绪论
汉字的特点
Ancient scholars categorized the methods of Chinese character formation into six types, collectively known as "liushu," which includes "pictographs, ideographs, associative compounds, and phonetic compounds." The first four methods are used to create new characters, while the last two do not generate new ones This article will specifically focus on the first four methods of character formation.
（1）象形 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," pictographs are representations of objects, capturing their form and essence For instance, the character for "tooth" (牙) symbolizes the structure of a strong tooth, illustrating the overlapping shapes Pictographs can be categorized into simple and compound forms; simple pictographs consist of a single character, such as "wood" (木) or "sun" (日), while compound pictographs are formed by combining two or more characters, like "capital" (京).
The concept of "zhishi" (指事), also known as "xiangshi" (象事) or "chushi" (处事), utilizes symbolic representations, such as dots and strokes, to convey meaning According to the "Shuowen Jiezi," it refers to signs that are easily recognizable and visible, indicating directionality There are two main categories of zhishi characters in Chinese: pure zhishi characters, which entirely rely on these symbolic signs, such as the numbers one through four; and a second category where symbolic elements are added to parts of pictographs to clarify the intended meaning For example, the character "刃" (blade) includes a dot at the edge to indicate the blade's cutting edge, while "本" (root) adds a short stroke below the character "木" (tree) to signify the base of the tree, and "末" (tip) indicates the upper part of the tree.
Ideographs are formed by combining two or more characters to convey a new meaning There are two types of ideographs: homophonic ideographs and heterophonic ideographs Homophonic ideographs consist of two or more identical pictographs, such as "林," which is composed of two "木" characters, indicating a large number of trees Heterophonic ideographs, on the other hand, are created from two or more different pictographs, like "休," where the left side represents a person and the right side represents a tree, collectively signifying 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。
The "Shuowen Jiezi" states that phonetic-ideographic characters are named based on their meanings, drawing analogies for clarity, much like rivers and streams Phonetic-ideographic characters comprise over eighty percent of Chinese characters, showcasing a highly flexible combination method.
•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 represent ideas rather than phonetic sounds Unlike alphabetic systems that convey phonemes or syllables, Chinese utilizes thousands of unique symbols to signify or differentiate the meanings of various morphemes and words.
Chinese characters, composed of various strokes, serve as ideographic symbols that represent monosyllabic morphemes in the Chinese language, capturing their phonetic sounds Thus, Chinese characters function as phonetic units within the structural system of the language while also serving as morphological units with word formation significance The structure of Chinese characters not only records a syllable in the language but also conveys its meaning.
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 "radicals" was established by the Eastern Han scholar Xu Shen, who identified the shape of characters as radicals, allowing them to convey categorical meanings This means that characters sharing the same radical are related to the objects, actions, or qualities represented by that radical; for example, characters under the "人" (person) radical pertain to people, while those under the "口" (mouth) radical relate to mouth-related activities Radicals hold significant importance in the Chinese language, as they assist in distinguishing and defining the multiple meanings of a character or word, including its primary meaning, extended meanings, and borrowed meanings.
The number of radicals in Chinese characters varies across different texts, with the "Shuowen Jiezi" categorizing small seal script characters into 540 radicals, while the "Yupian" lists 542 radicals and the "Leipian" also has 540 In the Liao Dynasty, the monk Xingjun's "Longkan Shoujian" identifies 242 radicals, and during the Jin Dynasty, Han Xiaoyan and Han Daozhao contributed to the understanding of these radicals.
《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 evolution of Chinese characters includes a phenomenon known as "radicalization," where standalone characters transform into radicals during the historical development of Chinese script This process reflects a widespread morphological change that occurs as characters transition into components of more complex characters.
The phenomenon of shape change occurs when single characters are used as components in compound characters For instance, the character "水" (water) transforms into "氵" or "冫" when used as a radical, while "人" (person) changes to "亻" in a similar context.
汉字与汉民族文化的关系
Chinese characters hold a significant position in Han culture, as their origin, development, and evolution are influenced by cultural factors This is evident in the Chinese character system, which reflects the values, lifestyles, thought patterns, and customs of the Han people Chinese characters are not only a unique aspect of Han culture but also serve as a vital tool for preserving and disseminating cultural knowledge, encapsulating a wealth of information about Han culture.
Culture has played a crucial role in 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 fulfilling all communication needs due to limitations of "space" and "time." The "space limitation" refers to the distance between individuals during communication; if they are too far apart, effective verbal exchange becomes impossible For instance, in early clan societies, a clan leader's commands could not be heard by those not present, leading to potential miscommunication through relay Meanwhile, the "time limitation" highlights the necessity of passing down knowledge and events across generations, as spoken words can be fleeting and easily forgotten.
