绪论
汉字的特点
1.2.1.汉字构字法特点
Ancient scholars categorized the methods of Chinese character formation into six types, collectively known as "Liushu" or "Six Writings." These include "pictographs," "ideographs," "associative compounds," and "phonetic compounds," which are the four methods of creating new characters The last two methods, "transferred characters" and "borrowed characters," do not generate new characters, so this discussion will focus specifically on the first four methods.
象形就是象事物之形，也就是把客观事物的形体描绘出来的意思。
According to "Shuowen Jiezi: Preface," pictographs represent objects through drawings that reflect their form, with examples like the characters for sun and moon Pictographs can be categorized into simple and compound forms; simple pictographs consist of a single character, such as "木" (wood) and "日" (sun), while compound pictographs are formed by combining two or more characters, such as "京" (capital).
The concept of "指事" (zhǐ shì), also known as "象事" (xiàng shì) or "处事" (chǔ shì), refers to the use of symbolic characters, such as dots and strokes, to convey meaning According to "说文解字•叙," the indicators are recognizable upon sight and convey intent through observation There are two main categories of 指事 characters in Chinese: pure 指事 characters that are entirely represented by symbolic strokes, such as 一 (one), 二 (two), 三 (three), and 四 (four), and those that incorporate symbolic strokes into a pictographic character to clarify the meaning For instance, the character "刃" (blade) includes a dot at the edge to indicate the cutting edge, while "本" (root) adds a short stroke beneath "木" (wood) to signify the bottom part of the tree, and "末" (tip) indicates the top part.
Ideographs combine two or more characters to convey a new meaning, categorized into two types: same-body ideographs and different-body ideographs Same-body ideographs, such as "林" (lin), consist of two identical pictographs, representing a large quantity of trees In contrast, different-body ideographs, like "休" (xiu), are formed from two distinct pictographs, with the left side depicting a person and the right side a tree, symbolizing a person resting against a tree.
形声由形符和声符两部分组合成的字，其中形符表义，声符表音。
According to "Shuowen Jiezi," phonetic-semantic compounds are named after their meanings, drawing parallels for understanding, much like rivers Phonetic-semantic characters constitute the majority of Chinese characters, making up over eighty percent of the total The combination of these characters is highly versatile.
•左形右声：江、河
•左声右形：锦、刊
•上形下声：草、房
•上声下形：想、袈
•外形内声：街、衷
•外声内形：闻、衡
1.2.2 汉字是表意文字
Chinese characters are logograms, meaning they do not represent phonemes or syllables like alphabetic letters Instead, they utilize thousands of unique symbols to convey and differentiate the meanings of various morphemes and words.
Chinese characters, composed of various strokes, serve to record monosyllabic morphemes in the Chinese language, representing their sounds Thus, Chinese writing functions as both a phonetic unit within the linguistic structure and a morphological unit with word formation significance The structure of Chinese characters captures not only the syllables of the language but also conveys its meanings.
汉字中的偏旁与部首简介
汉字是表意文字，我们可以靠汉字里面的部首来录求和分辨字义。
The concept of "radical" was established by the Eastern Han scholar Xu Shen, who identified the semantic components of characters as radicals Radicals serve to categorize characters, indicating that words sharing the same radical are related to the meanings represented by that radical For instance, characters under the "人" (person) radical pertain to human-related concepts, while those under the "口" (mouth) radical are associated with actions involving the mouth Radicals play a crucial role in the Chinese language, aiding in distinguishing and defining the multiple meanings of a character or word, including its original, extended, and borrowed meanings.
The number of radicals in Chinese characters varies across different texts, with the "Shuowen Jiezi" categorizing small seal characters into 540 radicals, while the "Yupian" lists 542 radicals and the "Leipian" also includes 540 radicals In the Liao Dynasty, the monk Xingjun's "Longkan Shoujian" identified 242 radicals, and during the Jin Dynasty, scholars Han Xiaoyan and Han Daozhao also contributed to this classification.
《五音篇海》有 444 部首，但现在通行之 214 部首，是明朝万历 43 年
（1615年）时由梅膺祚编纂创始的。
The radical components of Chinese characters represent a historical evolution and a common form of variation that occurs during the transition of characters The process of a standalone character becoming a radical refers to its transformation into a component that contributes to the structure of more complex characters.
When forming compound characters in Chinese, individual characters can undergo morphological changes For instance, the standalone character "水" (water) transforms into "氵" or "冫" when used as a radical, while "人" (person) changes to "亻" in a similar context These alterations highlight the dynamic nature of Chinese character formation.
汉字与汉民族文化的关系
Chinese characters hold a significant position in Chinese culture, as their creation, development, and evolution are influenced by cultural factors This is evident in the Chinese character system, which embodies the values, ways of life, thought patterns, and customs of the Han people Moreover, Chinese characters are not only a unique aspect of Chinese culture but also serve as a vital tool for conveying and disseminating cultural information.
Culture has significantly influenced the creation and evolution of Chinese characters In primitive societies, the need for communication led to the development of language However, spoken language often fell short in meeting the demands of effective interaction due to limitations of "space" and "time." The "spatial limitation" refers to the distance between individuals; if they are too far apart, effective communication becomes impossible, as in the case of a clan leader issuing commands that cannot be heard by those not present This reliance on verbal transmission can lead to miscommunication Meanwhile, "temporal limitations" highlight the necessity of passing down knowledge through generations, as certain events and understandings must be conveyed to future generations, which spoken language alone cannot adequately preserve.
