Tag Archives: Japanese

Colour perception in various languages

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Today’s blog post will be about colour perception in different cultures and languages around the world.

The terms for colours cannot always be translated in a straightforward manner since some colours, esp. green and blue (“grue”) in some Asian languages, are often perceived differently from those in the West, and are considered separate colours in those countries whereas in English there is just one term for both shades or vice versa.

Russian

In Russian, there are two different terms for blue which are considered as separate colours and not just as shades of the same colour as in English: голубой (‘goluboy’) light blue and  синий (‘siniy’) dark blue.

Hungarian

In Hungarian, there are two separate terms for red: piros is a bright red and vörös is a dark red.

German

In German, there are two different terms for pink: Pink is the same bright saturated shade as in English, but when the colour is pale pink it is called rosa.

‘Grue’ or green and blue in various Asian languages

The origin of the perception of a green-blue (‘grue’) colour, which in English is called ‘teal’ or is seen as two separate colours (blue and green), comes from the Chinese character 青 (qīng).

The colour qīng 青 can mean either of the colours that in English are referred to as ‘green’, ‘blue’, or ‘black’, depending on the context and the nouns or fixed phrases it is used with. To give an example, qing means ‘blue’ when used with ‘sky’ 青天 (qīngtiān) or ‘eyes’青眼 (qīngyǎn) , but ‘black’ when used with ‘hair’ 青丝(qīngsī) and ‘green’ when used with the character for ‘mountain’ 青山 (qīngshān), ‘grass’青草 (qīngcǎo)  or ‘vegetables’ 青菜 (qīngcài).

Qing  , according to tradition, is the colour of things that are born and the term 青春 (qīngchūn ‘green spring’) means youth. This is connected to its meaning ‘black’ since young people in China have dark hair, or 青鬓 (qīng bìn) ‘black temple hair’, an idiom referring to young people. Qing can also refer to black clothes or fabrics and one of the main female roles in Chinese opera, 青衣 (qīngyī), refers to the fact that most actors wear black clothing.

Qing can also refer to the colour ‘blue’, which originates from the dye bluegrass which in ancient times was used to dye things in the colour of qing. The idiom 出於藍,而勝於藍青出于蓝,而胜于蓝 (qīngchūyúlán ér shèng yú lán, ‘blue comes from the indigo plant but is bluer than the plant itself’) describes how a student could come to excel their teacher.

The character 青qing originally derives from the components for 生 ‎’growth of plants‘ and 丹 ‎’cinnabar‘, which was also used for dyeing and by extension came to refer to ‘colour’ in general, so 青qing came to be known as the ‘colour of growing plants’ and green-blue, and came to describe a range of colours from light green through blue to deep black 玄青 (xuánqīng). Over time, the character for cinnabar was exchanged with the similar character for ‘moon’月.

The modern Mandarin Chinese language, however, also has the blue–green distinction with 蓝/ 藍 lán for blue and 绿 / 綠 for green. Another peculiarity of Chinese colour perception is the case of ‘red’ / , hóng and ‘pink’ 粉红, fěn hóng (lit.’powder red’), which are considered varieties of a single colour.

青 qing (Cantonese 廣東話 )

In Cantonese, qing 青 can describe the same range of colours as in Mandarin Chinese. It means ‘green’ when referring to grass, plants or the mountains, ‘blue’ when referring to the sky or stones, and ‘black’ or ‘young’ when referring to hair or fabrics. However, in Cantonese (廣東話), 青 qing meaning ‘black’ is still used in contexts where the use of  黑 would be inauspicious since it is a homophone of ‘乞’ (beggar), for example 黑衣, ‘black clothes’, would also mean ‘beggar’s clothes’.

Vietnamese

Vietnamese has taken over the green-blue colour perception from the ancient Chinese character and is read as xanh, which can mean both ‘green’ or ‘blue’ depending on the context. To specify which shade exactly you mean, you have to add some descriptive terms, so xanh da trời means ‘blue as the sky’, xanh dương or xanh nước biển means ‘blue as the ocean’ and xanh lá cây means ‘green like the leaves’. Vietnamese sometimes uses the terms xanh lam for blue and xanh lục for green, which derive from the Chinese characters 藍and 綠 respectively.

