A Handbook Of Phags Pa Chinese

Phags-pa Chinese is the earliest form of the Chinese language to be written in a systematically devised alphabetic script. It is named after its creator, a brilliant thirteenth-century Tibetan scholar-monk who also served as political adviser to Kublai Khan. 'Phags-pa's invention of an alphabet for the Mongolian language remains an extraordinarily important accomplishment, both conceptually and practically. With it he achieved nothing less than the creation of a unified script for all of the numerous peoples in the Mongolian empire, including the Central Asian Turks and Sinitic-speaking Chinese. 'Phags-pa is of immense importance for the study of premodern Chinese phonology. However, the script is difficult to read and interpret, and secondary materials on it are scattered and not easily obtained. The present book is intended as a practical introduction to 'Phags-pa Chinese studies and a guide for reading and interpreting the script. It consists of two parts. The first part is an introductory section comprising four chapters. This is followed by a glossary of 'Phags-pa Chinese forms and their corresponding Chinese characters, together with pinyin and stroke order indexes to those characters.The first introductory chapter outlines the invention of the 'Phags-pa writing system, summarizes the major types of material preserved in it, and describes the historical and linguistic contexts in which this invention occurred. Following chapters detail the history of 'Phags-pa studies, the alphabet and its interpretation, and the salient features of the underlying sound system represented by the script, comparing it with those of various later forms of Chinese that have been recorded in alphabetic sources. A Handbook of 'Phags-pa Chinese will be of special interest to Chinese historical phonologists and scholars concerned with the history and culture of China and Central Asia during the Yuan period (A.D. 1279–1368).

Phags-pa Chinese is the earliest form of the Chinese language to be written in a systematically devised alphabetic script. It is named after its creator, a brilliant thirteenth-century Tibetan scholar-monk who also served as political adviser to Kublai Khan. 'Phags-pa's invention of an alphabet for the Mongolian language remains an extraordinarily important accomplishment, both conceptually and practically. With it he achieved nothing less than the creation of a unified script for all of the numerous peoples in the Mongolian empire, including the Central Asian Turks and Sinitic-speaking Chinese. 'Phags-pa is of immense importance for the study of premodern Chinese phonology. However, the script is difficult to read and interpret, and secondary materials on it are scattered and not easily obtained. The present book is intended as a practical introduction to 'Phags-pa Chinese studies and a guide for reading and interpreting the script. It consists of two parts. The first part is an introductory section comprising four chapters. This is followed by a glossary of 'Phags-pa Chinese forms and their corresponding Chinese characters, together with pinyin and stroke order indexes to those characters.The first introductory chapter outlines the invention of the 'Phags-pa writing system, summarizes the major types of material preserved in it, and describes the historical and linguistic contexts in which this invention occurred. Following chapters detail the history of 'Phags-pa studies, the alphabet and its interpretation, and the salient features of the underlying sound system represented by the script, comparing it with those of various later forms of Chinese that have been recorded in alphabetic sources. A Handbook of 'Phags-pa Chinese will be of special interest to Chinese historical phonologists and scholars concerned with the history and culture of China and Central Asia during the Yuan period (A.D. 1279–1368).

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The history of China, as any history, is a story of and in translation. Translating Early Modern China tells the story of translation in China to and from non-European languages and Latin between the fourteenth and the nineteenth centuries, and primarily in the Ming and Qing dynasties. Each chapter finds a particular translator resurrected from the past to tell the story of a text that helped shape the history of translation in China. In Chinese, Mongolian, Manchu, Latin, and more, these texts helped to make the Chinese language what it was at different points in its history. This volume explores what the form of an academic history book might look like by playing with fictioning as part of the historian's craft. The book's many stories--of glossaries and official Ming translation bureaus, of bilingual Ming Chinese-Mongolian language primers, of the first Latin grammar of Manchu, of a Qing Manchu conversation manual, of a collection of Manchu poems by a Qing translator--serve as case studies that open out into questions of language and translation in China's past, of the use of fiction as a historian's tool, and of the ways that translation creates language.

Although long out of date, Bernard Karlgren’s (1957) remains the most convenient work for looking up Middle Chinese (ca. A.D. 600) and Old Chinese (before 200 B.C.) reconstructions of all graphs that occur in literature from the beginning of writing (ca. 1250 B.C.) down to the third century B.C. In the present volume, Axel Schuessler provides a more current reconstruction of Old Chinese, limiting it, as far as possible, to those post-Karlgrenian phonological features of Old Chinese that enjoy some consensus among today’s investigators. At the same time, the updating of the material disregards more speculative theories and proposals. Schuessler refers to these minimal forms as "Minimal Old Chinese" (OCM). He bases OCM on Baxter’s 1992 reconstructions but with some changes, mostly notational. In keeping with its minimal aspect, the OCM forms are kept as simple as possible and transcribed in an equally simple notation. Some issues in Old Chinese phonology still await clarification; hence interpolations and proposals of limited currency appear in this update. Karlgren’s Middle Chinese reconstructions, as emended by Li Fang-kuei, are widely cited as points of reference for historical forms of Chinese as well as dialects. This emended Middle Chinese is also supplied by Schuessler. Another important addition to Karlgren’s work is an intermediate layer midway between the Old and Middle Chinese periods known as "Later Han Chinese" (ca. second century A.D.) The additional layer makes this volume a useful resource for those working on Han sources, especially poetry. This book is intended as a "companion" to the original Grammata Serica Recensa and therefore does not repeat other information provided there. Matters such as English glosses and references to the earliest occurrence of a graph can be looked up in Grammata Serica Recensa itself or in other relevant dictionaries. The great accomplishment of this companion volume is to update an essential reference and thereby fulfill the need for an accessible and user-friendly source for citing the various historically reconstructed stages of Chinese.

The Mongol period (1206-1368) marked a major turning point of exchange – culturally, politically, and artistically – across Eurasia. The wide-ranging international exchange that occurred during the Mongol period is most apparent visually through the inclusion of Mongol motifs in textile, paintings, ceramics, and metalwork, among other media. Eiren Shea investigates how a group of newly-confederated tribes from the steppe conquered the most sophisticated societies in existence in less than a century, creating a courtly idiom that permanently changed the aesthetics of China and whose echoes were felt across Central Asia, the Middle East, and even Europe. This book will be of interest to scholars in art history, fashion design, and Asian studies.