The passage of time makes it difficult for future generations to grasp past events, much like the struggles between clans where details about victories and spoils can easily be lost or distorted through oral traditions To overcome the limitations of space and time that hinder communication, a universally recognized system of written symbols became essential This led to the creation of the earliest Chinese characters, which were pictographic in nature.
其次，汉字的产生和发展与社会生产力相适应。汉字是为了满足人
The need for mutual communication led to the creation of written language, which serves to record and express various aspects of life Initially, Chinese characters represented simple and commonly observed elements of daily life, such as the sun, moon, mountains, rivers, water, fire, earth, and wood—fundamental aspects of nature As societal productivity evolved, new concepts emerged, resulting in an expansion of the Chinese character system While some characters retained their original meanings, certain components underwent changes over time.
Chinese characters serve as a vessel for Chinese culture In ancient times, the low productivity of early societies led to a limited understanding of the material world, fostering a fervent worship of natural deities and ancestors driven by a desire for fortune and protection This resulted in vibrant sacrificial practices, many of which continue today, such as spring, summer, heaven, earth, and ancestor sacrifices Insights into how these ancient rituals were conducted can be gleaned from the study of Chinese characters.
观察“祭”字的古字形， 我们不难看到，左边是一块鲜肉，小点像肉
The imagery depicts blood alongside a hand, suggesting a ritual involving fresh meat In the context of ancient inscriptions, the addition of the character "示" signifies the act of worshipping deities.
Chinese characters reflect the ancient commodity culture of the Han people In prehistoric times, individuals exchanged goods they possessed for urgently needed items, though the value of these exchanged goods was not always equal As social productivity improved, trade evolved, leading to the emergence of currency as a medium for equalizing the value of various commodities Texts such as "Erya" and "Shuowen Jiezi" contain numerous terms related to trade and lending, including words for buying and selling—such as "buy" (买), "sell" (卖), and "trade" (贸)—as well as terms for borrowing (贷), collateral (质), and gifting (贽) Additionally, they include terms for taxation and rewards, indicating a sophisticated understanding of economic activities in ancient Chinese society.
The inscriptions indicate that trade activities were highly developed at that time, featuring direct transactions between buyers and sellers, as well as lending and mortgaging due to capital shortages A common characteristic of these inscriptions is their association with "shells," which were widely recognized as a form of currency.
The evolution from barter to commodity trade necessitated the establishment of a stable medium of exchange, which is represented by currency Historically, shells served as a common form of currency during this transition.
Chinese characters reflect the ancient weapon culture of the Han people Archaeological discoveries indicate that weapons existed in ancient times, though few artifacts have been unearthed However, by analyzing the structure of Chinese characters, we can infer the shapes of weapons from that era.
The character "王," when examined in its oracle bone and bronze inscriptions, resembles the shape of an axe Its original meaning pertains to axe-shaped weapons, which serve as tools for conquest, suppression, and hunting Consequently, the possession of such a weapon symbolizes supreme power and authority over the world, making the axe shape a representation of a king's power.
The character "戈" in oracle bone script and bronze inscriptions represents a standalone pictogram, signifying a long-handled, horizontal-bladed weapon Unlike the "戈," which has a flat-headed blade designed solely for hooking strikes, the weapon known as "戟" is created by placing the hooked head atop the handle, enabling it to be used for stabbing as well.
又如“戊”字，甲骨文及金文形状都像长柄宽刃的大斧，斧刃朝左
Chinese characters reflect the ancient folk culture of the Han people In prehistoric times, survival relied primarily on gathering and hunting, but fierce wild animals and primitive hunting tools made this challenging As a result, the main diet consisted of wild fruits and vegetables During gathering activities, women's meticulousness and endurance proved to be more crucial than men's physical strength, allowing women to take on dominant roles in social activities and leadership within clans The societal structure at the time was characterized by group marriages and promiscuity, leading to uncertainty about paternal lineage, as indicated by the term "姓" (surname), which combines "女" (female) and signifies the maternal connection.
The term "生" signifies that children are born and nurtured by women, highlighting the matrilineal aspect of early Chinese society Additionally, ancient Chinese surnames such as Jiang, Ji, Ying, and Yao, which feature the female radical, further illustrate the prominence of maternal lineage in the earliest clan systems of China.
母系氏族的价值观念是“女尊男卑”，其价值观念变成“男尊女卑„，女
性要受到“父权”、“夫权”、“族权”的管制。封建社会的价值观要求女性“三
The concept of "Four Virtues" emphasizes the subordinate role of women in society, encapsulated in the "Three Obediences": obeying the father at home, following the husband after marriage, and adhering to the son after the husband's death This societal view not only reflects the low status of women but is also evident in the Chinese language, where the character for "woman" is repeated three times, symbolizing their perceived insignificance.
（奸），几个女人在一起就要做奸邪坏事，“嫉妒”， 二字都从女，指出
中国水文化简介
Water is one of the five elements and is a vital resource for human life Much of human civilization has originated in river basins, highlighting the significance of water culture, which encompasses the scientific and cultural aspects related to water that humanity has created.
The three realms of water culture reveal the deep connection between water and humanity, as highlighted by modern Western philosopher Ernst Cassirer, who stated, "Humans are dependent on their natural environment." He emphasized the intertwined origins of the universe and humanity, suggesting that the questions of world and human origins are inextricably linked This cultural phenomenon underscores the notion that the world and humanity share a common source Water, as a vital natural element, has always played an essential role in human life and cultural history Throughout global cultural development, significant rivers like the Nile have fostered the flourishing of ancient Egyptian civilization, while the ebb and flow of the Euphrates directly influenced the rise and fall of Babylon Similarly, the Mediterranean environment nurtured the cradle of ancient Greek and Roman cultures, and the Yellow and Yangtze Rivers have enriched the profound Central Plains culture and the vibrant Chu culture in the East.
