Classical Chinese in the context of "Modern language"

East Asia is a geocultural region of Asia. It includes China, Japan, Mongolia, North Korea, South Korea, and Taiwan, plus two special administrative regions of China, Hong Kong and Macau. The economies of China, Japan, South Korea, and Taiwan are among the world's largest and most prosperous. East Asia borders North Asia to the north, Southeast Asia to the south, South Asia to the southwest, and Central Asia to the west. To its east is the Pacific Ocean.

East Asia, especially Chinese civilization, is regarded as one of the earliest cradles of civilization. Other ancient civilizations in East Asia that still exist as independent countries in the present day include the Japanese, Korean, and Mongolian civilizations. Various other civilizations existed as independent polities in East Asia in the past but have since been absorbed into neighbouring civilizations in the present day, such as Tibet, Manchuria, and Ryukyu (Okinawa), among many others. Taiwan has a relatively young history in the region after the prehistoric era; originally, it was a major site of Austronesian civilisation prior to colonisation by European colonial powers and China from the 17th century onward. For thousands of years, China was the leading civilization in the region, exerting influence on its neighbours. Historically, societies in East Asia have fallen within the Chinese sphere of influence, and East Asian vocabularies and scripts are often derived from Classical Chinese and Chinese script. The Chinese calendar serves as the root from which many other East Asian calendars are derived.

The Nihon Shoki (日本書紀) or Nihongi (日本紀), sometimes translated as The Chronicles of Japan, is the second-oldest book of classical Japanese history. It is more elaborate and detailed than the Kojiki, the oldest, and has proven to be an important tool for historians and archaeologists as it includes the most complete extant historical record of ancient Japan. The Nihon Shoki was finished in 720 under the editorial supervision of Prince Toneri with the assistance of Ō no Yasumaro and presented to Empress Genshō. The book is also a reflection of Chinese influence on Japanese civilization. In Japan, the Sinicized court wanted written history that could be compared with the annals of the Chinese.

The Nihon Shoki begins with the Japanese creation myth, explaining the origin of the world and the first seven generations of divine beings (starting with Kuninotokotachi), and goes on with a number of myths as does the Kojiki, but continues its account through to events of the 8th century. It is believed to record accurately the latter reigns of Emperor Tenji, Emperor Tenmu, and Empress Jitō. The Nihon Shoki focuses on the merits of the virtuous rulers as well as the errors of the bad rulers. It describes episodes from mythological eras and diplomatic contacts with other countries. The Nihon Shoki was written in classical Chinese, as was common for official documents at that time. The Kojiki, on the other hand, is written in a combination of Chinese and phonetic transcription of Japanese (primarily for names and songs). The Nihon Shoki also contains numerous transliteration notes telling the reader how words were pronounced in Japanese. Collectively, the stories in this book and the Kojiki are referred to as the Kiki stories.

The Chinese classics or canonical texts are the works of Chinese literature authored prior to the establishment of the imperial Qin dynasty in 221 BC. Prominent examples include the Four Books and Five Classics in the Neo-Confucian tradition, themselves an abridgment of the Thirteen Classics. The Chinese classics used a form of written Chinese consciously imitated by later authors, now known as Classical Chinese. A common Chinese word for "classic" (經; 经; jīng) literally means 'warp thread', in reference to the techniques by which works of this period were bound into volumes.

Texts may include shi (史, 'histories') zi (子 'master texts'), philosophical treatises usually associated with an individual and later systematized into schools of thought but also including works on agriculture, medicine, mathematics, astronomy, divination, art criticism, and other miscellaneous writings) and ji (集 'literary works') as well as the cultivation of jing, 'essence' in Chinese medicine.

Kenshō (Rōmaji; Japanese and classical Chinese: 見性, Pinyin: jianxing, Sanskrit: dṛṣṭi-svabhāva) is an East Asian Buddhist term from the Chan / Zen tradition which means "seeing" or "perceiving" (見) "nature" or "essence" (性), or 'true face'. It is usually translated as "seeing one's [true] nature," with "nature" referring to buddha-nature, ultimate reality, the Dharmadhatu. The term appears in one of the classic slogans which define Chan Buddhism: to see oneʼs own nature and accomplish Buddhahood (見性成佛).

Kenshō is an initial insight or sudden awakening, not full Buddhahood. It is to be followed by further training which deepens this insight, allows one to learn to express it in daily life and gradually removes the remaining defilements.

Hanja (Korean: 한자; Hanja: 漢字; IPA: [ha(ː)ntɕ͈a]), alternatively spelled Hancha, are Chinese characters used to write the Korean language. After characters were introduced to Korea to write Literary Chinese, they were adapted to write Korean as early as the Gojoseon period.

Hanjaeo (한자어; 漢字語) refers to Sino-Korean vocabulary, which can be written with Hanja, and hanmun (한문; 漢文) refers to Classical Chinese writing, although Hanja is also sometimes used to encompass both concepts. Because Hanja characters have never undergone any major reforms, they more closely resemble traditional Chinese and traditional Japanese characters, although the stroke orders for certain characters are slightly different. Such examples are the characters 教 and 敎, as well as 研 and 硏. Only a small number of Hanja characters were modified or are unique to Korean, with the rest being identical to the traditional Chinese characters. By contrast, many of the Chinese characters currently in use in mainland China, Malaysia and Singapore have been simplified, and contain fewer strokes than the corresponding Hanja characters.

Written Cantonese is the most complete written form of a Chinese language after that for Mandarin Chinese and Classical Chinese. Classical Chinese was the main literary language of China until the 19th century. Written vernacular Chinese first appeared in the 17th century, and a written form of Mandarin became standard throughout China in the early 20th century. Cantonese is a common language in places like Hong Kong and Macau. While the Mandarin form can to some extent be read and spoken word for word in other Chinese varieties, its intelligibility to non-Mandarin speakers is poor to incomprehensible because of differences in idioms, grammar and usage. Modern Cantonese speakers have therefore developed new characters for words that do not have characters for them and have retained others that have been lost in standard Chinese.

With the advent of the computer and standardization of character sets specifically for Cantonese, many printed materials in predominantly Cantonese-speaking areas of the world are written to cater to their population with these written Cantonese characters.

Chinese poetry is poetry written, spoken, or chanted in the Chinese language, and a part of the Chinese literature. While this last term comprises Classical Chinese, Standard Chinese, Mandarin Chinese, Yue Chinese, and other historical and vernacular forms of the language, its poetry generally falls into one of two primary types, Classical Chinese poetry and Modern Chinese poetry.

Poetry is consistently held in high regard in China, often incorporating expressive folk influences filtered through the minds of Chinese literati. Poetry provides a format and a forum for both public and private expressions of deep emotion, offering an audience of peers, readers, and scholars insight into the inner life of Chinese writers across more than two millennia. Chinese poetry often reflects the influence of China's various religious traditions.