日传悉昙文献与汉语中古音研究
发布时间：2018-08-19 16:00
【摘要】： 悉昙学是一门发源于古印度、经汉、唐、宋历代发展传播、在日本得以发扬光大的学问。日传悉昙文献记载了悉昙字母、汉字、假名的字形、字音、字义等语言学知识,内容还涉及宗教哲学、音乐文学等各个文化层面。可惜这批文献没有引起学者足够重视,其中蕴藏的包括语言学在内的各种学科价值至今未得到充分利用。 整理并发掘日传悉昙文献的学术价值,从录入和校对电子文本开始,包括设计制作悉昙字库、校勘字句,就相关学科内容建成表格或数据库。纸质典籍数字化后,学者和佛教信徒利用悉昙文献的效度将大大提高。 系统利用日传悉昙文献研究汉语中古音是一项新的尝试,研究工作尚处于摸索阶段。研究目的是探索语言尤其是语音传播和植入另一种语言文化的状态和方式,获取关于古印度语、中古汉语、古日语的若干语音信息。这也是首次直接同时以悉昙字母、日语假名和汉字为对象进行的语音研究。 研究的具体工作包括梳理佛经翻译和传播的历史,研习悉昙字母读音和拼合规则,提出新的日语历史假名音值证据。然后,利用文献中梵汉对音、梵日对音、日汉译音诸种材料,归纳日语吴音、汉音音系特征,进而构拟中古汉语方音音系,解释汉语语音变化现象。经研究,对音还原条例包括:研究对象是“五种不翻”的译经内容;抑扬和奢切、连声、二合三合等译音现象包括了音节“省略”、“完整对音”和“多出辅音”等译音条例;借音现象包括注四声的按声调读、注半音的读半音、注二合的上半字用连声法读、注重音的读浊音、注长音的读长音、注反切的按反切读等几种“参见注释”的借音条例,最后是注意书写讹误。 日语五十音图在梵文《悉昙章》影响下产生,五十音图中,ハ行假名原本读pa、pi、pu、pe、po,タ行假名原本读ta、ti、tu、te、to。 先后从汉语借入的日语吴音、汉音有以下一些特点: 一,塞音擦音在吴音或汉音中大都读不送气清音。 二,在吴音、汉音里唇音不分轻重唇。 三,在吴音、汉音里舌音没有舌头音舌上音之分。 四,见组字和晓组字在吴音、汉音里都读成カ行清音或浊音。 五,精组庄组章组字(次浊字除外)吴音、汉音都读サ行或相应的浊音。 六,吴音的云母字和匣母合口字同为零声母字。 七,吴音有清浊对立,汉音无。 八,汉语的鼻音吴音仍读鼻音。在汉音里鼻音的读音有分化,分别读鼻音和相应发音部位的浊塞音。 九,《广韵》里有的韵在吴音里有几读,在汉音里读法则比较单一规整。 十,吴音、汉音“等”的界限比较清晰。汉音韵系里的三等韵基本上能体现带[i]介音的特征。 十一,吴音、汉音的韵系大致上能够体现开合口的分别 十二,吴音、汉音中保存阴、阳、入三类韵尾的特征和界限。总体来看,日语汉音的音系更简单,汉音与《广韵》音系的对应比吴音与《广韵》音系的对应更整齐,例外较少。 对汉语中古音所作的研究表明,从周隋到晚唐,汉语声类经历了几次变化,其先后为:隋唐之际,舌音分化,舌上音出现。初唐时,唇音分化,轻唇音出现。北方,中唐时期,全浊声母开始清化;同时,鼻塞音复辅音声母分化,出现鼻音和鼻塞浊音两套自由变体;晚唐以后,随着浊音清化继续进行,两套鼻音只留下一套,或留下鼻音或留下鼻塞复辅音。 南方声类的变化,大致是隋唐之前,鼻音分化为泥、日、娘三类;初唐时,唇音分化;后来没有发生浊音清化现象。 南北朝时期的南方语音声类中,云母与匣母合口相同。唐代长安方音声类中,匣母清化与晓母同,云母已经从匣母中分化与以母合并成喻母。 韵类方面,南北方的中古汉语入声韵尾一律以清辅音结尾。宕、江、曾、梗、通摄,阳声韵收-?尾,入声韵收-k尾;山、臻摄,阳声韵收-n尾,入声韵收-t尾;咸、深摄,阳声韵收-m尾,入声韵收-p尾。在主要元音的区别上,前者主要元音的发音部位普遍比后者的更后、更低。 以上研究结果分别整理成南北朝时期南方汉语音系和唐代北方汉语音系声、韵表。 最后,通过悉昙文献所引反切得以窥见诸种《切韵》系韵书的面貌。
[Abstract]:XieYanxue originated in ancient India and spread through the Han, Tang and Song dynasties. It was a great learning in Japan. The XieYanxue documents recorded the linguistic knowledge of XieYan letters, Chinese characters, the shape of Kana, the pronunciation and the meaning of the characters. The contents also involved religious philosophy, music and literature. They have paid enough attention to the value of various disciplines, including linguistics, which have not yet been fully utilized.
