be written in different styles allows us to think about the relationship between the principle of proportional distribution and the invisible box as existing along a spectrum. There are recognized styles of Chinese calligraphy, which calligraphers in Japan also recognize: Oracle Bone Inscriptions (\u7532\u9aa8\u6587\u5b57), Bronze Script (\u91d1\u6587), Seal Script (\u7bc6\u66f8), Clerical Script (\u96b7\u66f8), Regular script (\u6977\u66f8), Semi-cursive Script (\u884c\u66f8), and the Cursive Script (\u8349\u66f8), and each one has different expectations regarding equal character distribution. Thomas H\u00f6llmann offers the following chart illustrating these different styles (H\u00f6llmann 2017, 24).[9]<\/a><\/p>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image017.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/04\/image019.png\")
\u5927\u6a5f\u5948\u58f0\u4e4b\u4e5f\u8a00\u8863\u5948\u4ee5\u8a08\u6b62\u3001\u5b89\u592a\u4e4b\u3001\u5df1\u4e43\u9803\u65bc\u9152\u5ddd\u5929\u65bc\u4ee5\u4e4b\u4ee5\u5948\u5ddd\u5929\u601d\u5b87\u4e43\u3002<\/p><\/blockquote>\n\n\n\nWorks Cited<\/strong><\/h2>\n\n\n\n
\n\n\n\n
\u9ad8\u91ce\u5207\u3000\u7b2c\u4e8c\u5341\u5dfb,\u3000 \u5c71\u5185\u5bb6\u5b9d\u7269\u8cc7\u6599\u9928\u3001\u9ad8\u77e5.<\/p>\n\n\n\n
![Origin of Hiragana<\/a><\/figcaption><\/figure><\/div>\n\n\n\nTo demonstrate what written Japanese would look like if hiragana were written exclusively as the Sinographs from which they were derived, allow me to rewrite the opening line of Hashimoto Osamu\u2019s 1981 Momojiri musume<\/em>. The first line is the original and, obviously, I hope, the second line is my thought experiment.<\/p>\n\n\n\n\u5927\u304d\u306a\u58f0\u3058\u3083\u8a00\u3048\u306a\u3044\u3051\u3069\u3001\u3042\u305f\u3057\u3001\u3053\u306e\u9803\u304a\u9152\u3063\u3066\u304a\u3044\u3057\u3044\u306a\u3063\u3066\u601d\u3046\u306e\u3002\u5927\u6a5f\u5948\u58f0\u4e4b\u4e5f\u8a00\u8863\u5948\u4ee5\u8a08\u6b62\u3001\u5b89\u592a\u4e4b\u3001\u5df1\u4e43\u9803\u65bc\u9152\u5ddd\u5929\u65bc\u4ee5\u4e4b\u4ee5\u5948\u5ddd\u5929\u601d\u5b87\u4e43\u3002<\/p><\/blockquote>\n\n\n\nNo one would do this nor should they. Nevertheless, I provide it here for a few reasons. First, notice that every character on both lines occupy an identical amount of space. Because they are all the same font and size \u2013 MS Mincho 12 \u2013 they are all surrounded by the same invisible box. Second, I note that line two is a text adhering to the principles of man\u2019y<\/em>\u014d<\/em>gana<\/em>, the ancient method of writing Japanese I discussed earlier that represents Japanese words phonetically vis-a-vis Sinographs. Replacing Sinographs with hiragana makes the text far easier to read and vice versa. Finally, notice how the text has domesticated the highly cursived Sinographs by removing them from their cursive context and transforming them into completely new characters. One step in the process of domestication was making sure they, too, adhered to the principle of proportional distribution.<\/p>\n\n\n\nIn summation, then, one key to understanding the architecture of written Japanese is to understand its relationship to the architecture of written Chinese \u2013 which may lead us, perhaps, to begin conceptualizing an even larger architecture of the Sinographosphere \u2013 and, here specifically, the application of the principle of proportional distribution, a rule that is applied more or less depending on which style one is writing in. A style will usually be consistent throughout a text, and formal texts are almost always written in a style that adheres to said principle, whether handwritten or printed. Printed texts almost universally adhere to this principle. It is also my guess that most written texts today stick close to this principle except for, for example, skilled writers and calligraphers writing in an epistolary style or practicing calligraphy. The complex relationship between medium (paper, computer, etc.) and style (Cursive, Regular, etc.) is something I hope to explore in more detail at a later date.<\/p>\n\n\n\nWorks Cited<\/strong><\/h2>\n\n\n\nCheng Tingyou, trans. Ren Lingjuan. Chinese Calligraphy<\/em>, China International Press 2003.<\/p>\n\n\n\nEdgren, J.S. \u201cChina\u201d in A Companion to the History of the Book<\/em>, Wiley-Blackwell 2007.