The passage of time makes it impossible for future generations to fully grasp past events, much like the struggles and victories between clan tribes, where details of battles and spoils may be lost or distorted through oral tradition alone Limitations of space and time hinder communication, necessitating a universally recognized system of written symbols to facilitate understanding This need 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 communication among people led to the creation of written symbols, which are fundamentally linked to the productivity of society Initially, Chinese characters represented common, simple, and easily depictable elements of everyday life, such as sun, moon, mountains, rivers, water, fire, earth, and wood, all of which are inherent in nature As societal productivity advanced, new concepts emerged, resulting in an expansion of the number of Chinese characters While some characters retained their original meanings, certain components within them evolved 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, resulting in a fervent worship of natural deities and ancestors driven by a desire for fortune and protection Various sacrificial activities flourished during this period, a tradition that continues today with rituals such as spring, summer, heavenly, earthly, and ancestral sacrifices The practices of ancient people in their worship can be partially understood through 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 ritualistic offering of 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 items they possessed to obtain urgently needed goods, though the value of these exchanged items was not always equal As social productivity increased, trade evolved, leading to the emergence of currency as a universal equivalent for various goods Texts like "Erya" and "Shuowen Jiezi" contain numerous terms related to trade and lending, such as "buy" (买), "sell" (卖), "trade" (贩), and "purchase" (购) for commercial activities, as well as "loan" (贷) and "debt" (贳) for borrowing Additionally, terms for collateral (赔), gifts (贽), taxes (贡), and rewards (赏) illustrate the complexity of economic interactions in ancient China.
The inscriptions indicate that trade activities were highly developed at the time, encompassing not only direct transactions between buyers and sellers but also lending and mortgaging due to financial shortages A common characteristic of these inscriptions is their connection to "shells," which were historically used as currency.
The evolution from barter to commodity trade necessitates the presence of a stable medium of exchange, which is currency Historically, shells served as the primary form of currency during this transition, highlighting their role as a common equivalent in trade.
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 formation of Chinese characters, we can gain insights into the shapes of weapons from that era.
The character "王" in ancient inscriptions resembles the shape of an axe, symbolizing its original meaning as an axe-shaped weapon As a tool for conquest, suppression, and hunting, the axe represents ultimate power; thus, whoever wields this weapon holds supreme authority over the world Consequently, the axe shape serves as a powerful emblem of royal power.
The character "戈" in oracle bone script and bronze inscriptions represents a single pictograph, symbolizing a long-handled, horizontal-bladed weapon Unlike traditional weapons, the "戈" features a flat head and horizontal blade designed solely for hooking rather than stabbing By positioning the hooked head at the top of the handle, it transforms into a "戟," enabling the capability for stabbing attacks.
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 primarily relied on gathering and hunting, but fierce wildlife and primitive tools made hunting challenging Consequently, the main diet consisted of wild fruits and vegetables During gathering activities, women's diligence and attention to detail proved more crucial than men's physical strength, allowing them to take on leadership roles within clans Social structures at the time featured group marriages and promiscuity, leading to uncertainty about paternity, as illustrated by the phrase "only knowing the mother, not the father." This is further emphasized by the character for "surname," which combines the elements for "female" and "lineage."
The concept of "birth" emphasizes that children are nurtured by women, reflecting the matriarchal structure of ancient Chinese clans Historical surnames in China, such as Jiang, Ji, Ying, and Yao, which include the female radical, further illustrate the significance of maternal lineage in early Chinese society.
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 one's father at home, following one's husband after marriage, and adhering to one's son after the husband's death This reflects not only the low social status of women but also the male disdain towards them, which is evident in the representation of the character for "woman" in Chinese characters.
（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, an essential element of the five elements, is a vital resource for human life Most human civilizations originated in river basins, highlighting the significance of water culture, which encompasses the scientific and cultural achievements related to water This cultural heritage includes both spiritual and material aspects that humans have created in relation to water.
The three realms of water culture highlight the deep connection between water and humanity, as emphasized by modern Western philosopher Ernst Cassirer, who stated, "Humans are dependent on their natural environment." He suggests that early mythological interpretations of the universe reveal an intertwined relationship between primitive anthropology and cosmology, where the origins of the world and humanity are inextricably linked This cultural phenomenon underscores that the world and humanity share a common source Water, as a fundamental element of nature and life, has been intricately woven into human existence and cultural history Throughout the world, water has shaped civilizations; the Nile River nurtured ancient Egyptian culture, the ebb and flow of the Euphrates influenced Babylon's rise and fall, the Mediterranean environment fostered the cradle of Greek and Roman cultures, while the Yellow and Yangtze Rivers enriched the profound Central Plains and vibrant Chu cultures in the East.
Water, embodying the essence of primordial cosmology, has permeated the depths of human cultural consciousness Throughout the vast expanse of history, it has evolved alongside humanity, transforming from a material element into a spiritual dimension as our understanding of nature deepens.
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" reflects ancient philosophers' understanding of water and unveils the endless cultural connotations it holds In nature, plants and mountains remain silent, and rivers like the Yangtze and Yellow River flow relentlessly, indifferent to human will When viewed visually, this unconscious water transforms into a "cultural spirit," transcending millennia and becoming a vibrant aesthetic medium A close reading of classic Chinese literature reveals that water is a prevalent theme, symbolizing deep emotional connections and cultural significance throughout history.
今"智者 "博大精深的人文精神，人类的 心理、情绪、意志以及个性、气
Throughout history, the essence of quality, personality, and human perception of the objective world—along with the recognition of consciousness and philosophical elevation—has been profoundly expressed through the medium of "water." This includes the unique emotions of life such as joy, anger, sorrow, and the contemplation of life and death.
Confucius once pointed to the river and remarked, "Time flows like this," reflecting on the fleeting nature of life and the irretrievability of lost youth Similarly, the poet Li Bai expressed his dissatisfaction with reality through the lines, "Drawing a knife to cut water only makes it flow more; raising a cup to drown sorrow only deepens it," highlighting a persistent sorrow akin to flowing water This sentiment was further echoed by Li Yu, the last ruler of the Southern Tang dynasty, who lamented, "How much sorrow can one have? It flows like the spring water heading east."