To collate and excavate the academic value of the Nikkei documents, starting with the input and proofreading of electronic texts, including the design and manufacture of the Nikkei word bank, the collation of words and sentences, and the establishment of tables or databases on the contents of relevant disciplines.
It is a new attempt to systematically study the middle ancient Chinese pronunciation with the help of Nikkei's documents, and the research work is still in the exploratory stage. The purpose of this study is to explore the state and mode of language, especially the sound transmission and implantation of another language and culture, and to obtain some phonetic information about ancient Indian, medieval Chinese and ancient Japanese. The speech study is conducted with the letters of the tan, Japanese pseudonyms and Chinese characters.
The specific work of the study includes combing the history of Buddhist scripture translation and dissemination, studying the rules of pronunciation and spelling, and putting forward new proof of historical Japanese pseudonyms. According to the research, the regulation of phonetic change in Chinese includes: the object of study is the content of "five kinds of non-inversion"; the phenomena of syllable omission, complete dialect and more consonants are included in the translation of "five kinds of non-inversion"; the phenomena of phonetic borrowing include the phonetic pronunciation of four notes according to the tone and the semitone annotation. The pronunciation of the semisyllables, the first half of the two-part notes are read in conjunction with each other, paying attention to the voiced pronunciation, the long pronunciation of the long pronunciation, and the reciprocal pronunciation of the long pronunciation. Finally, attention is paid to writing errors.
Fifty-tone diagrams in Japanese were produced under the influence of Sanskrit Shin Tan Chapter. In the fifty-tone diagrams, the Katakana was originally pronounced pa, pi, pu, pe, po, Katakana was originally pronounced ta, ti, tu, te, to.
The Japanese Wu Yin and Chinese phonetic characters borrowed from Chinese have the following characteristics:
First, the consonant fricative is mostly unaspirated in the Wu or Han tones.
Two, in the Wu Yin, Han Yin Li lip sounds are different from the lips.
Three, in Wu Yin, Han Yin Li has no tongue tone or tongue tone.
Four, see group words and Xiao group characters in Wu Yin and Han Yin Li have read or written voiced or voiced sounds.
Five, Wu Yin in the Jing Zhuang Zhuang group (except the sub turbidity characters) and the Chinese phonetic sound or the corresponding voiced sound.
Six, Wu Yin's Mica characters and box mother's characters are zero initials.
Seven, Wu Yin has a clear and oppressed tone and no Chinese pronunciation.
Eighth, the Chinese nasal Wuyin still pronounces nasal sounds. In the Chinese nasal sounds, the pronunciation of the nasal sounds is differentiated, and the nasal sounds and the voiced stops at the corresponding pronunciation sites are pronounced respectively.
Nine, there are several rhymes in < Yun Yun > in Wu Yin Li.
Tenth, the boundaries between Wu Yin and Han Yin are relatively clear. The third-order rhymes in the Chinese phonological system can basically reflect the characteristics of the mesonym with [i].
Eleven, the rhyme system of Wu Yin and Han Yin can generally reflect the difference between opening and closing.
Twelve, Wu Yin and Han Yin preserve the characteristics and boundaries of Yin, Yang and ending in three types of rhymes. Generally speaking, Japanese Chinese phonology is simpler, and the correspondence between Chinese and Guang Yun phonology is more orderly than that between Wu Yin and Guang Yun phonology, with fewer exceptions.
