The characters of the Chinese writing are traced according to strict graphic rules, function of the composition of the sinogramme. The following article does not treat however a penmanship, in which these rules are often circumvented.
What follows concerning the graphic aspect of the sinogrammes, all the languages whose writing uses the sinogrammes are concerned, although the direction, the pronunciation and the C-W communication of the quoted characters are those of the Mandarin.
The layout of each character is done according to the following rules.
Fundamental features
See also: Eight principles of Yong
First of all, one can use only one restricted number of features to write a character (number variable of features according to the analyzes: twenty-four is an acceptable compromise). One writes traditionally with the brush, with a pen in practice current. The training of the fundamental features is necessary to several regards. It makes it possible on the one hand to trace a sinogramme suitably, so that it is readable even beautiful. In addition, it is often necessary to count the number of features of a character to seek it in a dictionary. However, this calculation is not natural: what one could count as two features is in fact only one and vice versa. Thus, to trace a square as 口… three features are needed: the higher and right edges are traced without raising the brush.
The first six shapes of feature are the first six traditional keys (and under which are gathered graphic primitives in addition unclassable).
Order of the features
Rules of bases
Rules according to Zhongwen.com|}
One notes the absence of real curves and round points. For example, 本 běn comprises five features and is traced in this order: 一 → 十 → 才 → 木 → 本.
Rules of layout of the complex sinogrammes
The layout of the complex sinogrammes is generally done by successively tracing each graphic element (simple or not) which composes it. If a character is composed of has and B, one traces initially has, then B. the components are traced successively:- From left to right,
- from top to bottom.
Canonical size: the virtual square
All the characters, whatever the number of features, must fit in a square or a virtual circle (but sometimes represented in the books of training of the writing) and must thus occupy the same space. It is thus necessary to widen or tighten certain components of the characters so that they hold all in this zone. The sizes and crushing of the various parts follow rules of balance of the forms. The low part must be a strong foundation, balance must be respected between the right-hand side and the left, etc In penmanship, however, this constraint is often diverted.
Direction of writing
The characters are traced in from top to bottom columns and from right to left zone using the traditional characters (like Taiwan) like in Japan, in lines and from left to right elsewhere. The writing in columns, however, is still used in penmanship in the zones writing normally in lines: it is indeed the old direction of writing. It is in particular the case at the entry of the traditional restaurants, or for the signs of stores: horizontality and verticality do not harm of anything comprehension.
Bonds
- Eight principles of Yong
- Chinese stroke order project
- Lesson on the Chinese writing (English)
- penmanship (and Chinese painting), with the bases for the layout of the features (French)
- Of the examples of characters with the order of layout of the features (French)
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