Throughout history, countless literary masterpieces have expressed deep emotions through water, conveying themes of longing, sorrow, and nostalgia These works often explore the sentiments of love and loss, reflecting on the experiences of women, the complexities of war, and the yearning for one's homeland.
During the Warring States period, the philosopher Gaozi cleverly compared human nature to water, stating that "human nature, like flowing water, has no inherent distinction between good and evil." Xunzi emphasized the importance of gradual progress, asserting that "without accumulating small steps, one cannot reach a thousand miles; without gathering small streams, one cannot form a river or sea." Wei Zheng highlighted the need for a strong foundation, noting that "to seek tall trees, one must solidify their roots; to ensure far-reaching streams, one must deepen their sources; to think of a nation's peace, one must cultivate virtue." Tang Taizong Li Shimin, reflecting on the wisdom of his predecessors, often spoke of the concept of "the boat that carries us can also capsize us."
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 continuously thrives and integrates diverse influences, contributing a radiant chapter to the history of human civilization.
Chinese culture, with its deep historical roots, has long nurtured a rich water culture characterized by diverse philosophical ideas Various schools of thought within traditional Chinese studies have developed unique interpretations of water culture based on their core philosophies Integrating these different water cultural elements into the design of water landscapes can infuse them with vitality Therefore, it is essential to thoroughly understand the water culture derived from these philosophical traditions when creating water landscapes Furthermore, this water culture must harmonize with local and national cultures to ensure its relevance and liveliness.
The most well-known discussion of water culture in 易学 (Yixue) is rooted in the theory of Yin-Yang and the Five Elements This philosophy, developed by ancient Chinese ancestors through observation and reflection on various phenomena, represents a significant ideological framework that combines spontaneous materialism with early dialectical thought Unique to the Chinese cultural context, this theory permeates various fields of ancient Chinese science and culture The Five Elements—metal, wood, water, fire, and earth—interact through cycles of generation and restriction, with water symbolizing wisdom Its characteristics include intelligence, kindness, a salty taste, and a black color The "San Ming Tong Hui" also elaborates on the nature of water, noting its ability to nourish and its endless source, which relies on metal to flow far and wide.
Confucianism views water as a symbol of virtue, suggesting that individuals should learn from its qualities It advocates that a gentleman should emulate water by continuously flowing and remaining unceasing, naturally enhancing their moral cultivation.
Water culture is not limited to the three major philosophical schools; it is also widely present in various other thought systems, including those of the military and Mohism.
The proverb "People strive for higher places, while water flows to lower grounds" highlights the inherent understanding of water's nature Similarly, the phrase "Fire rises, water flows down" underscores the discovery of water's properties Water's ability to permeate its surroundings illustrates its softness, contrasting with the hardness of steel, as the ancients wisely noted, "Who knows that softness can overcome hardness?" This duality of water, like all things, reflects the ancient people's exploration and understanding of it, vividly represented in Chinese characters, particularly those with the water radical.
Chinese characters frequently incorporate the radical for water in various forms, highlighting the intimate connection between water and daily life.
相关研究
Chinese characters are among the oldest writing systems in the world, known for their historical depth and significant meanings A crucial aspect of Chinese characters is their radicals, which serve not only to convey meaning and sound but also to distinguish between different characters Throughout history, the study of radicals and the broader cultural significance of Chinese characters has seen a notable increase in scholarly research in China.
The earliest dictionary in China, known as "Erya," was compiled around the Han Dynasty It was the first dictionary to categorize and explain characters Later, Xu Shen, a pioneer in Chinese linguistics, authored "Shuowen Jiezi" between 30 and 124 AD, establishing 540 radicals based on the shapes of characters In "Shuowen Jiezi," Xu Shen systematically elaborated on the six principles of Chinese characters.
In the 55th year of the Kangxi era, the "Kangxi Dictionary" was officially published, utilizing a radical classification system and arranging characters by stroke count across twelve volumes Following this, several works titled "Shuowen" emerged, which built upon, refined, and supplemented the research findings of the Kangxi Dictionary Additionally, the series "Chinese Characters and Culture" and "New Perspectives on Chinese Character Studies" have compiled diverse achievements in Chinese character research over the years Most of the specialized texts on Chinese character culture connect a group of characters from "Shuowen" through semantic categories for cultural examination.
Since the reform and opening-up, Chinese researchers have increasingly focused on the study of their own language, characters, and culture to promote their influence globally There has been a notable rise in authors and works dedicated to the study of Chinese characters, where scholars not only build upon previous research but also present their own innovative insights Noteworthy contributions 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 in 2003, which explores various themes related to Chinese characters Additionally, works by Xiao Qihong published by New World Publishing further enrich this field of study.
2004年出版的《从认字说起》等专著。
Several notable works focus on Chinese characters and their radicals, including Wang Yuxin's "Research on the Cognition of Chinese Characters" (Shandong University Press, 2000), Zhou Youguang's "Chinese Characters and Cultural Issues" (Liaoning People's Publishing House, 2000), and Zuo Min'an's "A Detailed Discussion on Chinese Characters" (Jiuzhou Press, 2006) These books explore the cultural significance of Chinese characters and the role of radicals in understanding them.
All research on Chinese characters holds significant reference value, showcasing their unique status as ideographic symbols Each article, thesis, and monograph has its own distinct research scope and varying degrees of achievement, yet collectively they highlight the richness of Chinese character studies These scholarly works offer abundant resources for contemporary researchers of the Chinese language.
