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| Stroke order | |||
|---|---|---|---|
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| Stroke order | |||
|---|---|---|---|
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上 (Kangxi radical 1,一+2, 3 strokes,cangjie input卜一 (YM),four-corner21100,composition⿱⺊一)
| Historical forms of the character上 | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| Shang | Western Zhou | Spring and Autumn | Warring States | Shuowen Jiezi (compiled inHan) | Liushutong (compiled inMing) | Libian (compiled inQing) | Kangxi Dictionary (compiled inQing) | |||
| Oracle bone script | Bronze inscriptions | Bronze inscriptions | Bronze inscriptions | Chu slip and silk script | Qin slip script | Ancient script | Small seal script | Transcribed ancient scripts | Clerical script | Ming typeface |
 |  |  |  |  |  |  |  |  |  |  |
 b00109  b00110  b00111  b00112  b00113  b00114  b00115  b00116  b00117  b00118  b00119  b00120 b00121  b00122 b00123  b00124  b00125  b00126  b00127  b00128  b00129  b00130  b00131  b00132  b00133  s00008 Transcribed ancient scripts  L35088  L35089  L35090  L35091  L35092  L35093  L35094  L17519  L17520  L17521  L17522  L17523  L17524  L17525  L17526  L17527  L17528  L17529 | ||||||||||
References: Mostly from Richard Sears'Chinese Etymology site (authorisation),
| ||||||||||
Ideogram (指事): a lineabove another (contrast下(xià)) —up. Originally written as𠄞, but changed to this form to prevent confusion with二(èr).
| simp. andtrad. | 上 | |
|---|---|---|
| alternative forms | 丄ancient 𠄞 | |
FromProto-Sino-Tibetan*tVŋ(“top”). Cognate withTibetanསྟེང(steng),Tibetanཡང་རྩེ(yang rtse,“summit; pinnacle”) (Bodman, 1980),Mizozo(“to be high”),zah(“to respect; to revere”) (STEDT).
Shijing rimes indicate occasional level tone for pronunciation 2 (Schuessler, 2007).
Pronunciation 1 is the exopassive of pronunciation 2 with suffix*-s, literally meaning "what has been raised" (Schuessler, 2007). The rising tone in Middle Chinese words with voiced stop initials regularly evolves into departing tone in Mandarin. Pronunciation 3 results from叶韻 (xiéyùn), i.e. its pronunciation has been artificially changed to preserve rhymes in classical poetry.
| Rime | |
|---|---|
| Character | 上 |
| Reading # | 2/2 |
| Initial (聲) | 常 (25) |
| Final (韻) | 陽 (105) |
| Tone (調) | Departing (H) |
| Openness (開合) | Open |
| Division (等) | III |
| Fanqie | 時亮切 |
| Baxter | dzyangH |
| Reconstructions | |
| Zhengzhang Shangfang | /d͡ʑɨɐŋH/ |
| Pan Wuyun | /d͡ʑiɐŋH/ |
| Shao Rongfen | /d͡ʑiɑŋH/ |
| Edwin Pulleyblank | /d͡ʑɨaŋH/ |
| Li Rong | /ʑiaŋH/ |
| Wang Li | /ʑĭaŋH/ |
| Bernhard Karlgren | /ʑi̯aŋH/ |
| Expected Mandarin Reflex | shàng |
| Expected Cantonese Reflex | soeng6 |
| Baxter–Sagart system 1.1 (2014) | |
|---|---|
| Character | 上 |
| Reading # | 3/3 |
| Modern Beijing (Pinyin) | shàng |
| Middle Chinese | ‹ dzyangH › |
| Old Chinese | /*daŋʔ-s/ |
| English | top, above (n.) |
Notes for Old Chinese notations in the Baxter–Sagart system: * Parentheses "()" indicate uncertain presence; | |
| Zhengzhang system (2003) | |
|---|---|
| Character | 上 |
| Reading # | 2/2 |
| No. | 11103 |
| Phonetic component | 上 |
| Rime group | 陽 |
| Rime subdivision | 0 |
| Corresponding MC rime | 尚 |
| Old Chinese | /*djaŋs/ |
上
| Rime | |
|---|---|
