Taxonomy of meanings for 突:　　

Additional information about 突

說文解字: 【突】，犬从穴中暫出也。从犬在穴中。 〔小徐本「中」下有「也」。〕 一曰：滑也。 【徒骨切】

Criteria
• SUDDENLY
  

  1. The most common word for suddenness is hū 忽.

  2. Tū 突 and zhà4 乍 "out of the blue" refer to the unforeseen onset of something one has imagined was likely or even possible.

  3. Cù 卒 / 猝 refers to the sudden onset of something before it was expected to occur.

  4. E@ 俄 and é ér 俄而 refer to the abrupt occurrence of an event of strikingly short duration.

  5. Bó 勃 is typically limited in application to the suddenness of the initial emergence of a phenomenon.

• 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>

• SHIP
  

  1. The general term for any ship, large or small, is zhōu 舟. [The word occurs already in the oracle bone inscriptions and in SHIJING. According to some opinions it originally referred to the boat made of one piece of wood, but it is not certain. The earliest forms of the character resemble the small ship made already from several planks. Note that in Western Zhou times, ship also played certain role in some rituals performed by the king, which probably took place in the pool within royal palace.

  2. Chuán 船／舡 is a colloquial general term for a ship which emerged in Warring States times and became current under the Han. The word can refer specifically to larger ships. The word is still unknown in LUNYU and ZUOZHUAN, where the only general term for a ship is still zhōu 舟.

  3. Háng 杭／航 refers specifically to a ferry and became current first in Han times. (From the Warring States period, only the former character is known, the latter form came to be used in Han times. The word refers specifically to a ferry, but can be used also as a general term for a ship.

  4. Sōu 艘 is another general word for a ship which was in use particularly from the Han till Tang, and it was usually used as a measure word for a ship.

  5. Yú 俞 refers in SHUOWEN and HUAINANZI to the boat made of one piece of wood, the monoxylon. Whether the term referred to this type of boat in general already since early times is not certain. Note that one monoxylon (3,9 m long) dating from Shang times was found in Shandong province.

  6. Bó 舶 originally referred specifically to the large sea ships of the foreign traders reaching Canton area. Later it came to refer generally to large or sea ship.

  7. Fāng chuán 方船, fāng 舫 (the latter word first appeared in the Warring States period and became more current in Han times) refer to the double ship, ship consisting of two joined boats. This kind of ship could be used for various purposes (for transportation of goods or soldiers, as a warship, or to cross a river), and was in use at least from the Warring States period till Tang; the period during it most flourished was neverthless Jin dynasty.

  8. Gě 舸 refers generally to a large ship; according to FANG YAN, in Han times the word was used in an area on the middle reaches of Chang jiang.

  9. Biàn 艑 refers to the large ship, used probably mainly for transportation of goods, which was used in the middle and lower reaches of the Chang jiang.

  10. Tà 榻 is the general word for a large ship, which was in use mainly from the North Southern dynasties till Tang period.

  11. Cáo 艚 is the post-Buddhist word referring to the transportation ship. It was large and slow.

  12. Líng (written like 舟令 ) refers specifically to the small ship with vindows. In the Warring States and Han period, it was in use particularly in the area of ancient states Wu and Yue.

  13. Dāo 刀 / (written like 舟刀 ) refers to a small boat. The word occurs already in SHIJING.

  14. Mù sù (written like 舟冒; 舟宿 chā 艖 ) all refer to the small and narrow boats, and according to FANG YAN, were used in the middle reaches of Chang jiang.

  15. Tǐng 艇 refers to the boat even smaller than the previous, with space for one or two people. According to HUAINANZI, this was originally used in the area of Sichuan.

  16. Qióng (written like 舟共 ) refers to the small boat used mainly in the middle reaches of the Chang jiang.

  17. Lì 麗 refers to a small boat. The word occurs already in ZHUANGZI.

  18. Dié 艓 refers to the small boat.

  19. Zé měng 舴艋 refers to the small boat.

  20. (I can not find a character in the dictionary: written like 舟鳥 ) refers to the small and narrow boat.

  21. Sān yì 三翼 refers to the battleships which were in use in the southern states of Wu and Yue in Chunqiu and Warring States times. It seems that they were divided to three categories according to their size. According to Han sources, the largest ones had a space for 91 men, those of middle size for 50 men, and minor for 26 men. Note that the earliest ship battle is mentioned in ZUOZHUAN to 549 B.C., and it took place on a river; the first sea battle is dated to 484 B.C. As can be seen on pictorial presentations dating from the late Chunqiu and early Warring States period, ship battles esentially resembled battles on the earth; the ships pulled with oars came close one to the other and warriors staying on the higher board attacked enemies with arrows, halberds, and spears.

  22. Yú huáng 余 / 艅皇 / 艎 was in Chunqiu times the name of the large battleship belonging to the kings of Wu. Later it came to be used as a general term for a large battleship.

  23. Mào tū 冒突 came to use in the Eastern Han period and referred to the battleship which could directly clash into the ship of enemies.

  24. Lóu chuán 樓船 refers to the battleship with several boards. These came to use already in the late Chunqiu period, and were used till Ming times.

  25. Gē chuán 戈船 refers to the large battleship which was in use from the late Chunqiu till the Southern and Northern dynasties. It obtained its name from halberds and spears put on its board; perhaps general word for a battleship (???).

  26. Méng chōng 艨童舟童 refers to a smaller battleship used to clash into the battleships of enemies. It has two boards, the lower for oarmen and higher for warriors; moreover it was covered with fresh oxen skins to defend firearrows of the enemies. In use since the Three Kingdoms.

  27. Jiàn 艦 refers to the large battleship with wooden battlements which came to be used in the Three Kingdoms.

• CHIMNEY
  

  1. There is only one term for a chimney, tū 突, and archeological evidence suggests that the chimney took the form of a hole in the roof.

  NB: Words like cōng 囪 and yān cōng 煙囪 are all late.