 

Japanese

Also Japanese has the colour green-blue, or ao ‎(hiragana あお, romaji ao, historical hiragana あを), which also derives from the ancient Chinese character and its connotations. So ao can mean ‘blue’, ‘green’ or ‘black’ depending on the context. In the case of Japanese, the colour connotation ‘black’ comes from the bluish-black colour of a horse’s hair. Ao is also used in particular to refer to the green of traffic lights and to the colour of plant leaves, vegetables and apples. By contrast, other ‘green’ objects will generally be referred to as being midori, e.g. clothes, cars, etc.

Lakota

Also in the native American language Lakota (‘Sioux’), one word is used for both blue and green, namely the term tȟó. However, a term for ‘green’ – tȟózi- has come into use, which is made up of the terms  tȟó meaning ‘blue-green’ and meaning ‘yellow’. In the same way,  zíša/šázi refers to the colour orange, šá on its own meaning ‘red’. The colour purple or violet is thus šátȟo/tȟóša.

 

 

Some interesting links for further reading on the topic:

https://en.wikipedia.org/wiki/Blue%E2%80%93green_distinction_in_language

http://www.theworldofchinese.com/2013/06/what-color-is-qing/

https://en.wiktionary.org/wiki/%E9%9D%92

Does your language also have a different colour perception from the English one? Let us know in the comments!! 🙂

Vocabulary: ‘Rice’ in Indonesian and Asian languages

indon rice

Today’s blog post is taking us to Asia again, to Indonesia and Japan and China, and to the various words for ‘rice’. Unlike in western languages, where there is just one word for any type of rice, in many Asian languages, there are different terms for ‘rice’ depending on what condition the rice is in, i.e. whether it is raw grains, cooked rice or still a rice plant.

In Balinese (Basa Bali) the various term for ‘rice’ are:

Pantun = rice plant (indon. padi)

sawah or manik galih = rice field/paddy

beras or baas = raw rice, rice grains

nasi = cooked rice

ketan = sticky rice

The Indonesian word for ‘rice plant’, padi, is the origin of the English term for paddy field. 🙂

There are also different words for ‘rice’ in Japanese and Chinese (Mandarin).

In Japanese, these are:

ine =rice plant

kome = rice grains, uncooked rice

白米 hakumai = white rice, polished rice

momi = rough rice

玄米 genmai = brown rice, unpolished rice

ご飯 gohan = cooked rice

餅米 mochigome = sticky rice

水田suiden = paddy field, rice field

And the Chinese terms for different kinds of rice are:

米饭 Mǐfàn = cooked rice

大米 Dàmǐ = raw rice

糯米饭 Nuòmǐ fàn = sticky rice

稻田 Dàotián = paddy field, rice field

 Does your language also have different terms for rice? Tell us about them in the comments! 🙂

 

How to learn Japanese characters with visual mnemonics or visual clues

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Today’s blog post is about Japanese again, this time about how to learn the Kana and Kanji characters easily with visual mnemonics. I’d like to introduce and review two books that I found very useful for learning and memorizing the characters, especially for strongly visual learners like I am. The books are entitled Kanji Pict-o-Graphix: Over 1,000 Japanese Kanji and Kana Mnemonics and Kana Pict-o-Graphix, both by Michael Rowley.

When I started to learn Japanese several years ago, I found it really very difficult to memorize the Kana syllabaries and kept forgetting the characters, and was unsuccessful in learning them for weeks. Until I came across the tiny booklet ‘Kana Pict-o-Graphix’, which helped me to learn both syllabaries in just two days (!), after having tried for so long! The strong point about the book is that it presents not only the character in a visual way, which in itself is really helpful for committing characters to memory, but it also provides a sentence with a clue on how to pronounce the Kana-character. This combined method really helps to retain the characters for a long time.

The book also exists for learning the Kanji, ‘Kanji Pict-o-Graphics’, and introduces about 1000 characters of the mandatory 1954 Japanese characters required for being able to read texts. Each basic character is rendered with a visual picture, which it also (mostly) retains in compound characters that follow which the book introduces. Each cluster of pictures for a character is then followed by a sentence that combines the elements into a small ‘story’ or memorable sentence, which helps you to recall them later on when you come across them again.

Here you can have a look inside the book: http://www.amazon.co.uk/dp/0962813702

I also use the 3 books ‘Remembering the Kanji’ by James W. Heisig, which have their own strengths and are more comprehensive, and which most learners use, but for me as a very visual learner using the ‘Pict-o-Graphix’ book is much easier to efficiently learn, retain and revise the Kanji.