Water, embodying the essence of primordial cosmology, has deeply permeated human cultural consciousness Throughout the vast expanse of history, it has evolved alongside humanity, transforming from a material element into a profound spiritual concept as our understanding of nature has deepened.
中国古代人对“水”的认知特点
"仁者乐山，智者乐水"。面对山水形胜，古代圣贤也难免动容，一个
The character "智" not only reflects ancient philosophers' understanding of "water" but also unravels the profound cultural significance embedded within it In nature, plants and mountains remain silent, while rivers like the Yangtze and Yellow River flow relentlessly, unaffected by human will When viewed visually, this seemingly indifferent water transforms into a "cultural spirit," transcending millennia to become a vibrant aesthetic medium A close examination of Chinese classical literature reveals that water is a pervasive theme, symbolizing the rich humanistic spirit of wisdom throughout history It embodies humanity's psychology, emotions, will, personality, and perception of the world, capturing the essence of life's joys, sorrows, and existential reflections, all expressed vividly through the motif of water.
Confucius once expressed the fleeting nature of life to his disciples by pointing to the river, lamenting that "time flows away like this." Similarly, the Tang poet Li Bai conveyed his dissatisfaction with reality through the lines, "Drawing a knife to cut the water only makes it flow more, raising a cup to drown my sorrows only deepens them," illustrating a profound sense of enduring sorrow This theme of relentless longing is echoed in the words of Li Yu, the last ruler of the Southern Tang, who poignantly asked, "How much sorrow can one endure? It is like a river of spring water flowing eastward."
Throughout history, countless literary masterpieces have expressed profound emotions through the metaphor of water, capturing themes of longing, sorrow, and nostalgia From tales of love and heartache to reflections on war and the passage of time, these works resonate deeply with readers, showcasing the enduring power of storytelling.
During the Warring States period, the philosopher Gaozi illustrated the concept of "human nature being neither good nor bad" by comparing it to water, which flows in different directions depending on where it is directed Similarly, Xunzi emphasized the importance of incremental progress, stating, "Without accumulating small steps, one cannot reach a thousand miles; without gathering small streams, one cannot form rivers and seas." Wei Zheng highlighted the necessity of solid foundations for growth, asserting that to seek long-lasting results, one must ensure strong roots and clear sources Additionally, Tang Taizong Li Shimin reflected on the wisdom of his predecessors, often discussing the principle of "the boat carries and the boat overturns," underscoring the importance of virtue and governance in maintaining stability.
凡此说明，"水"为"智者"提供了丰富的文化源泉，"智者"也开发了"水
The rich cultural heritage of China, with its five thousand years of civilization, highlights the significance of "water culture," which flows continuously like rivers merging into the sea This unique aspect plays a vital role in shaping human history, contributing a brilliant chapter to the story of civilization.
Chinese culture, with its deep historical roots, has always nurtured a rich water culture that reflects diverse philosophical thoughts Each school of thought within traditional Chinese studies contributes uniquely to this water culture Integrating elements from various philosophical schools into the creation of water landscapes can infuse these environments with vitality Therefore, it is essential to thoroughly understand the water culture derived from these different philosophies when designing water landscapes Moreover, the water culture from traditional studies must blend harmoniously with local and national cultures to ensure its vitality and relevance.
In the study of 易学 (Yixue), the most well-known discourse on water culture is rooted in the philosophy of Yin-Yang and the Five Elements This philosophical concept, developed by ancient Chinese ancestors through observation and reflection on various phenomena, embodies a form of spontaneous materialism and contains early elements of dialectics It is a unique Chinese theory that permeates various fields of ancient Chinese science and culture The Five Elements—metal, wood, water, fire, and earth—interact through cycles of generation and overcoming, with water symbolizing wisdom It is characterized by intelligence, benevolence, a salty taste, and a black color The text 《三命通会》 (Sanming Tonghui) further elaborates on the nature of water, highlighting its ability to nourish and contain, as well as its continuous flow, supported by metal.
Confucianism views water as a symbol of virtue, suggesting that individuals should learn from its qualities It encourages the idea that a noble person should flow like water—constantly moving and never resting—while naturally enhancing their moral character.
Water culture is not limited to the three major philosophical schools; it is also widely present in various other thought systems, including the military strategies of the School of Warfare and the teachings of the Mohist school.
The proverb "People strive for higher places, while water flows to lower grounds" highlights our understanding of the nature of water Similarly, the phrase "fire rises, water flows down" reflects another discovery about water's properties Water is known for its ability to permeate its surroundings, embodying softness in contrast to the hardness of steel, as expressed in the saying "who knows that softness can conquer steel." This duality of water, like many other elements, illustrates the ancient exploration and recognition of its characteristics This fascinating relationship is vividly captured in Chinese characters, particularly those with the water radical.
Chinese characters appear frequently, with several variations of the radical for "water" used in constructing words This highlights the close relationship between water and people's daily lives.
相关研究
Chinese characters are among the oldest writing systems in the world, serving as a profound and historical logographic script When discussing Chinese characters, one cannot overlook the significance of radicals, which not only convey meaning and pronunciation but also serve a distinguishing function Throughout history, the study of radicals and the broader aspects of Chinese characters and their culture has seen a notable increase in scholarly works in China.
