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One of the best Japanese Kanji dictionary.
京 means "kyoto, capital city of Japan during the heian period (794-1185)."
Capital city - A city that is the center of a country and has a royal government.
Grand - Large and impressive.
Hill - A high elevation.
Worried - Feeling anxious or concerned.
Number - A million times a trillion.
In comparison with tokyo , london is small.
I have stayed in kyoto for three days.
He will reach kyoto the day after tomorrow.
He entered tokyo university this spring.
Are you going to go to tokyo tomorrow?
He came to tokyo at the age of three.
I went as far as kyoto by train.
He started from tokyo for osaka by car.
Kyoto is visited by many tourists.
I was born in kyoto in 1980.
それで夏休みに当然帰るべきところを、わざと避けて東京の近くで遊んでいたのである。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
先生の元の同級生などで、その頃東京にいるものはほとんど二人か三人しかないという事も知っていた。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
しかし先生の何もしないで遊んでいるという事は、東京へ帰って少し経ってから始めて分った。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
先生と同郷の友人で地方の病院に奉職しているものが上京したため、先生は外の二、三名と共に、ある所でその友人に飯を食わせなければならなくなった。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
正月上京する時に持参するからそれまで待ってくれるようにと断わった。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
「こんど東京へ行くときには椎茸でも持って行ってお上げ」「ええ、しかし先生が干した椎茸なぞを食うかしら」「旨くはないが、別に嫌いな人もないだろう」私には椎茸と先生を結び付けて考えるのが変であった」
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
その上私は国へ帰るたびに、父にも母にも解らない変なところを東京から持って帰った。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
しかし暑い盛りの八月を東京まで来て送ろうとも考えていなかった。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
私は暇乞いをする時先生夫婦に述べた通り、それから三日目の汽車で東京を立って国へ帰った。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
そう考える私はまたここの土を離れて、東京で気楽に暮らして行けるだろうか。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
あの目眩るしい東京の下宿の二階で、遠く走る電車の音を耳にしながら、頁を一枚一枚にまくって行く方が、気に張りがあって心持よく勉強ができた。
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
from "Kokoro", by Natsume Sōseki, original text:Shueisha Bunko, Shueisha
What is Onyomi?
Onyomi, also known as the "Sino-Japanese reading," is one of the two main reading systems for kanji characters in Japanese. It refers to the reading of a kanji character that is derived from the original Chinese pronunciation.
What is Kunyomi?
Kunyomi, also known as the "native Japanese reading," is one of the two main reading systems for kanji characters in Japanese. It refers to the reading of a kanji character that is based on the native Japanese pronunciation. Kunyomi readings are often used when a kanji character stands alone or is followed by hiragana, as in verbs and adjectives. Mastering both kunyomi and onyomi is crucial for understanding and using kanji effectively in the Japanese language.
What is Radical?
A radical, also known as "bushu" in Japanese, is a fundamental component of kanji characters. Radicals are the building blocks of kanji and are used to categorize and organize them in dictionaries. There are 214 traditional radicals, each with its own meaning, which often provides a clue to the meaning of the kanji character it forms.
What is strokes?
Stroke count, or "kakusuu" in Japanese, refers to the number of individual brushstrokes required to write a kanji character. Each kanji has a specific stroke order and stroke count, which are essential for writing the character correctly and legibly. Understanding and following the correct stroke order not only ensures proper balance and aesthetics but also makes writing more efficient and fluid.