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19 of 20 people found the following review helpful:
4.0 out of 5 stars
An interesting study, May 28, 2004
I like this book, and so I'm giving it 4 stars, but that is not to say that the criticisms of it are without merit.Firstly, this book has absolutely nothing to do with learning the Chinese language. You will not be able to read Chinese from buying this book, and it will be impossible to study the language, since there is no systemitized presentation of the language. What this book instead does is presents an interesting geneology of some fairly common, culturaly relevant, or visualy interesting characters. For people who already know some Chinese, or for people who are interested in evolutions of writting systems or graphic design, this is not a bad book. There are some strange inconsistencies, but I have a theory that explains them. First, the book inconsitently presents some characters in simplified form, while others are in traditional form. Second, criticisms of the caligraphy are fair. They have heart, but it is not really outstanding, and certainly not something to be emulated. From these two problems, I concluded that the book was not a product of the Chinese mainland, Xiang Gang (Hong Kong), or Taiwan, since such inconsitencies would have been corrected. If you do some checking, that's because it isn't. As you probably could have guessed by the author's name, it's an Italian book. The Italian author worked with a Japanese illustrator to compile the book. Japanese Kanji are Chinese characters adopted into the Japanese language, but they have been isolated from Chinese for centuries. As a result, some of the more complex characters have been simplified. Simplification of Chinese characters started long before Mao made them standard in the PRC. Infact, they are generaly based on cursive and calligraphic short-hands developed by people who had to write a lot, or who were not educated enough to constantly be in need of writting formal characters. Many characters have been simplified from their original forms even in the so called "Traditional" character set (Fanti Zi) such as the numbers, and the Tai in Taiwan. The original, complex numbers used in formal Chinese can still be found on currency, mostly to confound counterfiters. Some characters, such as Li, meaning 'inside,' or Zhen, meaning 'real' can be found written one way, but typed in a less simplified way. Simplification in pre-Mao Chinese was common, but not standardized. When Mao standardized all the characters for the PRC, he took all of the commonly simplified characters, as well as simplifying some other, more complex characters with whole new sets of visual symbolism, some time to enhance the 'phonetic' part of the character, so that it is easier to guess the sound of the word. The characters 'ren' and 'shi,' together meaning 'to come to know' are great examples of this. Japanese characters are written without these contemporary simplifications since they were linguisticly isolated from Chinese by the 20th century, but reflect many common older simplifications. An prime example of this is the character 'ya' used in 'yazhou' for Asia, or otherwise just meaning second. It is rather dificult to write aestheticaly in Traditional Characters, but in Simplified Characters (Jianti Zi) it is much much easier, if not as beautifull. On the other hand, the correspondent Japanese Kanji is written in the old hand-written style. Needless to say, the Japanese also have different aesthetic standards from the Chinese. The use of Japanese is not at all uncommon in earlier European Sinology. Ezera Pound, for instance, in translating the works of Li Bai (Also called Li Po, or Li Bo, as it was pronounced during the Tang Dynasty) actualy translated an Italian manuscript which itself was translated from a Japanese copy of the Chinese Poet's famous writtings. This circuitious route would explain some of the, er, to put it kindly, eccentricities of Pound's translations, and it explains some of the inconsistencies in this book. There are many things this book is not: it is not an introduction to Chinese. It is not an instructional book on how to paint calligraphy. It is not a comprehensive academic study of the Chinese system of writting. As long as you accept it for what it is, though, and don't mistake it for something it's not, this is a pleasant book. The characters are more or less acurately explained, and they are organized according to important cultural themes. Thus, it is a nice primer on the subject of the esoteric meanings and evolutions of Chinese characters for the casual (not academic) student. There are better books I've read on the subject, but they are all in Chinese.
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by Lei Lei Qu