The earliest dictionary in China, "Erya," was compiled around the Han Dynasty and is recognized as the first to categorize and explain characters Xu Shen, a pioneer in Chinese linguistics, authored "Shuowen Jiezi" between 30 and 124 AD, establishing 540 radicals based on character forms and systematically discussing the six principles of Chinese writing In 1716, the "Kangxi Dictionary" was published, utilizing a radical classification system and organizing characters by stroke count across twelve volumes Following this, numerous works titled "Shuowen" emerged, building upon, refining, and expanding Xu Shen's research Additionally, the "Chinese Characters and Culture Series" and the "New Perspectives on Chinese Character Studies" collections have compiled diverse research outcomes in Chinese character culture over the years, with many studies linking characters by meaning to those in "Shuowen" for cultural exploration.
Since the reform and opening-up, Chinese researchers have increasingly focused on the study of their own language, script, and culture to promote their influence worldwide A growing number of authors and works on the study of Chinese characters have emerged, blending traditional research with innovative insights Notable publications include "A Grand View of Chinese Character Culture" by He Jiuying, Hu Shuangbao, and Zhang Meng (1990), "Illustrated Guide to Common Chinese Characters" by Xie Guanghui (1997), "Chinese Characters and Cultural Issues" by Zhou Youguang (2000), and "The Code of Chinese Characters" by Tang Han (2001), along with "Decoding Characters" published by Shuhai Publishing House in 2003, which explores themes such as gender culture, the cosmos, the animal kingdom, and human anatomy Additionally, works by Xiao Qihong from New World Publishing further contribute to this rich field of study.
2004年出版的《从认字说起》等专著。
Several significant works focus on Chinese characters and their radicals, including "Research on Chinese Character Cognition" by Wang Yuxin (Shandong University Press, 2000), "Chinese Characters and Cultural Issues" by Zhou Youguang (Liaoning People's Publishing House, 2000), and "A Detailed Discussion on Chinese Characters" by Zuo Min'an (Jiuzhou Publishing House, 2006) These books explore the cultural significance of Chinese characters and the role of their radicals.
All research on Chinese characters holds significant reference value, as each article, thesis, and monograph explores distinct aspects and achieves varying levels of success Collectively, they underscore the uniqueness of Chinese characters as an ideographic writing system These scholarly works provide a wealth of resources for contemporary researchers studying the Chinese language.
Tại Việt Nam, nghiên cứu về chữ Hán và văn hóa chữ Hán đã có từ lâu đời, nhưng từ khi đổi mới, những thành tựu trong lĩnh vực này đã gia tăng đáng kể Đặc biệt, Phó giáo sư Phạm Ngọc Hân đã công bố nhiều công trình quan trọng, trong đó có bài viết "Chữ Hán với ngành thủ công thương nghiệp Trung Quốc cổ đại" (2008) và "Chữ Hán với triết lý nhân sinh của người Trung Quốc".
Quốc（汉字与中国人生观研究）（2010 年）两份学术论文。特别是 2011
Published in November, the book "Chinese Characters: Words and Meanings" encapsulates the extensive research findings of Mr Fan Yuhan on Chinese characters over the years.
Numerous master's theses on Chinese character studies have made significant contributions to the research of Chinese characters in Vietnam For instance, works such as "An Examination of Chinese Characters with '女' as a Radical" by Mei Xiang Pei, "A Study of '心' as a Radical in Modern Chinese" by Huang Qiuxian, and "An Investigation of Chinese Characters with '人' as a Radical" by Chen Biye highlight this academic effort Through research, it was discovered that these theses have not yet explored the radical "水." The character "水" is not only the source of all things but also deeply intertwined with political, moral, and philosophical theories Characters that include "水" as a radical encompass various aspects beyond water, including textiles, dyeing industries, legal concepts, ancient irrigation projects, and the scientific and technological facets of social life This leads to a discussion on the cultural significance of "水" as a radical and its implications for Chinese language teaching in Vietnam.
小结 第一章已集中揭示了以下几点：
The theory surrounding Chinese characters and culture encompasses their origin, historical development, and evolution of scripts Chinese characters originated from pictographs and their development can be categorized into three distinct stages, reflecting the ancient Chinese people's innovative and enriching approach to writing With a history spanning five to six thousand years, the forms of Chinese characters have evolved significantly over time, including notable scripts such as oracle bone script, bronze script, large seal script, small seal script, clerical script, cursive script, horizontal script, and running script.
This chapter highlights the four main characteristics of Chinese character formation: associative meaning, phonetic components, indicative symbols, and pictographs As ideographic symbols, Chinese characters play a crucial role in Chinese culture The author briefly introduces radicals and components, illustrating the deep connection between Chinese characters and Han ethnic culture This relationship is evident in various aspects, including ancient commodity culture, weaponry culture, folk customs, calligraphy, and seal carving Consequently, this exploration enhances the understanding of ancient Chinese perceptions of water and deepens learners' appreciation of Chinese water culture.
In China and Vietnam, the study of Chinese characters and their culture has a long history However, my research reveals that there has been a lack of focus on characters that use "水" (water) as a radical This paper aims to explore the characters with "水" as a radical in the following two chapters, highlighting the construction, meanings, and cultural implications associated with this radical.
第二章 带有“水”字作为部首的汉字构字、字义
及其文化含义特点
2.1.1.“水”的造字法
Chinese characters are created using six different methods, with four being the most common: pictographs, ideographs, determinatives, and phonetic compounds The character "水" (water) is a pictograph, where the curved lines represent flowing water, and the dots signify droplets or waves In ancient texts, the character "水" also referred to rivers.
