경기도 화장사 所傳의 梵字 貝葉으로 본 悉曇學의 流入 - 月印千江의 유래를 중심으로 - (On the Sanskrit written in leaves of Pattra transmitted to Hwajangsa Temple - Focused on the source of Wolinchongang(月印千江) -)

서지정보

· 발행기관 : 구결학회
· 수록지 정보 : 구결연구 / 53호 / 81 ~ 132페이지
· 저자명 : 정광

초록

이 논문은 한반도에 전해진 산스크리트 문자의 패엽(pattra, leaf)을 중심으로 이땅에 산스크리트 문자가 불경을 통하여 적지 않게 유입되었고 이 표음문자로 산스크리트를 기록하는 방법을 배웠음을 살펴본 것이다. 그리고 불경을 통하여 전수된고대인도의 발달된 음성학이 조선시대 초기에 세종의 새 문자 제정에 기본 이론으로 작용하였다고 주장하였다.
특히 고려 말에 指空(?∼1363, 提納薄陀, Dhyānabhadra)이 고려로 가져온 華藏 寺 所傳의 <般若心經> 패엽 석장은 戰亂을 피하여 일본 東京의 국립박물관에 소장되어 현전한다. 본고에서는 이를 가져온 指空 和尙을 통하여 고려에 표음문자인 산스크리트 문자와 그 사용, 그리고 悉曇學, 즉 고대인도의 음성학과 문자학이 전래되었다고 보았다.
이러한 학문은 指空의 제자인 고려 僧 懶翁과 또 그의 제자인 조선 전기의 無學과涵虛堂, 또 그의 제자인 信眉를 통하여 고스란히 세종에게 전달되었을 것으로 추정하였다. 세종의 새 문자는 고대인도의 고도로 발달한 조음음성학의 이론으로 제정되어 매우 과학적이다. 初聲의 자음들은 조음위치인 五音의 ‘牙音(velar sound), 舌 音(alveolar), 脣音(labial), 齒音(palatal), 喉音(guttural, laryngeal)’으로 자음들을 분류하였다.
또 조음방식의 四聲은 무성무기음(unaspirated-voiceless)의 全淸과 무성유기음(aspirated)의 次淸, 유성음(voiced)의 全濁, 그리고 鼻音(nasal)이나 구강에서의 공명음(resonant)을 수반하는 不淸不濁으로 분류하여 조음위치를 씨줄로 하고 조음방식을 날줄로 하는 자음의 음운 도식을 그렸다.
본고에서 사진으로 보인 <광운 36자모도>는 바로 七音과 四聲을 橫과 縱으로 한도표이다. 훈민정음 <해례본>은 이러한 도표에 의거하여 모든 초성, 즉 조선어의자음을 칠음과 사성으로 설명하였다. 또 <광운 36 자모도>의 36자모는 산스크리트문자의 자음, 즉 体文(vyaňjana)의 36 글자에 맞춘 것이다.
훈민정음에서 中聲의 모음 글자를 인정한 것은 산스크리트 문자의 摩多(mātŗ, 또는 svara) 12자에 따른 것이다. 그리하여 成俔의 <慵齋叢話>에서는 훈민정음의중성을 12자라고 하기까지 하였다. 훈민정음에서 초기의 中聲 글자는 파스파문자처럼 喩母에 속한 것으로 보았다. 그리하여 한글에서 모음자는 단독으로 쓸 때에 喩 母, 후일의 欲母인 /ㅇ/을 앞에 붙여 /, 으, 이/와 같이 쓴다.
그러나 고대인도 음성학에 정통한 涵虛堂의 영향을 받은 세종의 새 문자의 제정에 그의 제자인 信眉가 참여하면서 중성의 글자를 완전히 독립시켜 자음의 초성 글자와 동등하거나 오히려 우월하게 보았다. 이것이 파스파문자와 한글의 중요한 차이라고 할 수 있고 세계 문자학사에서도 괄목할 일이다.

