Summary
This video introduces Japanese kanji, focusing on those needed for JLPT N5 and Kanken 10. It teaches single meanings, parts, and radicals for 118 kanji using stories and writing practice. The core methodology involves memorizing parts and radicals to build kanji meanings, employing mnemonics and visual aids. It covers numbers, common objects, elements, family relationships, and actions, providing historical context and stroke order for each character. The aim is to build a strong foundation for Japanese language learners through engaging and memorable techniques.
Sections
Introduction and Learning Methodology
Video aims to help pass JLPT N5 and Kanken 10 kanji sections.
Upon completing this video, viewers should be able to pass the kanji section of the JPTn5 and the Kanken 10 test, which is the first major kanji test Japanese children take. The first part focuses on learning one English meaning for 118 necessary kanji and all their constituent parts and radicals.
Kanji parts and radicals are building blocks for meaning and reading.
Parts are the building blocks that make up each kanji, with the radical being the main part. Often, the radical provides a hint towards the meaning or reading of the kanji. Kanji are also organized by their main radicals in dictionaries, which is how Japanese people typically learn them in school. The names used for kanji and radicals are based on meanings native Japanese children learn, with some unique names for parts not commonly taught.
Memorization through stories and writing practice is emphasized.
Each part and kanji is memorized using stories and by learning how to write them. The second part of the video focuses on reading kanji by learning 230 vocabulary words through skits in natural Japanese, also introducing new grammar.
Learning methodology explained: parts, radicals, stories, and writing.
The video introduces a structured approach to learning kanji: 1. Learn the single English meaning for each kanji. 2. Learn all necessary parts and radicals. 3. Memorize using stories. 4. Learn proper writing strokes and order. 5. Learn readings through vocabulary and skits. Further information on the methodology and introduction to kanji is available in a separate video.
Numbers 1-10
The kanji for 'one' is simple, just a line.
The first kanji is 'one', which looks like a one on its side. Its radical is 'one' itself. It has one stroke and its historical evolution is minimal. The story uses a fluorescent worm.
Kanji for 'two' is two ones, with the bottom line longer.
The kanji for 'two' is made of two ones. It has two strokes, written left to right, top to bottom. The bottom line is always longer than the top line. The story involves two fluorescent worms.
Kanji for 'three' adds a line above the previous two.
The kanji for 'three' adds an extra line to 'two', placing a 'one' above the 'two'. It has three strokes. The middle line is shorter than the top and bottom lines. The story adds a third fluorescent worm.
'Mouth' kanji is learned before 'four' as a prerequisite.
Before learning 'four', the kanji for 'mouth' is introduced. It means 'mouth', has three strokes, and is written with a north-to-south stroke first, then west-to-east, and finally closing the bottom. Its historical evolution looks like a smiley face.
'Person's legs' radical is learned as a component for 'four'.
The radical 'person's legs' is introduced, consisting of two strokes with the right leg curving up. It resembles dancer's legs. This is a component needed for the kanji 'four'.
'Four' combines 'mouth' and 'person's legs'.
The kanji for 'four' uses 'mouth' and 'person's legs' as parts. The mouth is not closed until the legs are written inside, connecting to the top line. Historically, it was written with four lines.
Kanji for 'five' uses a diagonal line and an L-shape.
The kanji for 'five' has four strokes, including a diagonal line and an unusual backward 'L'. It follows standard writing rules. Historically, it resembled an hourglass. The story involves worms, a pole, and an L-bar.
'Pot lid' radical is a distinct part with two strokes.
The 'pot lid' radical is a distinct part, not a kanji. It has two strokes: a dot for the handle and a line for the lid. It's written top to bottom for the handle, then west to east for the lid.
'Eight horses front legs' radical is a component for 'six'.
The 'eight horses front legs' radical is learned as a component for 'six'. It has two strokes and resembles the front legs of a walking horse. The story features eight cute little horses and their legs.
'Six' combines 'pot lid' and 'eight horses front legs'.
The kanji for 'six' combines 'pot lid' at the top and 'eight horses front legs' at the bottom. Historically, it resembled Ford or had legs coming from a sky portal.
'Fish hook' radical is a simple, single-stroke part.
The 'fish hook' radical is a simple, single-stroke part resembling a hook. It is used to form the kanji 'seven'.
'Seven' combines 'one' and 'fish hook'.
The kanji for 'seven' combines 'one' (slanted) and 'fish hook'. A slanted line goes through the fish hook. Historically, it resembled 'ten' or a dagger. The story involves a worm on a fish hook.