2.1.2.“水”字的形成
水，甲骨文的早期时间，水写成 字形像崎岖凹凸的岩壁 上液体向下
The term "流泻飞溅" describes the dynamic appearance of water cascading down from cliffs or rocky terrains Its original meaning refers to mountain springs splashing down from steep surfaces In oracle bone script, flowing water is typically represented by specific characters, while still or gently flowing water is depicted differently In later versions of oracle bone script, the representation evolved to resemble the appearance of mountain streams.
早期金文 承续早期甲骨文字形。晚期金文 将岩壁的凹凸形状 淡化
为流动的曲线 。篆文 承续晚期金文字形。
隶书 变形较大，将篆文表示岩壁的折线 变成竖线 ，将篆文的液滴
写成 ，象形特征消失。
2.1.3.“水”字的各义项
2.1.3.1 “水”字的基本义
"水" là một ký tự tượng hình, trong hình dạng của chữ viết giáp cốt, nó giống như mạch nước ở giữa và dòng chảy ở hai bên Ý nghĩa chính của "水" là chất lỏng rơi từ mây dưới dạng mưa, là hợp chất đơn giản nhất của hydro và oxy, có công thức hóa học là H2O, không màu, không mùi, tạo thành các dòng sông, hồ và đại dương, đồng thời là thành phần chính của tất cả các sinh vật.
2.1.3.2 “水”字的各层派生义
*“水”作为名词：
“水”作为名词特指河流有名词及专名，如：
The article discusses several key terms related to rivers and water management, including "water tail," which refers to the endpoint of a river; "water meeting," denoting the confluence of rivers; "water affairs," which pertain to river water management issues; "water restrictions," concerning regulations related to rivers; and "water mouth," indicating a ferry crossing These terms are essential for understanding the various aspects of river systems and their governance.
专名: 黄河、长江、汉水、淮水等等
（2）泛指一切水域
带有“水”字作为部首的汉字构字、字义及其文化含义特点
有“水”作为部首在汉字里的位置考察
The analysis of Chinese radicals reveals that their positions can be categorized as top, bottom, left, right, inner, and outer The radical "水" (water) appears in various positions within characters: sometimes centered, sometimes at the top, and sometimes at the bottom However, "水" predominantly occupies the left position and is never found on the right This positioning reflects the nature of water's penetration and downward flow In total, there are 502 Chinese characters that use "水" as a radical, with three characters being standalone: 水, 水水, and 淼.
表一 有“水”作为部首在汉字里的位置考察
位置 数量 比例 例子
居中的汉字 2个 0.4% 衍
居左的汉字 480 个 95.6 % 河、湖、江
居右的汉字 没有 0%
居上的汉字 3 个 0.6% 益、溢、沓
居下的汉字 14个 2.8% 蒸、求
居半包围的汉字 3个 0.6% 凼、氹
Statistical results indicate that the positioning of the radical "water" in Chinese characters is quite flexible; it can appear on the left, top, bottom, or even partially surround other elements However, based on the nature of "water," the majority of characters with this radical are positioned on the left, totaling 480 characters, which accounts for 95.6% of the instances Currently, there are no known characters that place the radical "water" on the right side.
“水”字居右的汉字不可能反映到“水”的性质。
2.2.1.有“水”字居中的汉字
“水”字作为部首居中的汉字数量为 2 个，占 0.4%，有的是会意字有
的是形声字。如：
（1）衍是会意字。从水，从行。本义：水流入海
（2）愆是形声字。从心，衍声。本义：过错；罪过。
2.2.2.有“水”字居左的汉字
“水”字作为部首居左的汉字数量为 480 个，占 95.6%，有的是形声字
有的是会意字。比如：
（1）河是形声字。从水，从可，可亦声
（2）法是会意字。从“水”，从“廌”(zhì)，表示法律、法度公平如水的表面
（3）颍是形声字。从水，顷声。 本义是河名。颍河，淮河最大的支流。
（4）油是形声字。从水，从由，由亦声，本义：润滑的（动植物）汁液
（5）治是形声字。从水,台声。本义:水名。引申义:治水;整治;修治
2.2.3.有“水”字居右的汉字
据本论文的考察，还没有发现带有“水”字作为部首居右的汉字。
2.2.4.有“水”字居上的汉字
“水”字作为部首居上的汉字数量为 3 个，占 0.6%，有的是会意字，
有的是形声字。如：
（1）益是会意字。从皿，从水。象器皿中有水漫出。本义：水漫出
（2）溢是形声字。从水，益声。本作“益”。象水从器皿中漫出。本义:水 漫出来
The character "隘" is a phono-semantic compound, with its ancient form derived from "阜" to indicate sound "阜" refers to a mound or hill, suggesting a connection to topography The primary meaning of "隘" is narrowness or smallness.
2.2.5.有“水”字居下的汉字
“水”字作为部首居下的汉字数量为 14 个，占 2.8%，有的是会意字，
有的是形声字。如：
The term "汆" is a compound character that refers to a cooking method involving briefly boiling food in hot water It also denotes a metal utensil used for boiling water quickly, highlighting its role in the culinary process of bringing water to a rapid boil.
The character "浆" is a phono-semantic compound, combining the elements for "water" and "to apply," with the latter element abbreviated Its original meaning refers to "a wooden piece smeared with meat juice," while the combination of "to apply" and "water" signifies a "thick beverage." Thus, the primary definition of "浆" is a thick drink.