Focus on art: Japanese aesthetics and design principles

Author:  Stephane D'Alu, via Wikipedia Commons 日本・京都の龍安寺石庭 Dry Garden in Ryoanji (Kyoto, Japan)

Author: Stephane D’Alu, via Wikipedia Commons
日本・京都の龍安寺石庭
Dry Garden in Ryoanji (Kyoto, Japan)

Today’s blog post is taking us to Japan and to Japanese notions of aesthetics and beauty which are fundamentally different from western notions of beauty in art.
Unlike in the West, in Japan the concept of aesthetics is not seen as separate and divorced from daily life, but as an integral part of it. Japanese aesthetics has its roots in Shinto-Buddhism 神道 Shintō , with its emphasis on wholeness in nature and its celebration of nature and the landscape, as well as its emphasis on ethics, as well as Zen Buddhism and its philosophy. In Buddhism, everything is considered as either dissolving into ‘nothingness’ or the ‘void’ or evolving from it, whereby this void is, however, not a sort of ‘empty space’, but rather a space of potentiality from which things can grow and come into being and later return to it – everything is in transience and constant change.
Japanese concepts of aesthetics are based on the ancient ideals of wabi (transient and stark beauty), sabi (the beauty of aging and of natural patina) and Yūgen 幽玄 (subtlety and profound grace).
Wabi-sabi represents an aesthetic understanding based on the acceptance of transience and imperfection, an appreciation of the beauty of things which are imperfect, incomplete and impermanent. Things in decay or those in bud are evocative of wabi-sabi and are therefore appreciated. The concept of wabi-sabi is derived from the Buddhist teaching of the three marks of existence (三法印 sanbōin  ), which include impermanence (無常 mujō), emptiness or the absence of self ( ) and suffering ( ku ). This notion of an aesthetic based on imperfection stands in direct contrast and opposition to the western understanding of beauty and aesthetics based on the ancient Greek ideal of perfection. Moreover, Japanese aesthetic ideals have an ethical connotation, since the aesthetic concepts are not only found in nature, but are also evocative of virtues of human character and appropriateness of behaviour. It is therefore believed that the appreciation and practice of art can instil virtue and civility in people.
The concept of wabi-sabi evolved from two different but related concepts, those of wabi and sabi, whose meanings overlapped and converged over time until they unified into the new combined concept of wabi-sabi (わび・さび or侘・寂). Wabi わび originally referred to the experience of loneliness of living in nature remote from the rest of society, whereas sabi (寂) means ‘withered’, ’lean’ or ‘chill’. There is an interesting phonological and etymological connection to the Japanese word sabi (錆), meaning ‘to rust’. While the two Kanji characters as well as their meanings are different ( ‘rust’, sabi), the original spoken word, which is pre-kanji or yamato-kotoba, is believed to be one and the same.
In Japanese aesthetics, wabi now connotes a quality of rustic simplicity, of understated elegance, quietness and freshness, and can be applied to both natural and human-made objects. Wabi can also refer to the imperfect quality of any object, due to limitations in design and quirks and anomalies arising from the process of manufacture and construction which add uniqueness to the object, in particular also with respect to unpredictable or changing conditions of usage. Sabi refers to the beauty or serenity that comes with age, and to the limited life-span of any object whose impermanence is evidenced in visible repairs and in its patina and wear.
Wabi-sabi has come to be defined as ‘flawed beauty’ and its characteristics include asymmetry, simplicity, irregularity, asperity or roughness, austerity, intimacy, modesty and economy, as well as an appreciation of the integrity of processes and of natural objects. The concept also has connotations of solitude and desolation.
Some examples illustrating the concept of wabi-sabi are chips or cracks in an item of pottery, which make the object more interesting and confer a greater meditative value onto it, the colour of glazed items which changes over time, as well as materials like wood, fabric and paper which exhibit visible changes over time, but also natural phenomena like falling autumn leaves.