| Character | 上 |
| Reading # | 1/2 |
| Initial (聲) | 常 (25) |
| Final (韻) | 陽 (105) |
| Tone (調) | Rising (X) |
| Openness (開合) | Open |
| Division (等) | III |
| Fanqie | 時掌切 |
| Baxter | dzyangX |
| Reconstructions | |
| Zhengzhang Shangfang | /d͡ʑɨɐŋX/ |
| Pan Wuyun | /d͡ʑiɐŋX/ |
| Shao Rongfen | /d͡ʑiɑŋX/ |
| Edwin Pulleyblank | /d͡ʑɨaŋX/ |
| Li Rong | /ʑiaŋX/ |
| Wang Li | /ʑĭaŋX/ |
| Bernhard Karlgren | /ʑi̯aŋX/ |
| Expected Mandarin Reflex | shàng |
| Expected Cantonese Reflex | soeng6 |
| Baxter–Sagart system 1.1 (2014) | ||
|---|---|---|
| Character | 上 | 上 |
| Reading # | 1/3 | 2/3 |
| Modern Beijing (Pinyin) | shàng | shàng |
| Middle Chinese | ‹ dzyangX › | ‹ dzyangX › |
| Old Chinese | /*Cə-daŋʔ/ | /*m-daŋʔ/ |
| English | ascend | to put up |
Notes for Old Chinese notations in the Baxter–Sagart system: * Parentheses "()" indicate uncertain presence; | ||
| Zhengzhang system (2003) | |
|---|---|
| Character | 上 |
| Reading # | 1/2 |
| No. | 11102 |
| Phonetic component | 上 |
| Rime group | 陽 |
| Rime subdivision | 0 |
| Corresponding MC rime | 上 |
| Old Chinese | /*djaŋʔ/ |
上
| Variety | Location | Words |
|---|---|---|
| Formal(Written Standard Chinese) | 上 | |
| Northeastern Mandarin | Beijing | 上 |
| Taiwan | 上 | |
| Malaysia | 上 | |
| Singapore | 上 | |
| Cantonese | Guangzhou | 上 |
| Hong Kong | 上 | |
| Kuala Lumpur(Guangfu) | 上 | |
| Singapore(Guangfu) | 上 | |
| Southern Min | Xiamen | 𬦰,上,起 |
| Quanzhou | 𬦰,上,起 | |
| Jinjiang | 𬦰 | |
| Zhangzhou | 𬦰,上,起 | |
| Tainan | 上,起 | |
| Penang(Hokkien) | 起 | |
| Singapore(Hokkien) | 起 | |
| Manila(Hokkien) | 𬦰 | |
| Chaozhou | 起 | |
| Shantou | 上,起 | |
| Singapore(Teochew) | 起 | |
| Wenchang | 上 | |
| Qionghai | 上 | |
| Singapore(Hainanese) | 上 | |
| Wu | Shanghai | 上 |
| Rime | |
|---|---|
| Character | 上 |
| Reading # | 1/2 |
| Initial (聲) | 常 (25) |
| Final (韻) | 陽 (105) |
| Tone (調) | Rising (X) |
| Openness (開合) | Open |
| Division (等) | III |
| Fanqie | 時掌切 |
| Baxter | dzyangX |
| Reconstructions | |
| Zhengzhang Shangfang | /d͡ʑɨɐŋX/ |
| Pan Wuyun | /d͡ʑiɐŋX/ |
| Shao Rongfen | /d͡ʑiɑŋX/ |
| Edwin Pulleyblank | /d͡ʑɨaŋX/ |
| Li Rong | /ʑiaŋX/ |
| Wang Li | /ʑĭaŋX/ |
| Bernhard Karlgren | /ʑi̯aŋX/ |
| Expected Mandarin Reflex | shàng |
| Expected Cantonese Reflex | soeng6 |
| Baxter–Sagart system 1.1 (2014) | |
|---|---|
| Character | 上 |
| Reading # | 1/3 |
| Modern Beijing (Pinyin) | shàng |
| Middle Chinese | ‹ dzyangX › |
| Old Chinese | /*Cə-daŋʔ/ |
| English | ascend |
Notes for Old Chinese notations in the Baxter–Sagart system: * Parentheses "()" indicate uncertain presence; | |
| Zhengzhang system (2003) | |
|---|---|
| Character | 上 |
| Reading # | 1/2 |
| No. | 11102 |
| Phonetic component | 上 |
| Rime group | 陽 |
| Rime subdivision | 0 |
| Corresponding MC rime | 上 |
| Old Chinese | /*djaŋʔ/ |
上
Historically, all of the four characters in平上去入(“four tones of Middle Chinese”) areautologies. Due to phonological changes over history, most of the characters historically pronounced with rising tone and voiced initials (陽上 /阳上(yángshǎng)) are pronounced with departing tone (去聲 /去声(qùshēng)) in most modern dialects, e.g. Mandarin (see
濁上變去 /浊上变去 on the Chinese Wikipedia.Wikipediazh), including the character上 (MC dzyangX|dzyangH) itself. Therefore, this pronunciation was created to make it remain autological.