（3）淼是会意字。从三水。又作“渺”。本义:水大的样子
2.2.6.有“水”字居半包围的汉字
“水”字作为部首居半包围的汉字数量为 3 个，占 0.6%，如：凼同“氹
指小坑，水坑，水塘。
带有“水”字作为部首的汉字构字情况
据统计，本人发现“水”作为部首去构字主要有两个方式：会意及形声。
2.3.1.带有“水”字作为部首的会意字
Ideographic characters play a significant role in the formation of Chinese characters, categorized into two types: homophonic ideographs and heterophonic ideographs These characters not only convey abstract concepts but also depict concrete objects Through ideographic characters, students can easily grasp the literal and figurative meanings of Chinese characters However, there are relatively few ideographic characters with "water" as a radical, totaling only 16, such as:
（1）洄是会意字。从水回，回亦声。本义：逆流而上
（2）淼是会意字。从三水。又作“渺”。本义:水大的样子
（3）沓是会意字。从水,从曰。说话多象水流。曰,说。本义:话多
（4）汲是会意字。从水，及声。本义：从井里打水；形容心情急切、努力 追求；古地名
The term "Han" is a pictophonetic character that combines elements representing water and difficulty, symbolizing the Milky Way, also known as "Yunhan," "Yinhan," or "Tianhan." It serves as an abbreviation for the Han ethnic group, a modern designation for the Huaxia nation, and refers to Han people Additionally, "Han" denotes various historical Chinese dynasties, colloquially refers to men, and is used as a shorthand for Hankou (Wuhan) and Hanzhong.
2.3.2.带有“水”字作为部首的形声字
Phonetic-ideographic characters consist of two components: a phonetic element that indicates pronunciation and a semantic element that conveys meaning or category This method of character formation has led to the creation of numerous Chinese characters, aligning well with the evolution of the language As a result, the phonetic-ideographic system has surpassed other methods such as pictographs, ideographs, and associative compounds A closer examination reveals that phonetic-ideographic characters dominate in quantity, with a total of 486 examples.
（1）汗是形声字。从水，干声。本义：汗腺的分泌物
（2）汁是形声字。从水,十声。本义:含有某种物质的液体
（3）沐是形声字。从水,木声。本义:洗头发
（4）沫是形声字。从水，末声。本义:沫水；
（5）浑是形声字。从水，军声。本义：大水涌流声
（6）涛是形声字。字从水，从寿，寿亦声。“寿”意为“长时间的”。“水”与
“寿”联合起来表示“长时间维持的波形”。本义：大波、长波
The Chinese character "渚" is a phono-semantic compound, combining the elements for "water" and "者," which originally referred to a non-agricultural household, specifically a fishing family Together, these components convey the meaning of "a small piece of land in the water suitable for one fishing household." Thus, the primary definition of "渚" is a water-based land area that can accommodate a single fishing family.
2.3.3 带有“水”字作为部首的汉字同时兼两类
带有“水”字作为部首的汉字有很多汉字同时兼两个表意功能，数量
The term "涯" (yá) is a combination of ideographic and phonetic elements, representing meanings related to water's edge and boundaries It signifies various contexts such as "water's edge" (涯涯), "shore" (涯岸), and "limits" (生涯), indicating both physical and metaphorical boundaries Additionally, it encompasses the concept of scope or extent, as seen in phrases like "涯分," which refers to limits or one's proper role.
The term "wet" encompasses both associative and literal meanings, primarily referring to the presence of moisture or water, contrasting with "dry." It is associated with concepts such as humidity, dampness, and moisture levels Additionally, in Traditional Chinese Medicine, it pertains to terms like "dampness," "damp evil," and "damp diarrhea."
Pong pong, also known as duckweed, is a one-year aquatic herb characterized by its flat, green leaves on the surface and purple-red undersides It produces white flowers and has fibrous roots beneath its leaves The term "pong" is often used metaphorically to describe an uncertain lifestyle or transient existence, as seen in expressions like "floating through life" and "encounters by chance."
2.3.4.“水”字作为部首的所谓无归类汉字
Many Chinese characters contain the radical "水" (water), yet a significant number of these characters cannot be classified under any specific word formation method There are approximately 30 such characters, including沉 (chen), 泐 (le), 沿 (yan), 派 (pai), 窝 (wo), 淳 (chun), 游 (you), 溴 (xiu), 满 (man), 瀵 (fen), 激 (ji), and 澡 (zao).
现代汉语里的 不少汉字无法归于哪种造字法，原因可能如是：
Over time, various objective factors have influenced the categories and meanings of Chinese radicals, leading to a significant departure from their original meanings As a result, the ideographic function of Chinese characters has diminished.
After over 3,000 years of evolution, Chinese characters are currently undergoing a process of simplification, resulting in many characters differing from their original shapes and structures.
可能是因为以上的原因所以现在有不少汉字是无能归类哪种。
带有“水”字作为部首的汉字的构字考察结果可列在下表：
表二 带有“水”字作为部首的汉字的构字结果
序号 结构特点 数量 比例
4 所谓无归类的字 30 6%
带有“水”字作为部首的汉字字义特点
In modern Chinese, the character "水" serves both as a radical in Chinese characters and as a morpheme in words Its meanings are diverse and rich, encompassing concepts such as water flow, associations with water, liquid substances similar to water, references to the textile and dyeing industries, legal notions, and ancient water conservancy projects.
在 3000 个常用的汉字，其中带有“水”字作为部首的汉字有 502 个，
占 16.73%。本论文根据《新编实用汉语词典》-社会科学文献出版社-北京
After examining 502 Chinese characters that use "水" (water) as a radical in 1990, a comprehensive analysis was conducted on both the primary meanings and derived meanings associated with "水" in Chinese characters.
