People who don't know any Chinese characters will think the four glyphs pictured above are just typical Chinese characters, but won't be able to make any sense of them at all.
People who are minimally / partially literate in Chinese characters will recognize components of the four glyphs, but not one of the glyphs as a whole.
People who are moderately literate in Chinese characters will "sort of" recognize parts of the four glyphs, but will not be able to extract meaning from the sentence as a whole.
Native speakers who are highly literate in Chinese characters will not be able to pronounce a single one of the four glyphs, but in many cases will be able to instantly read off the sentence thus:
bùxiǎng shàngbān, nà jiù bié shàng
不想上班,那就别上
"If you don't want to go to work, then don't go"
Xinyi Ye says, "This seems to be a new design trend in China nowadays, especially for auspicious or cute things like 'chūnlián 春联' ("spring festival couplets)."
These are traditionally called "hétǐzi 合体字" ("compound character"), and we've written about them before on Language Log (see "Selected readings" below).
Because of their invented nature, they remind me of Xu Bing's Book from the Sky (Tiānshū 天書):
Title page of Book from the Sky (Tiānshū 天書), in pseudo-Chinese characters.
The characters “天書” do not appear anywhere in the book. Note that the three large title characters in the center of the cover are repeated in a smaller font at the top right. This is Xu Bing's tricking the reader into believing that they are real character that can be repeated with a consistent meaning / usage.Xu Bing's made-up graphs are constructed in an entirely different manner. The "hétǐz 合体字" ("compound characters") above are made of components that are mostly actually characters themselves or are real elements in actual characters. Xu Bing, however, even makes up most of his components, e.g., the component on the left side of the third of the three big characters on the cover is reminiscent of Kangxi radical 184 (shí 食 ["eat; food"]), but it's not the same.
The four glyphs pictured at the beginning of this post also take liberties with their strokes, but they still can serve as elements of actual components of real characters, even though they are distorted.
Selected readings
- "Polysyllabic characters revisited" (6/18/15) — see esp. what I say about túshūguǎn 圕 ("library"), with embedded references to other posts about this type of character
- "'Double Happiness': symbol of Confucianism as a religion" (6/8/15)
- "'Book from the Ground'" (12/5/12)
- "The unpredictability of Chinese character formation and pronunciation" (2/6/12) — Xu Bing's "Book from the Sky"
[Thanks to Jing Hu]