- Taschenbuch: 252 Seiten
- Verlag: Abbeville Pr (30. September 2005)
- Sprache: Englisch
- ISBN-10: 0789208709
- ISBN-13: 978-0789208705
- Größe und/oder Gewicht: 23,8 x 16 x 2,3 cm
- Durchschnittliche Kundenbewertung: 3.5 von 5 Sternen Alle Rezensionen anzeigen (2 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 507.200 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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1 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
This is an interesting, although a very basic book about CHINESE CALLIGRAPHY: FROM PICTOGRAPH TO IDEOGRAM, by Eduardo Fazzioli. The previous reviewer may not realize that the pictograms of Chinese characters are in common use today, and are called Seal Script. The illustrations may be a bit fanciful, but do contain more than a seed of the origins. As a student of both Chinese painting and calligraphy, I have spent a great deal of my time practicing a character in a nine-square grid in order to get the spacing and composition of the character correct, just as children in China do every day. Only then is it permitted to be more "artistic" with my calligraphy.
0 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
It's cool in concept. 214 characters, many of which are the basis of the characters used in Chinese and Japanese; however, some of the excusion is a bit off. It is well organized, by types of items and does capture the fact that each elementary element is used in combination with others in creating more complex words. It's also very good in showing that nearly all the pictographs are grounded in something real or combinations thereof. The main meanings are fairly clear in English.
The problems include a) the 'pronounciations' in 'Chinese' aren't standardized or explicitly stated as to which dialect they are and since Chinese dialects are pronounced entirely differently it's nigh on useless, b) there is no source for where the heck he got the 'evolutionary' pictographs or if they're anything other than what's in his own head, c) some of the meanings he attributes to some phrases are just right off and, finally, an aesthetic nit d) the characters are written square-on rather than with any graceful posture. If you copied these characters and showed them to a Chinese calligrapher, they'd state that you must have learned them from a Westerner.
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18 Rezensionen
56 von 60 Kunden fanden die folgende Rezension hilfreich
Interesting but fuzzy in present-day accuracy
7. Dezember 1999
Format:Gebundene Ausgabe
It's cool in concept. 214 characters, many of which are the basis of the characters used in Chinese and Japanese; however, some of the excusion is a bit off. It is well organized, by types of items and does capture the fact that each elementary element is used in combination with others in creating more complex words. It's also very good in showing that nearly all the pictographs are grounded in something real or combinations thereof. The main meanings are fairly clear in English.
The problems include a) the 'pronounciations' in 'Chinese' aren't standardized or explicitly stated as to which dialect they are and since Chinese dialects are pronounced entirely differently it's nigh on useless, b) there is no source for where the heck he got the 'evolutionary' pictographs or if they're anything other than what's in his own head, c) some of the meanings he attributes to some phrases are just right off and, finally, an aesthetic nit d) the characters are written square-on rather than with any graceful posture. If you copied these characters and showed them to a Chinese calligrapher, they'd state that you must have learned them from a Westerner.
15 von 15 Kunden fanden die folgende Rezension hilfreich
One of a kind...but definitely not Japanese
4. November 2004
Format:Gebundene Ausgabe
I have been inspired by this book to pursue the study of Chinese characters to a deeper level. On the other hand, the more I read and compare it to other resources on the same subject, the more critical I become.
This book has inspired me to a deeper study of Chinese radicals (for a better understanding of Chinese, Japanese, and Korean). The result - I've found it makes a great stepping stone, and can be used for comparative analysis of the surprising variety of information available to English speakers mostly through the internet, or through native language dictionaries for those with access, but it should NOT be relied upon as a single source for learning, teaching, or research. It is reasonably educational and artistic, but not authoritative.
Even though I love this book and go back to it occasionally, there is one huge glaring error, to the point of unethical advertising, starting on the cover of the book. The title misleadingly contains the word "Japanese." Although Chinese characters are an important part of the Japanese language, it contains NOTHING about Japanese. You would have to be aware of Japanese independently of this book in order to make the connection that is made ONLY in the title. It is an English language book explaining aspects of Chinese, with the use of simplified characters created by the Peoples Republic of China as examples - although the simplified PRC characters bear some resemblance to the traditional characters that are mostly used in Japan, they are not the same, therefore making this book less useful for dedicated students of Japanese.
Anyway, despite this beef with the title and the fact that it should not be used a sole source for academic pursuit, it has many more merits than demerits. Since it is one of the very few books dedicated to this specific subject as well, the uniqueness adds a little to its value.
This book has inspired me to a deeper study of Chinese radicals (for a better understanding of Chinese, Japanese, and Korean). The result - I've found it makes a great stepping stone, and can be used for comparative analysis of the surprising variety of information available to English speakers mostly through the internet, or through native language dictionaries for those with access, but it should NOT be relied upon as a single source for learning, teaching, or research. It is reasonably educational and artistic, but not authoritative.
Even though I love this book and go back to it occasionally, there is one huge glaring error, to the point of unethical advertising, starting on the cover of the book. The title misleadingly contains the word "Japanese." Although Chinese characters are an important part of the Japanese language, it contains NOTHING about Japanese. You would have to be aware of Japanese independently of this book in order to make the connection that is made ONLY in the title. It is an English language book explaining aspects of Chinese, with the use of simplified characters created by the Peoples Republic of China as examples - although the simplified PRC characters bear some resemblance to the traditional characters that are mostly used in Japan, they are not the same, therefore making this book less useful for dedicated students of Japanese.
Anyway, despite this beef with the title and the fact that it should not be used a sole source for academic pursuit, it has many more merits than demerits. Since it is one of the very few books dedicated to this specific subject as well, the uniqueness adds a little to its value.
36 von 43 Kunden fanden die folgende Rezension hilfreich
Childish Scripts
29. Juli 2002
Format:Gebundene Ausgabe
I am Chinese and I have practise the art. The scripts on the book look unbalanced, as if a child has written it. My advice to the author is:
read the masters, ... Honestly, the modern "standard" (Kai Su) style is the hardest to master, harder even than the "grass" or "walking" (cursive) styles, because the balance between stability and fluidity is very subtle.
The best way to start is from either "Sun Su" or "Dae Su", which are more stable and solid, where balance is easier to obtain, and whose strokes are also simpler.
read the masters, ... Honestly, the modern "standard" (Kai Su) style is the hardest to master, harder even than the "grass" or "walking" (cursive) styles, because the balance between stability and fluidity is very subtle.
The best way to start is from either "Sun Su" or "Dae Su", which are more stable and solid, where balance is easier to obtain, and whose strokes are also simpler.
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