2.4.1.表示水流之属
In ancient characters, "water" is depicted as a pictogram representing the flow of water, symbolizing its fundamental nature as a simple compound It is a colorless, odorless, and tasteless transparent liquid, often used as a radical in various Chinese characters.
The characters containing the water radical "氵" or "氺" primarily signify water-related concepts, yet the number of such characters is limited Among the 502 Chinese characters that utilize "水" as a radical, only 35 specifically convey meanings associated with water flow.
The character "江" is a phono-semantic compound, composed of the water radical "水" and the phonetic element "工," which signifies "manual labor." Together, these components convey the meaning of "artificial waterway." Originally, the term referred to man-made waterways but later became specifically associated with the Yangtze River.
The character for "river" is a phono-semantic compound, combining the radical for water with the phonetic element "可." It refers to a naturally flowing body of water that forms a linear shape across the surface of the land.
（3）湖是形声字。从水，胡声，意义是中国古人把陆地中的封闭水域称为
（4）海是形声字。从水，每声，意义是大面积咸水区域
（5）汉是会意字。从水，从难（省去隹），难省声银河。也称云汉、银 汉、天汉
（6）池是形声字。从水，从也，也亦声。意义是塘,水池；.小水坑,潭;
（液体等的)一滩,一片；游泳池
The character "汊" is a phonetic compound, combining the element for water with the phonetic component "叉." It refers to a branch of flowing water, particularly at the bifurcation of a river, and can also denote a small inlet or creek.
The character "汪" is a phono-semantic compound, combining the elements of water and the sound component "王." It represents a pool formed by the convergence of surrounding streams or the vast ocean fed by numerous rivers.
据统计带有“水”字作为部首表示水流之属的汉字有35个：
*可以单独使用，如：黄河，长江
*可以与其他语素组成词语，如：河中、河内、河北、江口、江山等等
The article highlights the use of specific phrases that evoke imagery related to rivers and landscapes, such as "the troubles of river fish," "the mountains and rivers of Bai Er," "smiles brighter than the clear river," "the harmonious blend of river and sky," and "picturesque river mountains." These expressions capture the beauty and essence of nature, emphasizing the poetic relationship between water and scenery.
Statistics show that Chinese characters with the radical "水," indicating water-related meanings, can be used independently as well as in combination with other morphemes to form words and fixed expressions.
2.4.2.表示与水有关
Water is an essential element in our lives, which is reflected in the Chinese language through the numerous characters that incorporate the "water" radical These characters signify various concepts and objects related to water, highlighting its importance in daily life.
The character "潮" is a phono-semantic compound, combining the elements of "water" and "morning," where "morning" signifies "early." Together, they convey the concept of "the surge of water in the morning," which refers to the natural phenomenon of rising tides in rivers and seas during the early hours.
（2）游(人或动物在水里行动：游泳、游水)
（3）汛是形声字，江河定期的涨水或泛滥之义
（4）沁是形声字。从水从心，心亦声。本义：渗透之水
（5）泛是形声字。从水，乏声。本义：漂浮
The Chinese character "沸" is a phono-semantic compound, composed of the water radical and the phonetic element "弗." Its meaning relates to the process of boiling, where a liquid reaches a specific temperature, causing bubbles to form and the surface to roll, ultimately transforming into vapor.
（7）沐是形声字。从水，木声。意义是洗头发
沤 là một từ hình thanh, bao gồm phần "水" (nước) và "区" (qū), trong đó "区" cũng mang âm thanh "Ōu" có nghĩa là dùng nước để ngâm thực phẩm chờ chế biến, và nghĩa mở rộng của nó là ngâm lâu trong nước "Òu" chỉ việc ngâm lâu dài.
（9）沏是千结切，音切。水声。用开水调配某种液体，泛指沏茶
据统计带有“水”字作为部首的表示与水有关的汉字有93个：
*可以单独使用，如：游，泅、汊、汛等等
*可以与其他语素组成词语，如：汲水桶、沾手、浣熊皮
*可以用在固定词组，如：沾亲带故，花洗剑录等
Through our examination, we discovered that many Chinese characters related to water, which feature the "water" radical, can only be used independently and cannot be combined with other morphemes to form words or fixed phrases.
（1）泅：只有泅水、泅渡，不能用在固定词组里。
（2）汊：只能单独使用，不可以与其他语素组成词语及固定词组里。
2.4.3.表示类水的液体物质
带有“水”字作为部首的汉字文化含义
2.5.1.“水”字作为部首的汉字反映了中国古代人的世界观及人生观
Water held a significant position in ancient China, prominently featured in the concept of the Five Elements The Five Elements, a foundational material perspective in ancient Chinese philosophy, medicine, and divination, encapsulate essential natural forces This article explores the meaning of the Five Elements and examines historical interpretations of this vital concept Various theories surrounding the Five Elements have emerged throughout history, reflecting its importance in Chinese culture.
“五行”一词，最早出现在《尚书》的《甘誓》与《洪范》 中，在
In the text "Gan Zhi," it is stated that "the Hou clan has oppressed the five elements and neglected the three principles, leading to a divine decree for their destruction." Similarly, in "Hong Fan," it is noted that "Gun's attempts to control the flood disrupted the five elements, provoking the Emperor's wrath, which resulted in Gun's execution for failing to adhere to the principles of Hong Fan."
In ancient texts, it is stated that the heavens granted the great Yu the principles of governance, which are categorized into nine domains The five elements are identified as water, fire, wood, metal, and earth, each with distinct characteristics: water moistens and descends, fire blazes and ascends, wood embodies flexibility and growth, metal signifies transformation, and earth represents agriculture These elements correspond to specific flavors: water produces saltiness, fire yields bitterness, wood results in sourness, metal generates spiciness, and earth contributes sweetness.
