Taxonomy of meanings for 散:　　

Additional information about 散

說文解字:

Criteria
• ACCUMULATE
  

  [ABSTRACT/CONCRETE]

  [GENERAL/SPECIFIC]

  [LARGE-SCALE/SMALL-SCALE]

  [LASTING/TRANSITORY]

  1. The current general word for accumulating anything concrete or abstract is jī 積 (ant. sǎn 散 "be dispersed"), and the word focusses on the process of accumulation rather than on the result only.

  [LARGE-SCALE], [LASTING]

  2. Xù 畜 / 蓄 refers specifically to accumulation and continuous storage of things for the purpose of sustenance of life or the rearing of domestic animals.

  [CONCRETE], [SMALL-SCALE] [TRANSITORY]

  3. Chǔ 儲 refers to the accumulation and continuous storage of new articles of general use for the maintainance of life.

  [CONCRETE!], [TRANSITORY]

  4. Lěi 累 typically refers quite literally to the piling up of things into a heap or a heap-like structure, but the word does occasionally have generalised usages referring to accumulation of any kind, abstract or concrete.

  [CONCRETE!], [LASTING]

  5. Wěi 委 (ant.* qì 棄 "throw away") refers to small-scale accumulation of concrete objects.

  [CONCRETE], [SMALL-SCALE]

• GATHER
  

  1. The most current general term for the temporary assembling of things is jù 聚 (ant. sàn 散 "spread") which can refer to the gathering together of what does not necessarily belong together and of what is not necessarily of the same kind and what will disperse or be dispersed.

  2. Liǎn 斂 (ant. sàn 散 "spread") refers to a human action of assembling things, prototypically taxes or the like, for future use.

  3. Shí 拾 "pick up" and qǔ 取 "pick, take" can come to refer to the gathering together for future use articles of common use, but occasionally these words can also take abstract objects in which case the nuance of gathering these for future use is retained.

• ORDINARY
  

  1. The current general word for "ordinary" is fán 凡 (ant. qí 奇 "remarkable").

  2. Zhōng 中 (ant. yōu 優 "excellent") refers specifically to mediocrity.

  3. Yōng 庸 (ant. tè 特 "of special distinction") refers to what is regularly met and not unexpected, and the word focusses on that this does not distinguish itself through any positive features.

  4. Sǎn 散 (ant. jīng 精 "exquisite") refers to what can make no claim for special attention.

  5. Shù 庶 (ant. zhēn 珍 "extraordinarily precious") refers to kinds of persons that there are very many of.

  6. Cū 粗 (ant. jīng 精 "exquisitely civilised") refers to ordinariness as absence of cultural polish.

  7. Xì 細 (ant. kuí 魁 "great, towering") refers to ordinariness as absence of real power or significance.

  8. Wēi 微 (ant. jù 巨 "great") refers to relative slightness or insignificance without negative overtones.

• BEAUTIFUL
  

  [ABSOLUTE/GRADED]

  [ACOUSTIC/VISUAL]

  [ARTIFICIAL/NATURAL]

  [[COMMON/RARE]]

  [ELEVATED/VULGAR]

  [GENERAL/SPECIFIC]

  [HUMAN/NON-HUMAN]

  [POETIC/PROSAIC]

  1. The general word is měi 美 "handsome and admirable" (ant. è 惡 "ugly") which refers to anything concrete or abstract which is attractive or handsome in a dignified way, and the word often retains its primary culinary sense of "tasty".

  [GENERAL], [GRADED]; [[COMMON]]

  2. Lì 麗 (ant. sù 素 "unaodorned") is often restricted to physical objects, prototypically to clothes, and emphasises their balanced symmetric beauty, occasionally also - by analogy - the well-aligned symmetric beauty of mountains.

  [ELEVATED], [NON-HUMAN], [VISUAL!]

  3. Wén 文 (ant. zhì 質 "merely material") emphasises cultivated external as well as internal elegance as well as traditionalism.

  [ARTIFICIAL], [ELEVATED], [NON-HUMAN], [VISUAL!]

  4. Yǎ 雅 (ant. sú 俗 "vulgar") emphasises primarily external elevated elegance.

  [ACOUSTIC!], [ARTIFICIAL], [ELEVATED+], [NON-HUMAN]

  5. Hǎo 好 "comely, handsome" (ant. chǒu 醜 "ugly") refers indiscriminately to men and women, but the word is sometimes more general and even abstract in application and refers to attractive words or attractive moral qualities.

  [HUMAN!], [NATURAL], [VISUAL]

  6. Xiù 秀 "of vigorous and imposing beauty" focusses on flourishing and flamboyant beauty in analogy with that of flowers.

