『고려대장경』을 통해 본 悉曇章의 세 측면

Abstract

Siddhavastu is deployed in three different aspects in the Tripitaka Koreana. First of all, in terms of phonological, in the Xuanying's Transliterations and Senses, the Indic writing was prescribed in all 47 letters, five tones were composed of gustatory faculty voice and tongue with tooth voice and so forth, besides, there were marked a system of indicating the initial and final sounds of a character by two others at some of Chinese Letter sound, in the Huilinʼs Sounds and Meanings, there were detailed analysis and marked a system of indicating the initial and final sounds of a character by two others at all of Chinese Letter sound at the Sanskrit was prescribed in all 50 letters, and five tones were itemized of throat voice, gingiva voice, gum voice, tooth voice, lip voice in general introduction. Next example, it is an application of the thought of great vehicle, in the Yü ch'ieh chin kang ting ching Su tzu mu p'in translated by Amoghavajra, there were 50 siddham letters and accentuate importance of each letter Siddhavastu with the emptiness of prajñā, they were similar to applying an ideological 42 letters of Prajñā-pāramitā sūtra and Avataṃsaka-sūtra. The last example, Siddhavastu was compared insight of flower adornment’s experiential realm in Huayan Teaching. As we already know, Siddhavastu is all tone of Indic writing and it’s principle of combination. The 60-volumed Avataṃsaka-sūtra and so forth, first sentence of Siddhavastu compares of stage to carry out or perform, 14 vowels compare of Sanskrit vowels and 36 matrices compare of word’s realm. There was compare of reaching ‘the door of Enlightenment’ through Siddhavastu in the Beopkyedogichongsurok. The comparison of Huayan Teaching between Siddhavastu, there were ‘one is many, the many are one’ and so forth, finally, it is the principle of complete words, phrases, and syllables through all tone of Indic writing and it’s principle of combination.