영어초록

This paper investigated the introduction of the Sanskrit script into Korea and its influence on the creation of Hangul, focused on the sutra written on Pattra leaves in Sanskrit transmitted to the Korean Peninsula.
More specifically, the present study examined the process in which a considerable amount of writings written in the Sanskrit script were introduced into Korea through Buddhist scriptures, and Korean monks and scholars learned about the method of using this phonetic script to record Sanskrit.
In addition, this study argued that the highly developed phonetics of ancient India, which was transmitted through Buddhist scriptures (Sutra), served as a theoretical foundation for King Sejong’s creation of a new writing system in the early Joseon (朝鮮) Dynasty.
In particular, three pattra leaves of Bānruŏxīnjĭng (Prajňā-hŗdaya-sūtra) from the late Goryeo (高麗) period are still in existence. They were thought to be brought to Goryeo by Zhĭkōng (?∼1363, 提納薄陀, Dhyānabhadra) in the late Goryeo (高麗) Dynasty according to the historical records of Hwajangsa(華藏寺), a Buddhist temple of the Goryeo Dynasty period.
They have survived wars and turmoil in Korea over hundreds of years, and are currently housed in the Tokyo National Museum in Japan. This study aimed to study the pattra of Bānruŏxīnjĭng (般若心經) in relation to the creation of Hangul.
In this paper, it is argued that the Sanskrit script as a phonetic alphabet and the method of using the writing system as well as the Studies of Siddham (悉 曇) were introduced to Goryeo through Zhĭkōng (指空), a famous Buddhist monk from India.
The Sanskrit script and related knowledge of ancient Indian phonetics are presumed to have been passed on to King Sejong not only through Naong (懶翁), who was a monk in the late Goryeo Dynasty and a disciple of Zhĭkōng, but also through Hamheodang (涵虛堂), a successor of Naong in the early Joseon Dynasty, and Shinmi (信眉), a successor of Hamheodang.
King Sejong’s new script was a very scientific writing system created based on ancient India’s sophisticated theory of articulatory phonetics. In terms of the place of articulation, all the consonants of Korean were classified into five types of sounds: molar sounds (velar), lingual sounds (alveolar), labial sounds (bilabial), dental (palatal), and throat sounds (laryngeal).
In addition, in terms of the manner of articulation, consonants were classified into ‘wholly clear phones (全淸)’, ‘partially clear phones (次淸)’, ‘wholly muddy phones (全濁)’, and ‘phones which are neither clear nor muddy (不淸不濁)’, which respectively correspond to unaspirated voiceless, aspirated voiceless, voiced consonants, and sonorant consonants including nasals and oral resonants. Thus, a phonetic table of consonants was drawn by using the place of articulation as the weft and the manner of articulation as the warp.
The ‘Guăngyùn (廣韻) 36 Consonant Letters Table’, shown in Photo 1 of this paper, is a table of seven sounds for the place of articulation and four phones for the manner of articulation arranged horizontally and vertically, respectively. Based on this table, the ‘Haerye Edition’ of Hunmin-jeongeum explained all syllable-initial sounds or consonants of the Korean language, with the seven soonds (七音) and four phones (四聲). In addition, 36 consonant letters in the ‘Guăngyùn (廣韻) 36 Consonant Letters Table’ were created in alignment with the 36 consonant letters called vyaňjana (体文) in the writing system for Sanskrit.
The recognition of vowel letters for the middle sounds of syllables in Hunmin-jeongeum was also based on the 12 vowel letters called mātŗ (摩多), or svara in the writing system of Sanskrit. Thus, in Yongjae-chonghwa (慵齋 叢話), which is a work written by Seong Hyeon (成俔), a distinguished scholar in the early Joseon Dynasty, it was described that Hunmin-jeongeum contained 12 middle sound letters for vowel letters.
As a result, in an earlier stage, vowel letters in Hunmin-jeongeum were considered to belong to the ‘yùmù (喩母) (initial zero consonant)’, as in the Phagspa script of the Mongolian Yuán (元). Therefore, when the vowel letters of Hangul were written alone to represent syllables without any onset consonants, /ㅇ/ was placed in front of them as in /, 으, 이/. /ㅇ/ was a symbol used to represent the ‘yùmù (喩母)’ (initial zero consonant) and subsequently represent the ‘yokmo (欲母)’ (non-consonantal onset) at Tonguk-jeongun (東國正韻) in Joseon.
However, when Shinmi (信眉), who was a Buddhist monk and scholar well versed in the phonetics of ancient India, participated in King Sejong’s creation of a new Korean alphabet system, he made vowel letters independent letters instead of regarding them as consonant letters, and thought of them as equal to, or superior to the letters for syllable-initial consonants.
This distinction between vowel and consonant letters is considered to have resulted in an important difference between the Phagspa script and Hangul, and is believed to be a very noteworthy accomplishment in the world’s history of graphemics.

참고자료

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