  [ELEVATED], [NATURAL], [NON-HUMAN], [POETIC], [VISUAL]; [[RARE]]

  7. Huá 華 "of striking and colourful beauty" (ant. sú 俗 "vulgar") focusses on flourishing and flamboyant superficial or only apparent beauty, on the analogy analogy with that of flowers.

  [ARTIFICIAL], [ELEVATED], NON-HUMAN], [SUPERFICIAL], [VISUAL]

  8. Zhuàng 壯 "stately" (ant. ruò 弱 "weak and unsightly") is virile beauty associated with strength and vigour. See STRONG

  [NATURAL], [MARGINAL], [POETIC]; [[RARE]]

  9. Jiā 佳 "of outstanding beauty" (NB: liè 劣 "unremarkable" is the ant. of jiā 佳 "outstanding", and not in the meaning of "outstandingly beautiful") emphasises comparative beauty compared to others in the same group.

  [GRADED], [ELEVATED], [NATURAL], [POETIC]

  10. Dū 都 "urbane and exquisitely beautiful" (ant. bì 鄙 "rustic and inelegant") is a highly poetic word that can only be used in elevated prose.

  [ARCHAIC], [ELEVATED], [POETIC], [VISUAL]; [[RARE]]

  11. Yán 妍 "attractive and exquisite (of humans as well as human products)" (ant. chì 蚩 "unattractive") refers to elaborate beauty. See SEXY.

  [ARCHAIC], [ELEVATED], [HUMAN], [POETIC]; [[RARE]]

  12. Xiū 脩 / 修 "refined moral beauty" refers to moral as well as physical beauty, thus coming close the Greek kalokagathia, but never approaching the latter in importance as a cultural keyword.

