高麗時代 佛書의 眞言 표기방식에 관한 연구 = A Study on the Mantras of the Buddhist Books of the Goryeo Dynasty

다국어 초록 (Multilingual Abstract)

This thesis is a study to analyze the mantras of the Buddhist books published in the Goryeo period, which contain transliterated Chinese mantras, and to examine the changes in the mantras of the Goryeo period. To this end, among the 1,514 parts of 6,799 scriptures contained in the Tripitaka Koreana, which were engraved in the Goryeo Dynasty and maintained to this day, the scriptures containing the mantras were first classified. The flow of the notation method of the written mantra was grasped. And based on this, the method of writing 292 Shingons included in 37 Buddhist books published during the Goryeo Dynasty was comprehensively compared and examined.
The Jaejo Daejanggyeong is a comprehensive Buddhist book with a total of 639 books, and it is classified into 100 boxes and the period, contents and composition of the Korean translation of the scriptures containing the mantras were overviewed. Of the 1,514 copies of the entire scriptures, 404 (26.6%) of the sutras contain 9,423 types of mantras, and the recorded mantras have a wide variety of forms, but they are broadly classified into ① Mantras recorded in a continuation-based notation method ② Mantras recorded in a space-based notation method ③ Numbers It can be classified in the form of the recorded mantra. It was confirmed that the notation method combined with this was 反切(The consonants of the first letter and the vowels of the last letter are combined)‧二合(The sounds of two letters are combined)‧聲調(pitch of sound)‧發音(ong, short, light, heavy, long dragging sound)‧同音(same as up, down, up and down) etc.
First, the continuous writing method is divided into two main types as there are no spaces or numbers, so the passages of the mantra are not divided. First, the method is used without distinction from the text of the scriptures, and the text and lines of the scriptures are distinguished and combined with various writing methods. The former method is confirmed only in some scriptures in the Old Testament, and most of the mantras are expressed using the latter method. There are a total of 2,889 types of mantras written in a continuous writing-based notation method, accounting for 30.7% of the total 9,423 types.
Second, it is a space-based notation method. A space-based notation is a notation method that improves readability by spacing one or half characters for each syllable of the Mantra. Space-based notation is also a method that has been used since the Old Testament period, and appears throughout the game, but as the 6th and 7th centuries passed, too many notation methods were entered between mantra verses, so the frequency of use decreased compared to the number-based method. The frequency of its use drops sharply. Compared to the number-based notation method, it is judged to be a shape that appears less legible. There are a total of 1,783 mantras written in space-based notation, accounting for 18.9% of the total 9,423 types.
The third is a number-based notation. This method first started appearing around the 4th century, and it was started to be used a little later than the previous two notation methods. It is a clear dividing point in reading mantras and shows the highest frequency of use. There are a total of 4,746 mantras written in a number-based notation system, accounting for 50.3% of the total 9,423 species. As such, there are three ways of writing the accumulated mantras in the Tripitaka Koreana.
Based on this, analysis and comparison of the mantras of the Buddhist books that contain mantras among the Buddhist books published in the Goryeo period are as follows.
All three notation methods can be checked throughout the entire game, but in terms of frequency of use, it is confirmed that the number-based method is the most used. In addition, it is confirmed that the notation of the pronunciation of the mantra is becoming very detailed at the time when it gradually develops from the early esoteric to the middle esoteric religion through the 6th and 7th centuries. In addition, the sutras recorded in Shingon from 720-774, when Bulgong led adversity, showed a decrease in the frequency of use of phonetic notation compared to the previous era in terms of notation. In addition to writing or numbers, the writing method is simplified and integrated by focusing only on fusion and phonetic notation (引). In other words, the frequency of use of halves, tones, and various phonetic notations is greatly reduced.
In the Goryeo Dynasty, there are a total of 37 published Buddhist books, which contain a total of 292 types of mantras. Among them, there are a total of 111 types of Mantras in the Chinese character translation, and a total of 18 notation methods were used, including 9 types based on continuous writing, 3 types based on spacing, and 6 types based on numbers. The most frequent notation method is 49 times with a space. Next, the number notation appears 18 times, and the number + 反切 notation appears 9 times in the order. It is judged that due to the exchange of scriptures with China according to the 2nd chapter of the Tripitaka Koreana, it is influenced by the simplified method of writing mantras since the Northern Song Dynasty. However, in the Buddhist scriptures that contain only Chinese characters borrowed from the sound, and in the Buddhist scriptures that used Siddam(悉曇) and Chinese characters borrowed from the sound(音借), a transitional notation method that is different from the previous ones can be confirmed.
In other words, the collection of Beomseo Chongji (1151), which contains only Sitdam, and It is judged that the flow of Buddhist scriptures engraved in Chinese characters borrowed from the Sitdam and sound borrowed from the first engraved Goryeo Daejanggyeong flowed into the Goryeo Dynasty to include both Chinese characters and Sildam characters.
If we compare and summarize the mantras of the Tripitaka Koreana with the focus on Secret Tripitaka, where these changes are clearly confirmed, the first is efficiency. We adopted the method of minimizing the various ways of writing the mantras entered in the Great Tripitaka Koreana and placing the pronunciation of the Siddhams used in 大方廣不華嚴經 at the end. 反切 Reduced duplication of notation and arranged concisely. Also, comparing the mantras recorded in the esoteric book and the mantras contained in the Tripitaka Koreana, it is judged that the time and material costs such as woodblocks, production and engraving time, paper, ink, etc. do.
Next is the increase in readability. Various notation methods used for each verse of the Korean translation of the mantra were minimized. Chinese characters were written side by side with Sitdam. Also, in the case of 二合 and 三合, the space between the top and bottom of the letters was removed and they were written as one letter (二合一字形·三合一字字).
In addition, the number notation does not occupy the embroidery, but is written below the left and right of the borrowed Chinese character to distinguish the mantras. This made it easy for those who read or learn to read Chinese characters borrowed from sit-dams and sounds.
However, this method can be a disadvantage in that it is difficult to access for those who do not have basic learning on how to read mantras. However, in the case of Secret Tripitaka, the name of the sutra containing each mantra and the corresponding 函次 are engraved. Since the detailed pronunciation of the mantra can be confirmed through the Tripitaka Koreana, it is judged that it would not have been a problem if you wanted to learn it.
In this way, the mantras of Goryeo Buddhist texts were written more concisely in the case of Buddhist books containing borrowed Chinese characters while following the method developed from the existing Tripitaka Koreana. At the same time, in the 13th century, due to the influx of Buddhist books written in Sitdam in the previous period, it shows a transitional tendency to use Sitdam and Chinese characters borrowed from sounds.
This transitional flow is changing the notation methods that have changed the existing formats, such as 'notation that does not occupy the number of characters' and 'form that replaces two letters with one letter' and 'form that changes three letters into one letter'. is considered to have been devised.
And it shows such a transitional notation well, and it is judged that the value of ‘密敎大藏’ is very high as a turning point in the way of recording Chinese characters borrowed from sit-dams and sounds around the 14th century.