Kanji for 'eight' uses two diagonal strokes.
The kanji for 'eight' consists of two diagonal strokes, similar to the 'eight horses front legs' radical but with the top of the second stroke slightly above the left stroke. The story is the same as the radical.
'No radical' resembles the katakana 'no'.
The 'no radical' resembles the katakana character 'no'. It has one stroke, written north-to-south or right-to-left. It's a common part and will be seen frequently.
'Fish hook 2' is a variant used for 'nine'.
'Fish hook 2' is a variation of the fish hook radical, used for the kanji 'nine'. It has one unusual stroke: a straight line on top followed by a curve. Historically, it was a squiggle.
'Nine' combines 'no radical' and 'fish hook 2'.
The kanji for 'nine' combines the 'no radical' and 'fish hook 2'. It breaks some writing rules, with 'no' drawn first and the fish hook part going straight down. Historically, it had various forms, some resembling hands.
'Standing stick' radical is a single stroke.
The 'standing stick' radical is a single straight stroke from north to south, resembling a wizard's staff. It's a simple part used in future kanji.
'Ten' combines 'one' and 'standing stick'.
The kanji for 'ten' combines 'one' and the 'standing stick' radical. It has two strokes, following west-to-east and north-to-south rules. Historically, it morphed from a staff to a cross shape.
Elements, Time, and Family
'Sun' kanji is its own radical and looks like mouth with one inside.
The kanji for 'sun' is its own radical. It can be broken into 'mouth' with 'one' inside. The strokes involve drawing the mouth partially, then the one, and closing the mouth. Historical forms varied.
'Moon' kanji is written like 'sun' but with a curve below.
The kanji for 'moon' is its own radical and shares the stroke order with 'sun'. It looks like 'sun' with curves below, representing a crescent moon. Historically, it was more pictographic.
'White' adds a 'no' character on top of 'sun'.
The kanji for 'white' adds the 'no' character on top of 'sun'. It has five strokes. Historically, it resembled a bowl of rice or a cupcake.
'Hundred' combines 'one' and 'white'.
The kanji for 'hundred' combines 'one' and 'white'. It has six strokes. Historically, it looked very different. The story involves a white sun-bleached 'no' paying yen.
'Thousand' combines 'no radical' and 'ten'.
The kanji for 'thousand' combines the 'no radical' and 'ten'. It has three strokes, written with 'no' first, then 'ten'. Historically, it was more squiggly.
'Wrapping radical' is a part used for enclosure.
The 'wrapping radical' is a non-kanji part used for enclosure. It has two strokes: one resembling 'no radical' and another stroke that curves underneath. It signifies that whatever it encloses is 'wrapped up'.
'Ten thousand' uses 'one' and a part resembling wrapping paper.
The kanji for 'ten thousand' uses 'one' and a part resembling wrapping paper (though not the true wrapping radical). It has three strokes, with the wrapping part drawn before the 'no' radical stroke. The story involves a worm and wrapping paper.
'Overturned box' radical acts as an enclosure.
The 'overturned box' radical is an enclosure part with two strokes, similar to the first two strokes of 'mouth' but curving underneath. It's used as a container.
'Yen' uses 'overturned box' and 'pot lid'.
The kanji for 'yen' uses the 'overturned box' enclosure and 'pot lid' inside. It has four strokes. The pot lid connects to the enclosure. It also means 'round' or 'circle'.
'Up' combines 'one' and 'standing stick'.
The kanji for 'up' combines 'one' and 'standing stick'. It has three strokes. Historically, it looked like 'two'. The story uses a fluorescent worm flag planted upwards.
'Down' combines 'one', 'standing stick', and a drop.
The kanji for 'down' combines 'one', 'standing stick', and a drop. It has three strokes, with 'one' first, then 'staff', then the drop. Historically, it looked like an upside-down 'two'. The story uses a sagging flag.
'Person' kanji is a common radical, resembling a side view.
The kanji for 'person' is a common radical. It has two strokes, with the left stroke drawn first. Historically, it resembled a person viewed from the side, potentially with a hunched back. The story uses a specific character, Andosan.
'Fire' combines 'person' and two angled dots.
The kanji for 'fire' combines 'person' with two angled dots. The dots are written first, with specific angles, followed by 'person'. Historically, it depicted flames licking a person.
'Dirt' combines 'ten' and 'one'.