<\/p>\n\n\n\nH\u00f6llmann, Thomas O. Chinese Script: History, Characters, Calligraphy<\/em>, Columbia University Press 2017.<\/p>\n\n\n\nLurie, David. Realms of Literacy: Early Japan and the History of Writing<\/em>, Harvard University Asia Center 2011.<\/p>\n\n\n\nOkimori Takuya. Nihongo no tanj<\/em>\u014d: kodai no moji to hy\u014dki<\/em>, Yoshikawa Kobunkan 2003.<\/p>\n\n\n\nShaughnessy, Edward L. \u201cThe Beginnings of Writing in China\u201d in Visible Language: Inventions of Writing in the Middle East and Beyond<\/em>, Oriental Institute of the University of Chicago 2010.<\/p>\n\n\n\n\n\n\n\n[1]<\/a> Though much more ought to be said about the cultural history of lined paper, including its usage outside of Japan, Wikipedia<\/a> offers a good summation of the history of, and rules governing, them.<\/p>\n\n\n\n[2]<\/a> The corresponding Sinographs are \u4ef2\u722f\u4f5c\u53c8\u5bf6\u7c0b\u7528\u9109\u738b\u9006X, with X being a Sinograph no longer in use. I also note that some sources offer the Sinograph \u5f5d in place of \u7c0b, though that debate is beyond the scope of the current discussion.<\/p>\n\n\n\n[3]<\/a> See for example Edgren (2007. 103-4).<\/p>\n\n\n\n[4]<\/a> And yet even this is not a hard rule. Consider, for example, the copy of the Man’y\u014dsh\u016b <\/em>known as the Kanazawa Many\u014d \u91d1\u6ca2\u4e07\u8449 in which the text most closely resembles a cursive style, something I discuss shortly.<\/p>\n\n\n\n[5]<\/a> For a discussion of this sword and others, see Lurie (2011, 91-99).<\/p>\n\n\n\n[6]<\/a> The \u201cJapanese\u201d of the text, by the way, includes the phonetic representation of names like Wowake as \u4e4e\u7372\u5c45, the method of representing the Japanese language vis-a-vis Sinographs called man\u2019y\u014dgana<\/em>.<\/p>\n\n\n\n[7]<\/a> K\u014dya edition, volume 20th , one handscroll, 25.5cm, 2.6m long (total). ink on mica decorated paper, About ACE 1050, Heian period, in Kochi Tosa Yamauchi Family Treasury and Archives, Kochi, Japan.\u9ad8\u91ce\u5207\u3000\u7b2c\u4e8c\u5341\u5dfb,\u3000 \u5c71\u5185\u5bb6\u5b9d\u7269\u8cc7\u6599\u9928\u3001\u9ad8\u77e5.<\/p>\n\n\n\n[8]<\/a> The topic of calligraphy is beyond the scope of this serialization. Though one can point to a myriad of texts discussing Chinese calligraphy, I refer to the text sitting on my bookshelf: Ren Lingjuan\u2019s English translation of Chen Tingyou\u2019s (\u9648\u5ef7\u7950) Chinese Calligraphy<\/em> (2003), especially pages 65 – 78 in regard to the expressive function of calligraphy.<\/p>\n\n\n\n[9]<\/a> The degree to which these scripts are used today vary widely, from not at all to regularly.<\/p>\n","protected":false},"excerpt":{"rendered":" \u56f31\u306f\u5e73\u7530\u7be4\u80e4\uff081776-1843\uff09\u306e\u6ca1\u5f8c\u306b\u6700\u521d\u306b\u51fa\u7248\u3055\u308c\u305f\u300e\u53e4\u4eca\u5996\u9b45\u8003\u300f\uff08\u5f18\u53162\uff1a1845\u5e74\u520a\uff09\u5dfb2\u306e20\u4e01\u88cf\u306b\u3042\u305f\u308b\u7b87\u6240\u3067\u3042\u308b\u3002\u56f3\u304b\u3089\u308f\u304b\u308b\u3088\u3046\u306b\u3001\u6587\u5b57\u304c\u6a2a\u306b\u63c3\u3063\u3066\u3044\u308b\u3002\u6a2a\u306b10\u884c\u4e26\u3093\u3067\u3044\u308b\u304c\u3001\u3069\u306e\u884c\u3082 […]","protected":false},"author":6,"featured_media":3405,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[395,396,411,14],"tags":[],"class_list":["post-3882","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-395","category-chris-lowy","category-architecture","category-other"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/3882","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/comments?post=3882"}],"version-history":[{"count":11,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/3882\/revisions"}],"predecessor-version":[{"id":3957,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/3882\/revisions\/3957"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media\/3405"}],"wp:attachment":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media?parent=3882"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/categories?post=3882"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/tags?post=3882"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/commons.wikimedia.org\/wiki\/File:Origin_of_Hiragana_.png\"){kind=link}