In June 1950, at the Second Session of the First National Committee of the Chinese People's Political Consultative Conference (CPPCC) held in Beijing同花配, a renowned patriotic overseas Chinese, Chen Jiageng, proposed a suggestion regarding Chinese character writing. He suggested that to meet the demands of modernization and improve efficiency, Chinese writing should be standardized to a horizontal writing style from left to right.
At the time, the representatives were more focused on urgent issues such as industrial recovery, education reform, and land distribution, all crucial for the country’s rebuilding. Although Chen's proposal was made with the intent to modernize the culture and increase efficiency, it was not given much attention. The proposal, although explained in detail by Chen, did not lead to immediate and deep discussions as most representatives prioritized more pressing political and economic concerns.
展开剩余82%Over time, as society began recovering from the post-war era, cultural figures such as Guo Moruo and Hu Yuzhi started to see the limitations of vertical writing in everyday use. Guo Moruo mentioned several times that although vertical writing had been a long-standing tradition, it was inconvenient for scientific and technological developments. He argued that horizontal writing was more aligned with human eye physiology and modern typesetting technology, offering higher space efficiency on paper.
Hu Yuzhi, on the other hand, approached the issue from the perspective of scientific formulas and translation. He highlighted that in modern education, frequently used subjects like mathematics and chemistry require horizontal text for clearer representation, as do foreign names and places that are difficult to express in vertical writing. His arguments stressed that horizontal writing improved the speed and accuracy of information transfer.
Their advocacy started gaining traction among the cultural elite, and some began experimenting with horizontal writing in their own work. Although not widely adopted at the time, it set the stage for the larger movement towards modernizing Chinese writing. The influence of figures like Guo and Hu helped bring horizontal writing into the public eye as an emerging topic in cultural discussions.
In 1955同花配, the Guangming Daily made a significant move by publishing a special edition featuring horizontal writing. The article pointed out several advantages of horizontal writing, including its better compatibility with human vision, reduced eye fatigue, and more efficient use of paper. This special edition sparked reactions from readers, with some praising the ease of reading, while others felt that horizontal writing lacked the aesthetic charm of vertical writing.
In 1956, a pivotal moment came when China’s news and publishing industry officially adopted horizontal writing for newspapers. The same year, People's Daily announced the Simplified Chinese Character Scheme, and the combination of simplified characters and horizontal writing greatly improved both writing efficiency and the spread of knowledge. Schools started using horizontal writing in textbooks, especially in science and math, where it was more convenient for displaying formulas and diagrams.
As horizontal writing began to take hold, the traditionalist scholar Chen Yinke, a master of classical Chinese studies, strongly opposed the shift. Chen, known for his deep appreciation of ancient poets like Tao Yuanming and Du Fu, felt that vertical writing was closely tied to Chinese literary traditions and should be preserved. He argued that the adoption of horizontal writing symbolized a cultural break, and expressed his resistance through his poetry. He even left in his will a directive that his works should only be published in traditional vertical writing with classical characters, a stance that remained honored by publishers long after his death.
In 2020, marking 50 years since Chen Yinke's death, a new edition of his complete works was published by Yilin Press in simplified characters and horizontal writing. The collection included both historical and literary writings. This new format sparked a mixed reaction—while some scholars found it problematic because it may obscure the nuances of his academic thought, others appreciated that it made his works more accessible to modern readers, especially younger generations.
Although this simplified, horizontal edition may not fully capture the academic depth of Chen's original works, it marked a significant shift in how his writings could be engaged with by the public. In scholarly circles, however, the traditional vertical and classical character versions remain the dominant choice for serious study.
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