목차 (Table of Contents)

• I. 緖 論 01
• 1. 연구의 목적 01
• 2. 연구의 방법과 한계 03
• 3. 선행연구의 개요 05
• II. 眞言의 成立과 高麗時代 佛書 刊行 07
• 1. 진언의 의의와 성립 07
• 2. 재조대장경의 雕造와 構成 12
• 3. 고려시대 眞言收錄 불서의 간행 15
• 4. 진언의 표기방식 분류방법 22
• Ⅲ. 再雕大藏經 外 高麗時代 佛書의 眞言 28
• 1. 再雕大藏經 外 고려시대 佛書의 수록진언 28
• 2. 再雕大藏經 外 고려시대 佛書의 진언표기 분석 77
• Ⅳ. 再雕大藏經 內 佛書의 眞言 89
• 1. 再雕大藏經 內 佛書의 수록진언 89
• 2. 再雕大藏經 內 佛書의 진언표기 분석 241
• Ⅴ. 高麗時代 眞言 표기방식의 綜合的 분석 272
• 1. 조합유형별 분석 272
• 2. 조합요소별 분석 274
• 3. 시대별 종합 분석 279
• Ⅵ. 結 論 284
• 참고문헌 287
• Abstract 290
• <부록> 再雕大藏經 內 수록진언의 표기방식 전체 현황 295

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