Từ lâu, việc nghiên cứu chữ Hán và văn hóa chữ Hán đã được thực hiện tại Việt Nam Tuy nhiên, từ khi mở cửa, những thành tựu trong lĩnh vực này đã gia tăng đáng kể Đặc biệt, Phó giáo sư Phạm Ngọc Hân đã công bố các tác phẩm quan trọng như "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成果 of Mr Fan Yuhan on Chinese characters over the years.
Several master's theses have made significant contributions to the study of Chinese characters in Vietnam Notable works include "An Investigation of Chinese Characters with '女' as a Radical" by Mei Xiang Pei, "Research on the '心' Radical in Modern Chinese" by Huang Qiuxian, and "An Examination of Chinese Characters with '人' as a Radical" by Chen Biye Through my research, I found that these studies have not yet explored the radical '水' The character '水' symbolizes the source of all life and has deep implications in politics, moral theory, and philosophy Characters that incorporate '水' not only relate to water but also encompass areas such as textiles, dyeing, legal concepts, ancient water conservancy projects, and scientific advancements in social life This highlights the cultural significance of '水' as a radical and its potential influence on Chinese language education in Vietnam.
小结 第一章已集中揭示了以下几点：
The article discusses the theoretical relationship between Chinese characters and Chinese culture, outlining the origins, historical development, and evolution of Chinese script Chinese characters originated from pictographs and their development can be divided into three stages, reflecting the ancient Chinese people's innovation and refinement of written language With a history spanning five to six thousand years, the forms of Chinese characters have undergone significant changes at different stages, including oracle bone script, bronze inscriptions, large seal script, small seal script, clerical script, cursive script, horizontal writing, and running script.
This chapter highlights the four main characteristics of Chinese character formation: associative compounds, phonetic compounds, indicative characters, and pictographs As ideograms, Chinese characters play a significant role in Chinese culture The author introduces radicals and components, emphasizing the connection between Chinese characters and Han ethnic culture This relationship is evident in various aspects, including ancient commodity culture, weapon culture, folk customs, calligraphy, and seal carving Additionally, the chapter delves into the ancient Chinese understanding of water, enriching learners' comprehension of Chinese water culture.
Historically, both China and Vietnam have engaged in the study of Chinese characters and their cultural significance However, my research indicates that previous studies have overlooked the exploration of characters that utilize "水" (water) as a radical Therefore, this paper aims to clarify the formation, meanings, and cultural implications of characters that incorporate "水" as a radical in the following two chapters.
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.“水”字简介 2.1.1.“水”的造字法
Chinese characters are created using six methods, with four being the most common: pictographs, associative compounds, ideographs, and phonetic compounds The character "水" (water) is a pictograph, where the wavy lines represent flowing water, and the dots signify water droplets or waves In ancient texts, the character "水" was also used to refer 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 mountain cliffs or rocks Its original meaning refers to mountain springs splashing downwards In oracle bone script, flowing water is typically represented with specific characters, while still or gently flowing water is depicted differently In the later stages of oracle bone script, the representation evolved to resemble the characteristics 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
"Nước" là một chữ tượng hình Trong hình thức chữ viết thời kỳ giáp cốt, hình dạng ở giữa giống như mạch nước, hai bên giống như dòng chảy Ý nghĩa chính của "nước" là chất lỏng rơi xuống từ đám mây dưới dạng mưa, là hợp chất hóa học đơn giản nhất, H2O, không màu, không mùi, tạo thành các dòng sông, hồ và đại dương, 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：
有“水”作为部首在汉字里的位置考察
According to "A Brief Analysis of Chinese Radicals," the positioning of radicals is categorized into six main areas: top, bottom, left, right, inner, and outer The radical "水" (water) can occupy various positions in Chinese characters, appearing centrally, at the top, or at the bottom; however, it predominantly appears on the left and never on the right This distribution reflects the nature of water's permeation and downward flow Statistics show that there are 502 characters with "水" as a radical, but only three characters are standalone structures: 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 统计结果显示：“水”作为部首的汉字里的位置十分灵活，可以居左，也 可以居上、居下、也可以居半包围的，但根据“水”的性质，居左的汉字数 量是最多，数量为 480 个，占 95.6 %，居右的汉字到现在还没有，因为
“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 original form in the Zhou script featuring the radical "阜," which relates to elevated land or hills The primary meaning of "隘" is narrow or small, often associated with restricted spaces.
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, effectively bringing it to a boil.
（2）浆是形声字，从水，从将，将省声。“浆 ”本义为“涂抹了肉汁的木
片”。“将”与“水”联合起来表示“浓厚的饮料”。本义：浓厚饮料。
（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
The concept of ideographic characters holds significant importance in Chinese character formation, encompassing two types: homophonic ideographs and heterophonic ideographs These characters not only convey abstract ideas but also depict tangible objects By studying ideographic characters, students can easily grasp both the literal and implied meanings of Chinese characters However, there are relatively few ideographic characters that feature "water" as a radical, totaling only 16 examples.
（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 character that combines elements representing water and difficulty, symbolizing the Milky Way It is also referred to as "Yunhan," "Yinhan," or "Tianhan." Additionally, "Han" serves as an abbreviation for the Han ethnic group and is a modern designation for the Huaxia people It is associated with 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 the 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 language Consequently, the phonetic-ideographic method has surpassed other forms such as pictographs, indicative characters, and associative compounds A closer examination reveals that phonetic-ideographic characters dominate in quantity, totaling 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 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 signify "a small piece of land in the water that can accommodate a single fishing household." Its primary meaning reflects a space in the water suitable for one fishing family to reside.