  <div>[ELEVATED], [ARTIFICIAL]; [[RARE]]</div><div><br></div><div>吳蓬，東方審美詞彙集萃，上海文藝出版社，2002 lists the following rough definitions of a variety of terms of aesthetic appreciation by the artist and scholar Wu Peng. Many of these terms express conventional appreciative flattery only. This list does provide one not particularly well-known artist's subjective readings of some basic terms of traditional Chinese aesthetic approbation.</div><div>勃：富有生机之突起。<br>苍：浓的，毛的，老练的。<br>沉：沉着不浮，有重量感。<br>冲：调成和淡之意向。<br>饬：整顿。<br>粗：大而不笨者。<br>淳：清，往往易薄，然而淳是清中滋润之厚。<br>醇：与淳略同，这醇是提炼后的滋润之厚。<br>绰：与"约"字合用，即舒而不纵之意。<br>澹：平静而有幽淡之趣。<br>淡：与浓艳相对。<br>宕：放荡不拘。<br>跌：往往与"宕"字合用，即是起伏明显之状。<br>端：方正而不出偏，有稳实感。<br>敦：很实在的，结实的厚。<br>繁：众而密，有生气。<br>方：与平正同义。<br>丰：饱满而充足。<br>风：审美中之"风"指的是一种气韵格调。<br>飞：大幅度的流动。<br>刚：属于阳性的，有正力的，与柔软相对。</div><div>高：俯视一切的、超然得不一般。<br>工：规矩，不潦草。<br>孤：自我独立。<br>古：旧气，更有历史的抗怀千载之迹象。<br>骨：内在的架子。<br>犷：是跟"雄悍"接近，在粗中发展开来。<br>瑰：不单调的美。<br>乖：不和顺。<br>憨：近于拙朴而敦实。<br>酣：厚润四溢。<br>豪：激动向上之貌，有气魄。<br>宏：大而有气度。<br>厚：有沉积的饱和。<br>华：明亮而艳丽。<br>环：长久圆融之境。<br>荒：与"枯简"接近，不修饰。<br>豁：与开朗接近，然比开朗明显。<br>恢：宽广有余。<br>浑：团然一气之象，有朦胧感。<br>简：经过一番整修的减少。<br>娇：美得可爱。<br>警：审美中用此警字，往往指敏锐、颖达。<br></div><div>劲：能察觉的力。<br>精：很到位。<br>隽：精致而具内涵之美。<br>娟：秀而婉丽。<br>崛：高起而突出。<br>俊：人材杰曲之美。<br>峻：山高而陡。在书画中是浓而锋利之用笔。<br>空：有灵气之空白。<br>枯：干而毛，生的萎缩，然亦是力的显露。<br>宽：大度而畅朗。<br>旷：广阔而空灵。<br>辣：是枯毛爽直的老笔触。<br>朗：明亮而豁然。<br>琅：圆而光润。<br>伦：是同类之意，带有文明意念。<br>冷：跟"淡"与"静”接近，与浓烈相对。<br>炼：精到而有功力。<br>淋：与"漓”往往合用，是无拘束的洒落。<br>流：明显的动感。<br>迈：阔而放的超势。<br>莽：宽广而繁密的，朴直奔放的。<br>袤：与"古"字合用，即悠长久远之趣。<br>茂：有生气的繁密。<br>媚：柔美之趣。<br>宓：安而静。<br>明：清晰有亮度。<br>凝：浓重而不流动。<br>懦：毫无火气之柔软。<br>平：一般的，接近于稳。<br>朴：原始状态，形象较准。<br>嫖：与"姚"字合用，即动疾之状，而有气势。<br>奇：不一般。<br>气：生发的，迎面直扑而来的感觉。<br>清：是混的相对。其间透出一股朗气。<br>峭：山之直而险，在书画中是露锋的侧锋用笔，有明显露<br>尖状态。文章中之峭，是意气直逼。<br>遒：婉转有致，内力强劲。<br>虬：与遒类似，但动感较强，弯曲而有力度。<br>意：诚实谨慎。<br>儒：代表文人之书卷气。<br>洒：散落无拘束。<br>赡：富有与丰实。若与"疏”、"逸”组合即成"澹”或"安"之义。</div><div>骚：审美中之骚字，可引伸为风骚至风流感。<br>韶：美丽有光泽。<br>涩：在不爽快的进程中，流露出内力之美。<br>深：不是浮面的。<br>神：精与气合。高端的。<br>生：不成熟，但比成熟有味。<br>肆：任意放纵。<br>松：松是灵活自然，是一切技巧之本要。<br>瘦：与粗笨相对，在审美中的"瘦"，是指细长而精练。<br>疏：一种稀少秀朗之美。<br>肃：有立即静穆下来之势。<br>率：与潦草随便有别，爽快而直接。<br>邃：深远而悠久。<br>阅：通达之意。<br>给：与"宕"合用，是安详舒放之趣。<br>天:很自然，一片天箱之"天"。<br>恬：安静而坦然。<br>挺：直而有生气。<br>婉：柔和而曲折。<br>温：是一种暖调与缓和的综合。</div><div>巍：往往与"峨"合用，是高大厚实之趣。<br>洗：与"炼”合用，即是"精炼"之意，凡物之洁出于洗。<br>犀：与"利"字合用，即坚利。<br>熙：光明，和乐。<br>细：指细而不纤。<br>娴：文静而雅致。<br>闲：一种高雅的自由。<br>萧：疏少有致。<br>潇：散朗而润泽。<br>馨：很醇厚的香气。<br>篁："篁古”是悠远辽阔之意。<br>雄：强大，有力度，有霸气。<br>秀：灵巧的，有生气的，美好的显露。<br>虚：表象空，但并非真空。<br>雅：文气而不俗。<br>妍：鲜美而柔性。<br>严：认真，不马虎。<br>淹：一种浸沉与精深明达之境。<br>野：超脱、不规范。<br>冶：经过一番精致修饰。<br>逸：悠闲的起伏。</div><div>意：精神倾向。<br>莹：透明而幽亮。<br>雍：往往与“容"字合用，有和顺之貌。<br>幽：静而深。<br>腴：肥润而饱和。<br>郁：厚积而有生气。<br>纤：与"迥"字合用，即弯环回绕之趣。<br>遹：与"瑰"字合用，即纤迥美丽之趣。<br>渊：往往与"懿"合用，是深润而悠美之趣。<br>圆：接近于饱满润滑。<br>蕴：与"藉"合用，即内涵丰富。<br>韵：一种余味不尽之趣。<br>恣：放纵的，无拘束的。<br>滋：湿润感。<br>自：出于本性的流露。<br>质：本体的，实在的。<br>纵：放逸无拘之状。<br>拙：接近朴，形不准。<br>庄：端正之貌。<br>卓：与“荤"合用，是突出明显之状。<br></div><div><br></div><br>

• UNITE
  

  1. The standard word for the unification of what is disunited is yī 一 (ant. fēn 分 "divide").

  2. Kuāng 匡 (ant. sàn 散 "spread and disunite") is an elevated expression referring to political unification.

  3. Tǒng 統 (ant. zhī 支 "divide into smaller units") focusses on the inner coherence of what is united.

• ROW
  

  1. The current general word for a row is háng 行 (ant.** sǎn 散 "not forming any rows"), which typically refers to a row of things arrayed vertically, but the word also specifically to battle arrays.

  2. Liè 列 is a common word for a row, and the arrangement of the rows thus referred to is typically horizontal; and the way also refers to rows in battle arrays.

  3. Yì 佾 refers specifically to a row of dancers.

• CUP
  

  1. Bēi 杯 in Warring States and Han times referred to a shallow oval bowl with two ears used for wine, soup, broth etc.; it was made of lacquered wood, bronze, earthenware, jade, silver, and even glass. According to HUANG (1995: 951 - 952), the term was in that period also used for the deep beaker on a foot to drink wine from, which is known from archaeological finds; in textual evidence, there is no firm proof of it, but as regards the shape of the vessel which could only be used for drinking, it is highly probable.

