사물문자로서의 중국문자 아타나시우스 키르허의 중국문자 이해
Chinese Character seen by Western. Athanasius Kirchers Theory of Chinese Character
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This paper deals with the Western views of Chinese characters, focusing on the theory of Athanasius Kircher (1602-1680), who represented one of the two main discourses on the origin and nature of chinese character. Since 1255 Wilhelm von Rubruk (1215-1270) first introduced Chinese characters to Europe, the Chinese written language has generally been viewed as a naturalistic representation of things, close to visual images (pictographs) or as a means of conveying ideas (ideographs), unrelated to spoken language. Under this assumption it was discussed as the possible universal language, enabling people understand each other with written language regardless of thier different speakings. As the written language with the picture of the things, it was cosidered to be in relation with the egyptian hieroglyphs, which had been thought as the symbolic and allegorical thing-characters since 15th century in Europe. Athanasius Kircher, the great egyptomania of the baroque time, regarded the chinese Character as the imitate follower of egyptian Hieroglyph, which should have been handed down to the the chinese emperor from Ham, the second son of Noah. While the picture of things in Hieroglyph refers to the invisible Archetypus, says Kircher, the picture of things in chinese character relates direct with the things drawn in character. He argues, the chinese character is the secularized version of Hieroglyph, which has lost its mystic and spiritual dimension and degraded to the mere communicative means.
Abstract
This paper deals with the Western views of Chinese characters, focusing on the theory of Athanasius Kircher (1602-1680), who represented one of the two main discourses on the origin and nature of chinese character. Since 1255 Wilhelm von Rubruk (1215-1270) first introduced Chinese characters to Europe, the Chinese written language has generally been viewed as a naturalistic representation of things, close to visual images (pictographs) or as a means of conveying ideas (ideographs), unrelated to spoken language. Under this assumption it was discussed as the possible universal language, enabling people understand each other with written language regardless of thier different speakings. As the written language with the picture of the things, it was cosidered to be in relation with the egyptian hieroglyphs, which had been thought as the symbolic and allegorical thing-characters since 15th century in Europe. Athanasius Kircher, the great egyptomania of the baroque time, regarded the chinese Character as the imitate follower of egyptian Hieroglyph, which should have been handed down to the the chinese emperor from Ham, the second son of Noah. While the picture of things in Hieroglyph refers to the invisible Archetypus, says Kircher, the picture of things in chinese character relates direct with the things drawn in character. He argues, the chinese character is the secularized version of Hieroglyph, which has lost its mystic and spiritual dimension and degraded to the mere communicative means.
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