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 character "涯" combines both ideographic and phonetic elements, signifying "water's edge" or "shore," as well as representing boundaries and limits It conveys meanings such as "the edge of water," illustrated by terms like "涯际" (water's boundary) and "涯岸" (water's bank), while also indicating scope or extent in phrases like "生涯" (career) and "涯分" (limits or boundaries of one's role).
The term "wet" refers to the presence of moisture, contrasting with "dry," and encompasses meanings such as humidity, dampness, and moisture content In traditional Chinese medicine, it relates to concepts like dampness, pathogenic moisture, and conditions like damp diarrhea.
Pong, also known as duckweed, is a floating aquatic plant characterized by its flat, green leaves with purple-red undersides This annual herb grows on the water's surface, producing white flowers and developing fibrous roots beneath its leaves The term "Pong" is often used metaphorically to describe an uncertain lifestyle or transient existence, as seen in phrases like "Pong lodging," "Pong tracks," and "Pong encounters."
2.3.4.“水”字作为部首的所谓无归类汉字
Many Chinese characters with the radical "水" (water) cannot be easily classified by their formation methods, totaling 30 characters Examples include: 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 categorization and significance of Chinese character radicals, leading to a loss of their original meanings and reducing their effectiveness in conveying meaning.
After over 3,000 years of development, Chinese characters are 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 related to flowing water, substances associated with water, liquid materials similar to water, as well as references to textiles, dyeing industries, legal concepts, and ancient hydraulic engineering.
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" as a radical in 1990, a comprehensive analysis of the primary and derived meanings of "水" in Chinese characters was conducted.
2.4.1.表示水流之属
In ancient characters, "water" is depicted as a pictogram representing the flow of water, embodying its fundamental essence as a simple hydrogen-oxygen compound This colorless, tasteless, and odorless transparent liquid plays a crucial role in various aspects of life and is often used as a radical in Chinese writing.
The Chinese radicals "氵" and "氺" signify water-related meanings, primarily reflecting the essence of flowing water However, there are relatively few characters that convey this specific meaning Among the 502 Chinese characters that utilize "水" as a radical, only 35 explicitly represent the concept of water flow.
The character "江" is a phono-semantic compound, combining the elements for "water" and "work," where "work" refers to human effort Together, these components signify "artificial waterway," originally denoting a man-made water channel Over time, this term has evolved to specifically refer to the Yangtze River.
The character "河" is a phono-semantic compound, combining the elements for water and the phonetic component "可." It refers to a naturally flowing body of water that forms a linear shape on the Earth's surface.
（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 phono-semantic compound, combining the radical for water with the phonetic element "叉." It refers to a branch of flowing water, specifically the points where a river diverges, and also signifies a small inlet or channel.
The character "汪" is a phono-semantic compound, combining the element for water with the phonetic component "王." This character evokes imagery of a pool formed by flowing streams or the vastness of an 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 discusses the use of fixed phrases in the Chinese language, such as "the troubles of river fish," "the mountains and rivers of Bai Er," "smiles brighter than the clear river," "the sky and river in harmony," and "picturesque rivers and mountains." These expressions illustrate the beauty and significance of nature in Chinese culture, showcasing the deep connection between language and the landscape.
According to statistical results, Chinese characters with the radical "水," which signifies water-related meanings, can function independently and also combine with other morphemes to form words and fixed phrases.
2.4.2.表示与水有关
Water is an essential element, which is why many Chinese characters incorporate the "water" radical to signify their connection to water-related concepts.
The character "潮" is a phono-semantic compound, combining the elements of "water" and "morning," where "morning" signifies "early." Together, these components convey the concept of "the surge of water in the morning." Its original meaning refers to the rising waters of 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 character "沸" is a phono-semantic compound, consisting of the water radical and the phonetic component "弗," which also indicates sound Its meaning encompasses the concepts of boiling, bubbling, and the transformation of a liquid into vapor when heated to a specific temperature, resulting in the formation of bubbles and surface agitation.
（7）沐是形声字。从水，木声。意义是洗头发
沤 là một từ hình thanh, bao gồm bộ "水" (nước) và "区" (khu vực), với "区" cũng mang âm thanh Từ này có nghĩa là sử dụng nước để ngâm thực phẩm trước khi chế biến Ý nghĩa mở rộng của từ này là ngâm lâu trong nước.
The term "沏" (qì) refers to the action of brewing, particularly in relation to tea, and is associated with the sound of water It encompasses the process of using boiling water to prepare various liquids, primarily tea Statistics reveal that there are 93 Chinese characters that include the radical "水," indicating their connection to water.
*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
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 significant importance in ancient China, prominently featured within the concept of the Five Elements The Five Elements, a foundational perspective in ancient Chinese thought, were integral to philosophy, traditional Chinese medicine, and divination practices This article explores the meaning of the Five Elements and examines historical interpretations of this concept Various theories surrounding the Five Elements have emerged over time, highlighting their multifaceted role 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 refers to the "Hou clan's arrogance over the five elements, neglecting the three virtues, leading to divine intervention that extinguished their fate." Meanwhile, in "Hong Fan," it highlights "Guan's failure to control the flood, disrupting the five elements; the Emperor, enraged, denied him the nine domains of Hong Fan, resulting in Guan's demise, while Yu succeeded."