The kanji for 'dirt' combines 'ten' and 'one'. It has three strokes, with 'ten' drawn first, then 'one' below it. Historically, it looked like piled dirt. The story uses a gravestone and a worm.
'Feathered broomstick' radical is a sweeping tool.
The 'feathered broomstick' radical means a feathered broomstick. It has one stroke that sweeps to the left. Historically, it resembled a crochet needle. The story involves an impossible-to-knock-over broomstick.
'Fu part' is a laughing character resembling katakana 'fu'.
The 'fu part' is not a radical but a common part resembling katakana 'fu', laughing. It has one stroke, starting west-to-east with a sharp angle. The story involves the katakana 'fu' laughing.
'Backwards no' is a rare character resembling backwards katakana 'no'.
'Backwards no' is a rare kanji resembling backwards katakana 'no' with extra flair. It has one stroke. The story involves katakana 'no' wearing a backwards hat.
'Water' combines 'feathered broomstick', 'fu', 'no', and 'backwards no'.
The kanji for 'water' combines 'feathered broomstick', 'fu', 'no radical', and 'backwards no'. It has four strokes. Historically, it looked like a flowing river. The story involves a complex scene with these parts in floodwater.
'Tree' kanji resembles trees and can be broken into simpler parts.
The kanji for 'tree' resembles trees. It can be broken into parts like 'one', 'staff', and 'no' characters. It has four strokes, written in a specific order. Historically, it looked like runes. The story is a pictograph of trees on a hill.
'King' kanji has a unique stroke order in Japan.
The kanji for 'king' is its own radical. It's broken into 'one', 'staff', and 'two'. Japan's stroke order differs from China's: top stroke, staff, then 'two' through the staff. Historically, it was a broad axe.
'Jewel' uses 'king' radical and a drop; also means 'ball'.
The kanji for 'jewel' uses 'king' as its radical (though inconsistent) and a drop. It has five strokes, written like 'king' with the drop last. It also means 'ball'. The story involves a king with dripping jewels.
'Country' combines 'mouth' and 'jewel' within an enclosure.
The kanji for 'country' combines 'mouth' and 'jewel' within a box enclosure. It has eight strokes. The mouth is drawn before the jewel, then the box is closed. Historically, it had different internal parts.
'Human roof' is 'person' used as a radical, meaning a roof.
'Human roof' is the 'person' kanji used as a radical or crown radical, meaning a roof. It has two strokes, like a split 'person'. The story involves Andosan doing a split on roofless buildings.
'Eight horse leg crown' is a part resembling upside-down horses.
'Eight horse leg crown' is a common part resembling eight horses lying upside down with legs in the air. It's typically used above other kanji. The story involves eight horses on their backs.
'Gold' combines 'human roof', 'one', 'dirt', and 'eight horse leg crown'.
The kanji for 'gold' combines 'human roof', 'one', 'dirt', and 'eight horse leg crown' inside. It has eight strokes, written in that order. Historically, it hasn't changed much. The story involves Andosan, a worm, and golden horse legs.
'Person hiding on left' is 'person' as a radical on the left.
'Person hiding on left' is the 'person' kanji used as a hen (left) radical. It imparts meaning related to actions people do. The strokes are like 'person' but written with the first stroke above and second extending straight. The story uses Andosan hiding.
'Rest' combines 'person hiding on left' and 'tree'.
The kanji for 'rest' combines 'person hiding on left' and 'tree'. It has six strokes. Historically, it combined relevant 'person' and 'tree' kanji. The story features Andosan resting behind a tree.
'I' kanji resembles an eye and is its own radical.
The kanji for 'I' is its own radical. It can be broken down into a tall 'mouth enclosure' and two 'ones'. It has five strokes. Historically, it looked like an eye. The story uses an eye of Sauron.
'Look' combines 'I' and 'person's legs'.
The kanji for 'look' combines 'I' (eye) and 'person's legs'. It has seven strokes, with the eye on top and legs below. Historically, it was similar. The story involves the eye of Sauron with legs.
'Ear' kanji has six strokes and resembles an ear.
The kanji for 'ear' has six strokes and is its own radical. It can be broken into 'ones' and 'staff' parts. The stroke order involves horizontal lines first, then vertical, then more horizontal, ending with a final vertical line. Historically, it looked like an ear.
'Stop' kanji can mean footprint when used as a radical.
The kanji for 'stop' means 'stop' on its own but means 'footprint' as a radical. It combines 'up' and 'staff'. It has four strokes. Historically, it was a foot pictograph. The story involves a stoplight and footprints.