  2. Shāng 觴 is in late Warring States and Han times general term for a wine cup. It can often refer to bēi 杯. HUANG 1995: 955 - 956.

  3. Y3ǔ shāng 羽觴 (?? in HANYU DACIDIAN as hù shāng: see vol. 9, pp. 641) is mentioned as a wine cup in the texts of the late Warring States and Han periods; perhaps another term for bēi 杯 with two ears.

  4. Zhī 卮　refers to the round cylindrical wine cup made of wood, lacquare, bronze, silver, or pottery:

  5. Zhǎn 醆 / 盞 is in Han times rare term for small bēi 杯 (mentioned in FANGYAN).

  6. Zhuó 酌 is a general term for a wine cup.

  7. Jué 爵 is the term for Shang and Western Zhou bronze tripod with long spout to drink wine from, which was used on ceremonial occasions. Shape of the character read now as jué 爵 in the oracle bone and bronze inscriptions obviously refers to this kind of cup. There are also pottery vessels of this shape known from the Shang period. In late Western Zhou times, this type of vessel came out of use. Jué 爵 mentioned in the Eastern Zhou and Han texts can refer to each type of wine cup; according to Han sources jué 爵 should have room for one shēng 升 of wine[??? it seems to me that jué 爵 in the Eastern Zhou sometimes refers to the certain amount of wine drunk at once rather than to the concrete wine vessel???.

  8. Jiǎ 斝 is generally used as a term for a bronze vessel with three legs and round opening which was used to heat and serve wine. This type of vessel was common in the Shang and Western Zhou periods and came out of use in the late Western Zhou. Attribution of the name to this kind of vessel is not certain, but probable. In the Eastern Zhou and Han texts, jiǎ 斝 refers to the wine vessel, the content of which should be greater than in the case of jué 爵. [???The word seems to be rather rare in the Eastern Zhou and Han, and it occurs (except one mention in ZUO] in texts like YILI, SHUOWEN, as well as in commentaries; it cannot be thus excluded that its usage is some kind of archaization.

  9. Sǎn 散 refers to the same kind of vessel as jiǎ 斝.

  10. Jiǎo 角 occurs rarely in the Eastern Zhou and Han texts, and it should refer to some kind of cup made originally of an animal horn or resembling it in a shape. Identification of this vessel remains uncertain, although there are horn-like vessels known from the Shang down to the Han. In archaeology, jiǎo 角 is used for the bronze wine tripod similar in a shape to jué 爵 but with two identical spouts on the opposite sides of an opening; this vessel was in use from the Shang down to the Western Zhou period.

  11. Gū 觚 in the Eastern Zhou and Han texts refers to some kind of vessel with edges. Its identification is uncertain. In archeology, the term is used for the trumpet-like bronze cup which is known from the Shang and Western Zhou periods. There are also lacquered and pottery vessels of this type.

  12. Gōng or guāng 觥 in SHIJING obviously refers to the drinking cup made of the rhinoceros horn or shaped like it. Later, it can be used for a large cup. In archaeology, the term traditionally refers to the large animal-like shaped bronze vessel known from the Shang and Western Zhou periods; but this attribution is probably mistaken.

  13. Kē 搕 is a kind of (probably ordinary) cup to drink from referred to in ZUO.

• SCATTER
  

  1. The current standard word for scattering anything in any way is sǎn 散.

  2. Bù 布 is prototypically to spread something with a positive purpose.

  3. Shī 施 refers to dispensing something in many places and thus spreading it around, and the object of spreading is usually a benefit.

  4. Pǔ 普 refers abstractly to something being spread over a considerable area.

  5. Kuì 潰 refers to being scattered and thus ruined.

  6. Lí 離 refers to the scattering or separation of what would naturally belong together.

  7. Bò 播 refers to scattering as dissemination for good use.

Word relations
• Ant: (SCATTER)積/ACCUMULATE The current general word for accumulating anything concrete or abstract is jī 積 (ant. sǎn 散 "be dispersed"). [LARGE-SCALE], [LASTING] 1 Attribution
• Ant: (SCATTER)聚 / 聚/GATHER The most current general term for the temporary assembling of things is jù 聚 (ant. sàn 散 "spread") which can refer to the gathering together of what does not necessarily belong together and of what is not necessarily of the same kind and what will disperse or be dispersed. 13 Attributions
• Contrast: (SCATTER)分/DISTRIBUTE
• Assoc: (SCATTER)離/SCATTER Lí 離 refers to the scattering or separation of what would naturally belong together. 4 Attributions