• Cross-Cultural Studies
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• v.48
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• pp.193-222
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• 2017

In this study, I examined the relationship between the pattern of Tungp'o (東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名) the Chinese characters play, developed in the Edo period in Japan. I found out the following. First, Nanji and Iruiimyo's method of Chinese character transformation is like Tungp'o(東坡体)'s characters play and Paza(破字), that is to make an analysis of Chinese character. For example, to extend or shorten to character's length, and to increase or reduce the character's size. And, I also found out there is no block type characters play in Nanji and Iruiimyo. Second, I also found that the similarity of the method of Chinese character transformation between the pattern of Tungp'o(東坡体)'s characters play, Paza(破字) and Nanji(難字), Iruiimyo(異類異名). The method of to flip character (180 degrees) and to letting character lie down (90 degrees) is very similar each other. But there is no method to make incline of character (45 degrees) in Nanji and Iruiimyo. Third, I found that the method to extract part of character also exists in Chinese and Japanese characters play. And, I also found that the method to decompose characters in half from the pattern of Tungp'o(東坡体)'s characters play, but I can't find this method from Nanji and Iruiimyo. To decompose characters in half is very like the method of paja. So, we can understand that Nanji and Iruiimyo is located in the middle stage of the pattern of between Tungp'o(東坡体)'s characters play and Paza(破字).