'Foot' kanji combines 'mouth' and 'stop' (footprint).
The kanji for 'foot' is its own radical. It combines 'mouth' and 'stop' (used as footprint). It has seven strokes. The 'stop' part's final strokes are unusual in this position. Historically, it looked like a foot.
'Correct' combines 'one' and 'stop' (footprint).
The kanji for 'correct' combines 'one' and 'stop' (as footprint). It has five strokes, functioning like tally lines. The 'one' is on top, followed by 'stop', which is written normally here. Historically, it was similar to 'foot'.
'Car' kanji is a pictograph of a wheeled vehicle.
The kanji for 'car' is a pictograph. It combines 'one', 'day' (sun), and 'staff'. It has seven strokes, following standard rules. Historically, it always depicted a car or cart with wheels and sometimes people.
'Hand' kanji combines 'no', 'two', and 'feathered broomstick'.
The kanji for 'hand' combines 'no radical', 'two', and 'feathered broomstick'. It has four strokes in that order. Historically, it was modeled on an open palm. The story involves 'no' sweeping off two brothers.
'Child' kanji combines a head part, 'feathered broomstick', and 'one'.
The kanji for 'child' combines a head part, 'feathered broomstick', and 'one'. It has three strokes. Early versions had hands in the air or flowing hair. The story uses a pictograph with a house-cleaning mermaid child.
'House roof' is a part resembling katakana 'u', meaning roof.
The 'house roof' part looks like katakana 'u' and means roof. It has three strokes, identical to 'u'. The story names it 'house roof' as a fundamental roof part.
'Letter' combines 'house roof' and 'child'.
The kanji for 'letter' combines 'house roof' and 'child'. It has six strokes, written in that order. Historically, it hasn't changed much. The story involves Andosan making letters under a roof.
'Study and learning crown' is a part resembling katakana 'tsu'.
The 'study and learning crown' part resembles katakana 'tsu' and appears on top of kanji. It has three strokes, like 'tsu'. The story involves teacher 'tsu' being strict about learning stroke orders.
'Wear a hat' part resembles katakana 'wa', meanings include wearing a hat.
The 'wear a hat' part resembles katakana 'wa' and means wearing a hat, usually in the crown position. It has two strokes, like the second and third strokes of 'house roof'. Historically, it was more 3D.
'Learn' combines 'study crown', 'wear a hat', and 'child'.
The kanji for 'learn' combines 'study and learning crown', 'wear a hat', and 'child'. It has eight strokes. Historically, it depicted hands teaching a child. The story involves learning stroke orders to make the hat meaningful.
'Field' kanji is a pictograph divided into four plots.
The kanji for 'field' is its own radical and a pictograph. It has five strokes, with Japanese stroke order differing from Chinese. Historically, it had flourishes resembling a pitchfork. The story is a pictograph of a field divided into plots.
'Strength' combines 'no' and a 'flexing arm'.
The kanji for 'strength' combines 'no' and a 'flexing arm'. It has two strokes. Historically accurate, the arm represents strength. The story uses 'no' flexing its arm.
'Man' combines 'field' and 'strength'.
The kanji for 'man' combines 'field' and 'strength'. It has seven strokes, following the parts' orders. Historically, it represented a man working in fields. The story says 'no' achieved strength from field work.
'Coup part' resembles hiragana 'ku' and means to eat.
The 'coup part' resembles hiragana 'ku' and informally means 'to eat'. It has one stroke, like 'ku'. The story uses the Japanese word for eating informally.
'Woman' combines 'ku', 'no', and 'one'.
The kanji for 'woman' combines 'ku', 'no', and 'one'. It has three strokes, with 'ku' leaning back, 'no' cutting through, and 'one' on top. Historically, it was a kneeling woman. The story involves parts dressing as a woman.
'Left hand' radical is a hanging enclosure part.
The 'left hand' radical (used as enclosure) is made of 'one' and 'no'. Stroke order can vary. Historically, it was a kanji for 'left hand'. The story uses 'no' holding a worm in its left hand.
'Again' radical formerly meant 'to carry' or 'right hand'.
The 'again' radical (formerly a kanji) means 'to carry', 'grab', or 'take', and potentially 'right hand'. It combines 'fu' and 'backwards no'. Historically, it was a pictograph of a right hand. The story involves repeated attempts to create the kanji.
'Friend' combines 'left hand' and 'again'.
The kanji for 'friend' combines 'left hand' and 'again'. It has four strokes. Historically, it was two right hands. The story involves a director using his friend ('no') to light a scene.