The article discusses the arrangement and properties of the five materials, with water being the primary element, but it does not explore the intrinsic connections among the "Five Elements."
The concept of the "Five Elements," identified as water, fire, wood, metal, and earth in the "Hong Fan," has been regarded as fundamental since the time of King You of Zhou Over time, these elements were recognized as the five essential substances that constitute all things During the late Warring States period, the ideas of mutual overcoming and generating among the Five Elements emerged, establishing a fixed sequence that reflects the internal structural relationships and holistic understanding of phenomena The interactions are defined as: metal overcomes wood, wood overcomes earth, earth overcomes water, water overcomes fire, and fire overcomes metal, while the generative cycle is: metal generates water, water generates wood, wood generates fire, fire generates earth, and earth generates metal This period also saw the application of the Five Elements theory in medicine, contributing significantly to the unique theoretical framework of Traditional Chinese Medicine.
In summary, the concept of "Five Elements" represents the movement of matter and serves as the foundation of all things These five elements not only form the basis of nature but also influence human destiny and the continuous cycle of the universe The Five Elements theory posits that all phenomena are composed of the dynamic interactions and transformations of metal, water, wood, fire, and earth It emphasizes a holistic view, illustrating the structural relationships and forms of movement within the universe While Yin and Yang represent an ancient theory of opposites and unity, the Five Elements can be seen as a primitive and straightforward system theory based on a five-fold fractal structure.
黑色箭頭指向相生之物，粉紅色箭頭指向剋制之物
五行相剋：金剋木，木剋土，土剋水，水剋火，火剋金。
五行相生：金生水，水生木，木生火，火生土，土生金。
五行任一行与其他四行的关系为：生我、我生、克我、我克。
In the Five Elements theory, each element possesses distinct characteristics: "Wood represents growth and elevation," indicating its nurturing qualities; "Fire signifies heat and ascent," highlighting its energetic nature; "Earth symbolizes cultivation and sustenance," reflecting its role in nurturing life; "Metal denotes rigidity and transformation," showcasing its power for change; and "Water embodies nourishment and descent," illustrating its ability to sustain Ancient thinkers categorized various phenomena in the universe according to these elemental properties, transforming the concepts of Wood, Fire, Earth, Metal, and Water into broader categories that encompass a wide range of comparable attributes and characteristics.
In the context of the five elements, water is associated with femininity and softness, symbolizing winter and rain, including heavy downpours Water represents aspects of life such as self, art, and aesthetics It is interconnected with all things; when viewed positively, water embodies nurturing and mutual support.
Water represents both weariness and fatigue, as well as fear and worry Individuals associated with the Water element possess excellent communication skills, making them persuasive in conversations and negotiations Their sensitivity to others' emotions encourages people to listen to them Additionally, Water individuals have strong intuition and adaptability, allowing them to view situations holistically.
In daily life, the Five Elements represent the virtues of benevolence, righteousness, propriety, wisdom, and trust In Traditional Chinese Medicine (TCM), the Five Elements correspond to the five organs: Wood relates to the liver, Fire to the heart, Earth to the spleen, Metal to the lungs, and Water to the kidneys The Five Elements play a crucial role in TCM by illustrating the physiological characteristics of the organs, establishing a holistic system, explaining the interrelations among the organs, and providing insights into disease occurrence and transformation They also guide diagnosis, prevention, treatment, herbal prescriptions, acupuncture points, and psychological therapy Additionally, the Five Elements are associated with five colors—Green for Wood, Red for Fire, Yellow for Earth, White for Metal, and Black for Water—each reflecting the essence of nature Furthermore, the Five Elements are linked to the cardinal directions: Wood in the East, Fire in the South, Metal in the West, Water in the North, and Earth at the center Many Chinese phrases derive from the concept of the Five Elements, such as "water and earth," "fire and water," and "water deep, fire hot."
The character "水," serving as a radical, reflects the worldview and philosophy of life held by ancient Chinese people.
2.5.2.“水”字作为部首的汉字反映古代道德伦理文化
Chinese traditional ethics encompass five core virtues: benevolence, righteousness, propriety, wisdom, and trustworthiness Collectively known as the "Five Virtues," these principles were distilled by Confucianism from a wide array of ancient moral teachings, representing the fundamental moral standards essential for harmonious living.
In ancient Chinese society, five fundamental moral norms served as the essential guidelines for interpersonal relationships and were central to personal cultivation These norms permeated moral life and profoundly influenced the development of the moral character and spirit of the Chinese nation.
Ren, as the highest moral standard in Confucianism, is often referred to as "complete virtue." The fundamental spirit of Ren emphasizes self-discipline and adherence to rituals, as well as the importance of loving others This concept highlights the significance of how we treat ourselves and, in turn, how we should treat others.
Righteousness, or "义," represents the collective and fundamental interests of society and serves as the foundation for moral judgments of right and wrong It is closely linked to benefits, as highlighted in the "I Ching," which states, "Benefits are the harmony of righteousness." Righteousness manifests in the way individuals and society navigate their relationships and interests The core spirit of righteousness is socially oriented, as illustrated by Confucius, who noted that "the noble person understands righteousness, while the petty person understands benefits." He emphasized the importance of prioritizing righteousness over personal gain, stating, "When one sees a benefit, one should think of righteousness," and warned that "acting solely for personal gain leads to resentment." Furthermore, Confucius asserted that "a noble person's service is rooted in righteousness."