{"id":8899,"date":"2019-11-13T12:40:51","date_gmt":"2019-11-13T12:40:51","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-reading\/qieyun-qie-yun-quot-cut-rhymes-quot\/"},"modified":"2019-11-13T12:40:51","modified_gmt":"2019-11-13T12:40:51","slug":"qieyun-qie-yun-quot-cut-rhymes-quot","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/de\/qieyun-qie-yun-quot-cut-rhymes-quot\/","title":{"rendered":"Qieyun \u5207\u97f5 "Cut Rhymes""},"content":{"rendered":"
 The Qieyun \u5207\u97f5 "Cut rhymes" is the oldest surviving dictio<\/em>nary arranging characters according to pronunciation. It was written by Lu Fayan \u9646\u6cd5\u8a00 during theSui period \u968b (581-618).<\/p>\n

The pro<\/em>nunciation of the characters is indicated by the so-called fanqie system \u53cd\u5207 ("reverse cuts"). It came up during the period of the Southern and Northern dynasties \u5357\u5317\u671d (300~600) when the changing shapes of characters (from seal s<\/em>cript to chancery s<\/em>cript), changing pro<\/em>nuncation and the treatment of foreign texts in shape of Buddhist writings made it necessary to render the standard pro<\/em>nunciation in written form. Two older books using the principle of rhymes, Li Deng’s \u674e\u767b Shenglei \u58f0\u7c7b and Lü Jing’s \u5415\u9759 Yunji \u97f5\u96c6, from the Three Kingdoms \u4e09\u56fd (220-280) resp. the Jin period \u664b (265-420), are lost.<\/p>\n

The Qieyun was finished in 601. The original is lost. o<\/em>nly a manus<\/em>cript fragment is preserved that was unearthed in Dunhuang \u6566\u714c, and fragments quoted in other books. In the last decades a lot of manus<\/em>cript fragments from the Tang period \u5510 (618-907) came to light which make it possible to understand the general structure of the book. The Qieyun co<\/em>nsisted of 8 juan "scrolls" and included 11,500 characters, arranged in 193 rhyme groups (yun \u97f5). 53 rhyme groups are level tone rhymes (pingsheng \u5e73\u58f0), 51 falling-rising tone rhymes (shangsheng \u4e0a\u58f0), 56 falling tone rhymes (qusheng \u53bb\u58f0), and 32 entering tone rhymes (rusheng \u5165\u58f0). The first three categories are arranged in a fixed sequence. Below the rhyme group level, the characters are arranged in groups of homophones. Below first character of such a homopho<\/em>nes paragraph the pro<\/em>nunciation is indicated by the fanqie system, and the number of homophones. The meaning of the characters is explained with very few words, and many common characters do not have such an explanation at all – the Qieyun thus served often o<\/em>nly to render the correct pro<\/em>nunciaton of a character. For a lot of characters an alternative pro<\/em>nunciation is indicated (you yin X \u53c8\u97f3\uff38 "also pro<\/em>nounced X"). Later revisions have enlarged the dictio<\/em>nary by missing characters and standardized the entries by the addition of missing definition, etc. These are the so-called cengdingben \u66fe\u8ba2\u672c. Sometimes even the pro<\/em>nunciation notes are modernized by using other characters for the fanqie system. Some rhyme groups have been split up in two groups. The greatest change in this respect was made by the Tang period scholar Wang Renxu \u738b\u4ec1\u662b in his Kanmiu buque Qieyun \u520a\u8c2c\u8865\u7f3a\u5207\u97f5. There are two revised editions of the Qieyun of good quality, one is Wang Renxu’s edition, stored in the Imperial Palace Museum \u6545\u5bab\u535a\u7269\u9662, the other is Chen Pengnian’s \u9648\u5f6d\u5e74 Da-Song cho<\/em>ngxiu Guangyun \u5927\u5b8b\u91cd\u4fee\u5e7f\u97f5 from the Northern Song period \u5317\u5b8b (960-1126).<\/p>\n

There was another book called Qieyun, compiled by the Tang period scholar Li Zhou \u674e\u821f. The book is lost but it is known that its arrangement of the rhyme groups influenced later rhyme dictionaries.
 
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