The tone陽上 /阳上(yángshǎng) is still conserved in some dialects, including Cantonese, Quanzhou Hokkien and Teochew.
| The tones (of Chinese) in Mandarin ·聲調 /声调(shēngdiào)(layout ·text) | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 平仄(píngzè) | 平(píng) 平聲 /平声(píngshēng) | 仄(zè) 仄聲 /仄声(zèshēng) | ||||||||
| 平上去入(píngshǎngqùrù) 四聲 /四声(sìshēng) | 平(píng) 平聲 /平声(píngshēng) | 上(shǎng) 上聲 /上声(shǎngshēng) | 去(qù) 去聲 /去声(qùshēng) | 入(rù) 入聲 /入声(rùshēng) | ||||||
| 標調方法 /标调方法(biāodiào fāngfǎ) 標調法 /标调法 | 四角標調法 /四角标调法 | ꜀◌ | ꜂◌ | ◌꜄ | ◌꜆ | |||||
| [Term?] | ◌〪 | ◌〫 | ◌〬 | ◌〭 | ||||||
| 傍點 /傍点 | ∅ | ◌〯 | ◌〮 | ∅ | ||||||
| 四聲八調 /四声八调 | 陰平 /阴平(yīnpíng) | 陽平 /阳平(yángpíng) | 陰上 /阴上(yīnshǎng) | 陽上 /阳上(yángshǎng) | 陰去 /阴去(yīnqù) | 陽去 /阳去(yángqù) | 陰入 /阴入(yīnrù) | 陽入 /阳入(yángrù) | ||
| 陰 /阴(yīn) | 陽 /阳(yáng) | |||||||||
| 標調方法 /标调方法(biāodiào fāngfǎ) 標調法 /标调法 | 四角標調法 /四角标调法 | ꜀◌ | ꜁◌ | ꜂◌ | ꜃◌ | ◌꜄ | ◌꜅ | ◌꜆ | ◌꜇ | |
| The tones (ofStandard Mandarin) in Mandarin ·聲調 /声调(shēngdiào)(layout ·text) | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 四聲 /四声(sìshēng) | 陰平 /阴平(yīnpíng) 一聲 /一声 | 陽平 /阳平(yángpíng) 二聲 /二声(èrshēng) | 上聲 /上声(shǎngshēng) 三聲 /三声(sānshēng) | 去聲 /去声(qùshēng) 四聲 /四声(sìshēng) | 輕聲 /轻声(qīngshēng) | |||||
| simp. andtrad. | 上 | |
|---|---|---|
上
| For pronunciation and definitions of上 – see緔 (“tosole ashoe”). (This character is the second-round simplified form of緔). |
Notes:
|
| For pronunciation and definitions of上 – see鞝. (This character is the second-round simplified form of鞝). |
Notes:
|
| Kanji in this term |
|---|
| 上 |
| うえ Grade: 1 |
| kun'yomi |
⟨upe2⟩ →/*upai̯/ →/upe/ →/ufe/ →/uwe/ →/ue/
FromOld Japanese, fromProto-Japonic*upay.
Unboundapophonic form ofuwa, ancientupa (see below).
| Kanji in this term |
|---|
| 上 |
| うわ Grade: 1 |
| kun'yomi |
/upa/ →/ufa/ →/uwa/
FromOld Japanese. The combining form ofue, ancientupe (see above).[1]
| Kanji in this term |
|---|
| 上 |
| へ Grade: 1 |
| kun'yomi |
| Kanji in this term |
|---|
| 上 |
| え Grade: 1 |
| kun'yomi |
⟨upe2⟩ →⟨pe2⟩ → */pe/ →/fe/ →/he/
Short-form of or shift fromue, ancientupe (see above). Realized as-e in some compounds.
The senses are the same withue.
| Kanji in this term |
|---|
| 上 |
| かみ Grade: 1 |
| kun'yomi |
⟨kami1⟩ → */kamʲi/ →/kami/
FromOld Japanese. Already apparent in ancient texts such as theKojiki (c. 712CE) and theMan'yōshū (c. 759CE).[1][4]
Distinct from神(⟨kami2⟩ →kami,“Shintodeity”).
| Kanji in this term |
|---|
| 上 |
| かん Grade: 1 |
| kun'yomi |
/kami/ →/kamʉ/ →/kaɴ/
Contraction ofOld Japanese⟨kami1⟩. Spelled in ancient works asかむ(kamu) prior to the development of theん(n) kana.[1][4][5]
Generally only found when followed by thegenitive /possessive particlesの(no) orつ(tsu).
| Kanji in this term |
|---|
| 上 |
| じょう Grade: 1 |
| goon |
/d͡ʑɨau/ →/d͡ʑɔː/ →/d͡ʑoː/
FromMiddle Chinese上 (MC dzyangX|dzyangH).
上:Hán Việt readings:thượng (
上:Nôm readings:thượng[1][3][4][5]