In the context of ancient Chinese philosophy, the concept of the Five Elements—Water, Fire, Wood, Metal, and Earth—plays a crucial role in understanding the natural world Water is associated with nourishment and descent, while Fire symbolizes ascension and intensity Wood represents growth and flexibility, Metal signifies transformation and structure, and Earth embodies cultivation and harvest Each element is linked to specific flavors: Water corresponds to saltiness, Fire to bitterness, Wood to sourness, Metal to spiciness, and Earth to sweetness, reflecting the interconnectedness of nature and human experience.
The article discusses the arrangement and properties of the five essential materials, with water being the foremost, but it does not address the intrinsic connections between the "Five Elements."
The concept of the "Five Elements" (Wood, Fire, Earth, Metal, Water) is clearly defined in the "Hong Fan" as essential components of all things During the reign of King You of Zhou, these elements were recognized as the fundamental substances that constitute the universe Over time, the understanding of the Five Elements evolved to include their interactions, leading to the ideas of mutual dominance (overcoming) and generation, which established a framework for understanding the relationships and dynamics within nature This included the cycle of overcoming: Metal overcomes Wood, Wood overcomes Earth, Earth overcomes Water, Water overcomes Fire, and Fire overcomes Metal, as well as the generative cycle: Metal generates Water, Water generates Wood, Wood generates Fire, Fire generates Earth, and Earth generates Metal By this period, the theory of the Five Elements had been integrated into traditional Chinese medicine, significantly influencing its unique theoretical framework.
In summary, the concept of "Five Elements" represents the movement of matter and the foundation of all things These five elements not only constitute the vastness of nature but also influence human destiny and contribute to the continuous cycle of the universe The theory of Five Elements posits that all phenomena are formed through the interactions and transformations of the five fundamental substances: metal, water, wood, fire, and earth It emphasizes a holistic view, illustrating the structural relationships and dynamic forms of existence While Yin and Yang represent an ancient dialectical unity, the Five Elements can be seen as a primitive and straightforward system theory of a five-fold fractal nature.
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。
Each element of the Five Elements possesses distinct characteristics: "Wood represents growth and upward movement," "Fire signifies heat and ascension," "Earth symbolizes cultivation and the nurturing of life," "Metal embodies severity and transformation," and "Water denotes nourishment and downward flow." Ancient thinkers categorized various phenomena in the universe according to these elemental traits, leading to a conceptual understanding that transcends the elements themselves, encompassing a broad range of comparable properties shared by diverse entities and occurrences.
In the Five Elements theory, water represents femininity and softness, symbolizing winter and rainfall, including heavy downpours It relates to aspects of life such as self, art, and aesthetics Water is interconnected with all things; when viewed positively, it embodies nurturing and mutual support.
Individuals associated with the water element often experience feelings of weariness and anxiety, reflecting their emotional depth They possess excellent communication skills, making them persuasive in conversations and negotiations Their sensitivity to others' emotions encourages receptiveness from those around them Additionally, water personalities are intuitive and adept negotiators, demonstrating flexibility and strong adaptability while maintaining a holistic perspective on situations.
In daily life, the Five Elements represent virtues such as benevolence, righteousness, propriety, wisdom, and trust In Traditional Chinese Medicine (TCM), the Five Elements correspond to the five vital 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 that connects them, explaining the onset of diseases, and guiding diagnosis, treatment, and herbal remedies 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, reflecting the natural world They also correlate with the five 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, highlighting their significance in cultural expressions.
The character "水," used as a radical in Chinese characters, 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 fundamental virtues: benevolence, righteousness, propriety, wisdom, and faith Collectively known as the "Five Virtues," these principles were distilled by Confucianism from a wide array of moral teachings in ancient times, representing the core moral standards that guide interpersonal relationships and societal harmony.
In ancient Chinese society, five fundamental moral principles served as the basic guidelines for interpersonal relationships and were central to personal cultivation These principles permeated moral life, significantly shaping the ethical quality and spiritual essence of the Chinese nation.
Ren, as the highest moral standard in Confucianism, embodies the concept of "complete virtue." Its fundamental spirit consists of self-discipline and adherence to propriety, alongside the principle of loving others This duality emphasizes the importance of self-regulation in personal conduct and compassionate treatment of 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 intricately linked to profit, as stated in the "I Ching": "Profit is the harmony of righteousness." Righteousness manifests in the relationships between individuals and society, emphasizing a social-centered perspective Confucius highlighted this by stating, "The noble person understands righteousness, while the petty person understands profit," and advised to "consider righteousness when seeing profit." He cautioned that pursuing profit alone leads to resentment and asserted that a noble person's service is rooted in righteousness.
研究结果在 越南汉字教学中的应用
汉字教学有关理论基础
The primary goal of language teaching is determined by the purpose of language learning, which is fundamentally to enable learners to use the target language effectively This shared objective across various languages and teaching methods emphasizes the development of students' language skills A significant characteristic of modern language teaching is its focus on equipping students with practical language use, distinguishing it from traditional methods that primarily concentrated on imparting language knowledge and fostering reading and writing skills In traditional first language education, the emphasis was on knowledge acquisition, while second language instruction often focused on reading and translation, particularly of classical texts However, with advancements in science and technology and the increasing frequency of international interactions, there is a pressing demand for professionals proficient in foreign languages, highlighting the inadequacy of traditional training methods to meet contemporary societal needs.