Author: ottmarliebert.com via Wikipedia Commons

Author: ottmarliebert.com via Wikipedia Commons, wabi-sabi bowl

A related design concept is the principle of miyabi ( ), which means ‘elegance’, ‘courtliness’ or ‘refinement’ and is sometimes translated as ‘heart-breaker’. It has its origins in the aristocratic ideals of the Heian era (平安時代 Heian jidai ), which prescribed the elimination of anything which was vulgar, unrefined, absurd, crude or rough and aimed for the polishing and refinement of manners and sentiments. Miyabi is closely connected to the notion of Mono-no-aware もののあわれ  ( 物の哀れ, lit. ‘the pity of things’), a bittersweet awareness of the transience of things.
Wabi-sabi can be achieved through the seven aesthetic principles derived from Zen philosophy:
Kanso (簡素) – simplicity; a clarity achieved through the omission of everything that is non-essential resulting in a plain, simple and natural manner
Fukinsei (不均整) – asymmetry or irregularity; the notion of controlling balance in a composition via irregularity and asymmetry. An example for this principle is the Ensō (円相 circle) in brush painting (sumi-e 墨絵 or suibokuga 水墨画 ), also known as the Zen circle, which is often painted as an incomplete and unfinished circle, symbolizing the imperfection that is part of existence, as well as the absolute, the void, enlightenment, elegance and the universe itself. Some artists practice painting an ensō daily as a meditative spiritual Zen exercise. One of the aims of fukinsei is that by leaving an item incomplete, the beholder is given the opportunity to participate in the creative act by supplying the missing symmetry.

Author: Kanjuro Shibata, via Wikipedia Commons Ensō (円相)

Author: Kanjuro Shibata, via Wikipedia Commons
Ensō (円相)

Shizen (自然 , lit. ‘nature’) – naturalness; an absence of pretense or artificiality. An example for this principle is the Japanese garden日本庭園 nihon teien, whose intentional design based on naturally occurring rhythms and patterns, is, though ‘of nature’, also distinct from it.
Yūgen (幽玄 , lit. ‘mystery’) – subtlety, profundity or suggestion; the term is derived from Chinese philosophical concepts and meant ‘dim’, ‘mysterious’ or ‘deep’ . Yūgen shows more by showing less and by limiting the information. The power of suggestion that visually implies more by not showing everything leaves things to the imagination, thereby enhancing their effect. Yūgen is the subtle profundity of things that is only vaguely suggested and is beyond what can be expressed in words, yet is of this world. Examples for yūgen are the subtle shades of bamboo on bamboo, to watch the sun set behind a mountain, to gaze after a ship that slowly disappears behind the horizon or to contemplate the flight of a flock of birds. Yūgen is a profound, mysterious sense of the beauty of nature and the sad beauty of human suffering.
Datsozoku (脱俗) – break or freedom from habit or routine, transcending the conventional. A feeling of surprise that arises from unexpected breaks in a pattern or a break from the ordinary. An interruptive break in a design.
Seijaku (静寂) – tranquillity, stillness, solitude or an energized calm, in which one can find the essence of creative energy. An example for seijaku is meditation or the feeling one may have in a Japanese garden.
Shibui (渋いadjective, lit.‘bitter tasting’)/shibumi (渋み noun) or shibusa (渋さ noun)– austerity, simple, subtle and unobtrusive beauty, beauty by understatement, elegant simplicity, minimalism. The term originally referred to a sour or astringent taste. Examples are objects which appear to be simple overall, but which include subtle details like textures, which balance simplicity with complexity, offering an appearance of which one does not tire but whose aesthetic value grows over time as one finds new meanings in its subtleties. Shibusa-objects circumscribe a fine line between contrasting aesthetic principles like restrained and spontaneous, or elegant and rough.

Katsurarikyu01

Another concept of Japanese aesthetics is the principle of iki ( いき, often written 粋), which has an etymological root meaning ‘pure’ or ‘unadulterated’ and a connotation of having an ‘appetite for life’, which is an expression of originality, simplicity, sophistication and spontaneity, and is emphemeral, straightforward, measured and unselfconscious. Iki can be expressed in the human appreciation of natural beauty or as a trait of human character or through artificial phenomena exhibiting human will or consciousness , but does not occur as such in nature. Iki is a broad term referring to qualities that are aesthetically pleasing, refinement with flair, or a tasteful manifestation of sensuality. The concept of iki is thought to have formed among the urban mercantile class (Chōnin 町人 townspeople) in Edo 江戸(lit. ‘bay entrance’ or ‘estuary’) in the Tokugawa period ((徳川時代 Tokugawa jidai 1603–1868).