'Grass clippers' part resembles clippers for cutting grass.
The 'grass clippers' part resembles grass clippers. It has two strokes: a diagonal line and 'backwards no'. Historically, it resembled a scythe. The story uses a pictograph of grass clippers.
'Father' combines 'eight' and 'grass clippers'.
The kanji for 'father' combines 'eight' and 'grass clippers'. It has four strokes, following diagonal line rules. Historically, it was a hand holding an axe. The story involves fathers indicating grass clippers as gifts.
'Mother' combines 'coup', 'flexing arm', two dots, and 'one'.
The kanji for 'mother' combines 'coup part', a 'flexing arm', two dots, and 'one'. It has five strokes. Historically, it resembled 'woman' with dots for differentiation, possibly breasts. The story uses the breast interpretation.
'No lying down' part combines 'no' and 'one', often in crown position.
The 'no lying down' part combines 'no' and 'one'. It has two strokes and usually appears in the crown position. Historically, it was called 'no ichi'. The story involves 'no' lying on a worm.
'Each' combines 'no lying down' and 'mother'.
The kanji for 'each' combines 'no lying down' and 'mother'. It has six strokes. Historically, it meant 'mother with a hairpiece'. The story uses 'no' lying on its mother each day.
'Katana' part resembles a katana handle.
The 'katana' part resembles a katana handle. It combines 'flexing arm' and 'no'. Historically, it was a knife hieroglyph. The story uses a pictograph of a katana handle.
'Segment' combines 'eight' and 'katana'.
The kanji for 'segment' combines 'eight' and 'katana'. It has four strokes, with 'eight' in the crown position over 'katana'. Historically, it was a knife cutting an 'eight'. The story involves a katana segmenting a horse.
'Now' combines 'human roof', 'one', and 'fu part'.
The kanji for 'now' combines 'human roof', 'one', and 'fu part'. It has four strokes. Historically, it represented a bell tongue. The story involves Foo laughing in the 'now'.
'Noon' combines 'no lying down' and 'ten'.
The kanji for 'noon' combines 'no lying down' and 'ten'. It has four strokes. Historically, it was a mochi hammer for the zodiac. The story uses 'no' lying down from 'ten' to 'noon'.
'Hang to dry' radical combines 'one' and 'ten'.
The 'hang to dry' radical combines 'one' and 'ten'. It has three strokes, resembling a shield. Historically, it was a shield. The story involves a worm drying on a 'ten' staff.
'Year' combines 'no lying down', 'hang to dry', and extras.
The kanji for 'year' combines 'no lying down', 'hang to dry', and extra lines. It has six strokes. Historically, it represented carrying grains or a ripening crop. The story involves a worm drying for a year.
'Small measurement' part combines 'one', 'feathered broomstick', and 'drop'.
The 'small measurement' part combines 'one', 'feathered broomstick', and 'drop'. It has three strokes. Historically, it depicted touching a wrist or hand making a measurement. The story involves calipers measuring a drop.
'Temple' combines 'dirt' and 'small measurement'.
The kanji for 'temple' combines 'dirt' and 'small measurement'. It has six strokes. Historically, the top part indicated pronunciation or 'to carry', later changed to 'dirt' meaning temple. The story involves cemeteries and measurements.
'Time' combines 'sun' and 'temple'.
The kanji for 'time' combines 'sun' and 'temple'. It has ten strokes. Historically, 'sun' indicated meaning and 'temple' the reading. The story states the 'sun temple honors time'.
'Small' kanji combines 'feathered broomstick' and 'eight'.
The kanji for 'small' combines 'feathered broomstick' and 'eight'. It has three strokes. Historically, it changed little. The story states the smallest broomstick is eight centimeters long.
'Big' kanji combines 'one' and 'person'.
The kanji for 'big' combines 'one' and 'person'. It has three strokes. Historically, it was a pictograph of an adult stretching arms wide. The story compares a worm's size to a person's stride.
'Dog' combines 'big' and a 'drop'.
The kanji for 'dog' combines 'big' and a 'drop'. It has four strokes. Historically, it underwent significant changes, related to alien evolution. The story describes a dog bigger than a worm.
'Half' combines 'eight horse leg crown' and 'ten'.
The kanji for 'half' combines 'eight horse leg crown' and 'ten'. It has five strokes. Historically, it combined 'cow' and 'eight' to mean splitting a cow. The story involves splitting a horse with a katana.
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