While the primary goal of language learning is to become proficient in using the language, individuals utilize it in varying ways and for different purposes This diversity leads to distinct objectives among learners, particularly in the context of second language acquisition The specific purposes for learning a second language can be categorized into several areas: professional goals, vocational tool usage, academic objectives, and educational purposes.
Different learning objectives lead to distinct specific teaching goals, which in turn dictate the corresponding teaching requirements.
1．2．教学的基本原则
（一）培养运用汉语进行交际的能力。
This principle reflects the fundamental task of language teaching, emphasizing the essential role of language as a tool for communication It aligns with the current global reality, where close interactions among countries create an urgent demand for language talent To achieve the goal of developing language communication skills, it is crucial to focus on specific strategies and practices.
Language should be taught and learned primarily as a communication tool, aligning with the functional approach that emphasizes a communicative teaching process This encourages students to creatively express their thoughts using the language However, especially at the beginner level, it is also important to incorporate mechanical training methods, such as pattern drills emphasized by the audio-lingual method, to help students grasp language forms and develop good habits.
The cultivation of abilities is inherently linked to the mastery of knowledge Acquiring language knowledge and internalizing language rules are essential prerequisites for developing effective communication skills.
To develop communication skills, it is essential to utilize authentic language materials from real-life situations, ensuring that these materials are appropriate for the students' proficiency levels.
（二）以学生为中心，教师为主导
This principle addresses the relationship between teaching and learning, serving as a fundamental guideline It emphasizes the importance of effective communication and interaction in the educational process, ensuring that both educators and learners engage meaningfully By prioritizing this principle, we can enhance the overall learning experience and foster a more productive educational environment.
To enhance student engagement, teaching plans and outlines should be developed based on students' characteristics and needs, focusing on relevant and practical content By ensuring that learning materials and methods are aligned with students' urgent requirements, we can promote the application of knowledge, ultimately increasing their interest in learning.
2．研究学生的个体差别，因材施教。
Classroom teaching should employ an inquiry-based approach that stimulates and develops students' intellect, emphasizing the principle of active student participation.
4．多听取学生的意见，并根据所得到的反馈不断调整教学计划，改 进教学。
（三）结构，功能，文化相结合
The concept of "structure" refers to both grammatical and semantic frameworks of language, while "function" pertains to the practical use of language in specific contexts to achieve communication tasks "Culture" encompasses the cultural elements relevant to language teaching, particularly those that influence communication due to cultural differences in cross-cultural interactions, as well as the cultural background knowledge of the target language country It is essential to integrate structure, function, and culture in teaching: structure serves as the foundation, function represents the goal, and cultural instruction supports language learning Cultural education is an integral part of language teaching, alongside the instruction of semantics and pragmatics.
The development of social linguistic skills, discourse competence, and strategic abilities, which are integral components of communication skills, is fundamentally linked to cultural education.
（四）强化汉语学习环境，扩大学生对汉语的接触面
Focused and extensive practice is a fundamental principle in Chinese language teaching Language instruction should center around skill training, which encompasses not only listening, speaking, reading, writing, and translation but also emphasizes the importance of developing communication skills to enhance overall communicative competence.
（六）以句子和话语为重点，语音，语法，词汇，汉字综合教学。
The five essential language skills—listening, speaking, reading, writing, and translating—are interdependent and crucial for effective communication We advocate for a comprehensive approach to language learning, while recognizing that different learning stages may require varying emphases on these skills.
（八）利用但控制使用母语或媒介语。
This principle addresses the relationship between the target language teaching and the native or medium language It emphasizes that both comprehension and expression in the target language should avoid reliance on translation from the native language However, the presence of the native language and its influence on the target language cannot be overlooked Utilizing the native or medium language primarily refers to conducting comparative analysis in the preparation of teaching materials and lesson plans In the classroom, teachers must carefully control their use of the native or medium language.
（九）循序渐进，螺旋式提高，加强重视率
越南学生学习带有“水”字作为部首的汉字的考察
3.2.1．考察方式、内容、对象及时间
Chinese characters are the written form of the Chinese language and play a crucial role in teaching Chinese as a foreign language Mastering Chinese characters is a key focus within language education, as many students find them challenging To effectively learn Chinese, students must grasp the characters, as this is a prerequisite for advancing in their studies If students struggle with characters, they may reach a point where they cannot progress further Therefore, it is essential to explore effective strategies for mastering Chinese characters, which requires not only good teachers, materials, and learning environments but also appropriate learning strategies This investigation aims to discover how learners can effectively master Chinese characters, particularly those containing the "water" radical.
In the study of Chinese characters, it's essential to pay attention to the construction methods, the relationship between character forms, and their meanings Understanding the common mistakes learners make can help identify effective teaching strategies to address these issues.
To gain deeper insights into Vietnamese students' understanding of the radical "水," its variants, and the structure and meanings of Chinese characters that incorporate this radical, the author conducted an examination of second and third-year students at Hanoi Normal College.
The methodology employed in this study involves a questionnaire that examines five key aspects related to the Chinese character "水." The first question assesses students' understanding of the fundamental meaning and construction of the character The second question explores students' grasp of "水" as a radical, particularly its properties of flowing and permeability The third question focuses on the common characteristics, construction, and meanings of characters that use "水" as a radical, revealing whether students pay attention to these elements during their Chinese language studies The fourth question investigates the relationship between the shapes and meanings of characters with "水" as a radical, aiming to determine if students can connect form and meaning in their learning process Finally, the fifth question evaluates students' comprehension of the significance of "水" as a radical, providing insights into their understanding of its meaning (for detailed content, please refer to Appendix Table 5).
