Language Log

Shared by Sup Gau in the Facebook group "Language Nerds":

Mogholi is a fascinating language – Mongolic spoken in Afghanistan with strong Perso-Arabic influences. It was already in decline in the 1960s and we don't know if/how many speakers there are left now
Pics: A poem (a qaṣīda) in original script, transcription and translation pic.twitter.com/9Mrct9DaAI

— Egas Moniz-Bandeira ᠡᡤᠠᠰ ᠮᠣᠨᠢᠰ ᠪᠠᠨᡩ᠋ᠠᠶᠢᠷᠠ (@egasmb) April 6, 2024

If someone is investigating texts, they can concentrate on the subject / content / style / linguistic nature of the writing.  Increasingly, however, scholars have begun to concentrate on the objects and materials on which the writing takes place.  From this, they tease out all sorts of interesting information about the social, political, and economic aspects of the texts.  A new book on this topic is Thomas Kelly's The Inscription of Things:  Writing and Materiality in Early Modern China (New York:  Columbia University Press, 2023).

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written.

My basement is full of unpublished manuscripts.  I call it the "Dungeon", because it is dark, dank, and crowded with books and papers — much worse than my office, which has achieved a fabled reputation for its crampedness — and very cold in the winter, though it does have a wonderful bay window on the eastern side where I can look out at the flora, fauna, and foliage to rest my eyes and mind from time to time.

Three of the most significant manuscripts in the Dungeon that remained unpublished for decades are:

Sino-Platonic Papers is pleased to announce the publication of its three-hundred-and-forty-first issue:

"On the Origins of the Alphabet: Orion/Osiris in Need of a Head/Seed, the Roots of Writing, the Neolithic Europe Word as Sun/Seed System (NEWS), and a Solution to the Tartaria and Gradeshnista Tablets," by Brian R. Pellar.

http://www.sino-platonic.org/complete/spp341_alphabet_orion_osiris.pdf

From Jeff DeMarco:

A Chinese friend has been experimenting with AI, the result being guǐzi 鬼子 ("ghost characters"). We’ve seen something similar, but the hànzì 汉字 ("sinoglyph") manipulation is almost artistic. Have you encountered this before?

Sign outside a Tokyo restaurant:

(source)

From the Facebook account of Wai-hung Wong:

Photograph accompanying a New York Times article, with the following caption: "Merle Goldman explaining the Chinese characters for the word China":

(source)

The breathless moment when "zei 税" is written by Mori Seihan, the head priest of the magnificent Kiyomizudera in eastern Kyoto (1:32):

"Eddie Bauer changed its logo because Gen Z doesn’t read cursive" (Fast Company, Oct. 6, 2023)

[This is a guest post by Zhengyuan Wang]

Calligraphy Practicing Sheets and the Trussing Structure of Chinese Characters

One thing essential for every elementary-level Chinese learner is to learn to write the characters in the same size in one single passage. This is not a unique case that only exists in Chinese. But this can be a challenging task in reality, in regards to how different the Chinese characters can be to each other with the number of strokes ranging from as simple as characters with one stroke only (for instance, 一 yī and 丨gǔn [yes, this is a character]) to complex ones with up to twenty-eight strokes (矗 chù, the character with most strokes among the 3,500 common used Chinese characters). Not to mention, there are characters less common but with way more strokes, such as 麤 cū, with thirty-three strokes, 龘 dá/tà, with fifty-one strokes, and the most famous one biáng (as in figure 1) with forty-two or fifty-six strokes.

(figure 1: from left to right: biáng in traditional Chinese with 56 strokes, biáng in simplified Chinese with 42 strokes, and yī with only one stroke. How can you write them in the same size, which has to be not so big in the first place?)