The author distributed 90 survey questionnaires and successfully collected all 90 responses, with 85 deemed valid A statistical analysis of these questionnaires was conducted, and the detailed results and analysis are presented below.
第一个问题：请说明“水”字的本义和构字法？结果如下：
年级 考察内容 数量 比例
正确 错误 正确 错误
“水”的构字法 10 75 11.8% 88.2%
“水”的构字法 15 70 17.6% 82.4%
A recent survey indicates that most second and third-grade students have a good understanding of the primary meaning of the character "水" (water) The first part of the survey focused on the fundamental meaning of "水." Among second-grade students, a small percentage (6%) were unable to answer correctly, while third-grade students demonstrated a higher level of comprehension, with a significant number answering correctly This suggests that learners have a solid grasp of the basic meaning of "水."
对“水”的构字法，二年级学生有 个回答不正确，占 ；三年级学
生有 个回答不正确，占 。这样说明学生还没把握好“水”的构字法。
The author investigates the position of "water" as a radical in Chinese characters, revealing significant findings This examination allows students to explore various interpretations and applications of the radical in different contexts The results highlight the importance of understanding radicals in enhancing language comprehension and character recognition.
有“水”作为部首在汉字里的位置考察结果可以列在下表：
序号 位置 数量 比例
1 居中的汉字 没有 0
2 居左的汉字 85/85 100%
3 居右的汉字 15/85 17.6%
4 居上的汉字 35/85 41.1%
5 居下的汉字 5/85 5.9%
6 居半包围的汉字 没有 0
Research indicates that second and third-grade students lack a comprehensive understanding of the position of the radical "水" (water) in characters All students surveyed, totaling 85 out of 85, believed that "水" primarily occupies the left position, demonstrating a misunderstanding of its nature This misunderstanding highlights that students have not grasped the concept of "水" as flowing and permeable, which explains why it rarely appears on the right or at the bottom of characters.
The third question explores the commonality among certain Chinese characters Specifically, I have selected four characters that feature "水" (water) as a radical This choice highlights the significance of water in the formation and meaning of these characters, showcasing their shared structural characteristics and thematic connections.
“河”、“法”、“洗”、“治” 等，让学生指出其共同点以及构字法。下列是调查 的结果：
年级 考察内容 数量 比例
正确 错误 正确 错误 共同特点 83 2 97.6% 2.4%
调查显示：二年级的学生对该问题的第一小项回答正确的为 83 个，占
97.6%；不能回答的为 2 个，占 2.4%，没有其他答案。三年级的情况稍微
好一点儿。大多数学生都能指出那些汉字的共同点，其数量为 85 个，占
100%。调查说明，大部分学生都知道四个汉字的共同点（都有“水”部 首）。
The second part of the question presents a significant challenge, resulting in all second-grade students either failing to answer or providing incorrect responses Most of them mistakenly identified the answer as "up-and-down structure" or "left-and-right structure."
量为 80个，占 94.1%。三年级学生情况也不例外，在 85个学生只有10个
回答正确，占11.8%；其他的都以“上下结构”、“左右结构”为答案。
第四个问题：本人从带有“水”字作为部首的汉字中选出了“河”、
“法”、“治”等三个汉字让学生指出其字形与字义的关系。结果如下：
年级 考察内容 数量 比例
正确 错误 正确 错误
A recent survey revealed that only 76.5% of second-grade students correctly understood the relationship between the form and meaning of the character "河," with 65 students providing correct answers, while 23.5% (20 students) could not respond at all In contrast, the characters "法" and "治" presented a greater challenge, as 100% of students were unable to answer questions regarding their form and meaning, with no alternative responses given.
In a third-grade assessment, 82.4% of students correctly identified the relationship between the character "河" and its meaning, while 17.6% could not provide an answer For the character "法," an impressive 98.8% answered correctly, but 98.8% were unable to respond to its meaning Notably, none of the students could accurately explain the relationship between the character "治" and its meaning, as all were unable to provide a correct answer.
Many students struggle with learning Chinese characters because they have not yet connected the forms of the characters with their meanings As a result, they often find Chinese characters difficult to recognize, remember, and write This difficulty stems from a lack of true understanding of the relationship between the character shapes and their meanings.
The fifth question asks for an explanation of the meanings of Chinese characters that use "water" as a radical Students have the option to select from the provided answers, and the results of this assessment are as follows.
序号 考察内容 二年级 三年级
选择 比例 选择 比例
1 表示水流之属 85/85 100% 85/85 100%
表示与水有关 85/85 100% 85/85 100% 表示类水的液体物质 40/85 47% 51/85 60%
4 描写水的状貌 20/85 23.5% 15/85 17.6%
5 指纺织，印染业 0/85 0% 2/85 2.3%
6 指法律观念 1/85 1.2% 3/85 3.5%
7 指古代水利工程 5/85 5.9% 10/85 11.8%
8 体现社会生活的科学技术 0 0% 0 0%
9 描写跟水有关的地名，水
A survey revealed that all second and third-grade students associate characters with the radical "water" with meanings related to flowing water, aquatic elements, or liquid substances, accounting for 100% of responses However, very few students selected characters with the "water" radical to represent legal concepts or reflect scientific and technological aspects of social life Additionally, a significant number of students indicated alternative meanings, with 27 out of 85 second graders making such selections.
年级有 32/85 个，他们所选择这个答案可能就是不太了解到底“水”作为