The study of Middle-ancient Chinese phonetics shows that from the Zhou and Sui Dynasties to the late Tang Dynasties, Chinese phonology has undergone several changes, one after another: during the Sui and Tang Dynasties, tongue sounds differentiated and supraglottic sounds appeared. In the early Tang Dynasty, lip sounds differentiated and light lip sounds appeared. Two sets of free variants; after the late Tang Dynasty, the two sets of nasal sounds left only one set, or left nasal sounds or nasal stuffy consonants.
Before Sui and Tang Dynasties, nasal sounds were divided into three types: mud, sun and niang; during the early Tang Dynasty, lip sounds were divided into three types; and there was no clear phenomenon of voiced sounds.
In the Southern phonetic sounds of the Northern and Southern Dynasties, mica was the same as the box mother. In the Chang'an dialectal sounds of the Tang Dynasty, the box mother was Qinghua and Xiaomu were the same.
In rhyme category, the beginning and ending of Chinese in the north and South all end with Qing consonant. Da, Jiang, Zeng, Ji, Tongzhao, Yangshengyun - tail, entering Yun - K tail; Shan, Xizhao, Yangshengyun - n tail, entering Yun - t tail; Xian, Shenzhao, Yangshengyun - M tail, entering Yun - P tail. The latter is even lower.
The above results are sorted out into phonological phonology and rhyme tables of Southern Chinese in the Northern and Southern Dynasties and Northern Chinese in the Tang Dynasty.
Finally, we can get a glimpse of the faces of the rhyme books of various rhymes.
【学位授予单位】：华中科技大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：H36;H113
本文编号：2192143
[Abstract]:XieYanxue originated in ancient India and spread through the Han, Tang and Song dynasties. It was a great learning in Japan. The XieYanxue documents recorded the linguistic knowledge of XieYan letters, Chinese characters, the shape of Kana, the pronunciation and the meaning of the characters. The contents also involved religious philosophy, music and literature. They have paid enough attention to the value of various disciplines, including linguistics, which have not yet been fully utilized.
To collate and excavate the academic value of the Nikkei documents, starting with the input and proofreading of electronic texts, including the design and manufacture of the Nikkei word bank, the collation of words and sentences, and the establishment of tables or databases on the contents of relevant disciplines.
It is a new attempt to systematically study the middle ancient Chinese pronunciation with the help of Nikkei's documents, and the research work is still in the exploratory stage. The purpose of this study is to explore the state and mode of language, especially the sound transmission and implantation of another language and culture, and to obtain some phonetic information about ancient Indian, medieval Chinese and ancient Japanese. The speech study is conducted with the letters of the tan, Japanese pseudonyms and Chinese characters.
The specific work of the study includes combing the history of Buddhist scripture translation and dissemination, studying the rules of pronunciation and spelling, and putting forward new proof of historical Japanese pseudonyms. According to the research, the regulation of phonetic change in Chinese includes: the object of study is the content of "five kinds of non-inversion"; the phenomena of syllable omission, complete dialect and more consonants are included in the translation of "five kinds of non-inversion"; the phenomena of phonetic borrowing include the phonetic pronunciation of four notes according to the tone and the semitone annotation. The pronunciation of the semisyllables, the first half of the two-part notes are read in conjunction with each other, paying attention to the voiced pronunciation, the long pronunciation of the long pronunciation, and the reciprocal pronunciation of the long pronunciation. Finally, attention is paid to writing errors.
Fifty-tone diagrams in Japanese were produced under the influence of Sanskrit Shin Tan Chapter. In the fifty-tone diagrams, the Katakana was originally pronounced pa, pi, pu, pe, po, Katakana was originally pronounced ta, ti, tu, te, to.
The Japanese Wu Yin and Chinese phonetic characters borrowed from Chinese have the following characteristics:
First, the consonant fricative is mostly unaspirated in the Wu or Han tones.
Two, in the Wu Yin, Han Yin Li lip sounds are different from the lips.
Three, in Wu Yin, Han Yin Li has no tongue tone or tongue tone.
Four, see group words and Xiao group characters in Wu Yin and Han Yin Li have read or written voiced or voiced sounds.
Five, Wu Yin in the Jing Zhuang Zhuang group (except the sub turbidity characters) and the Chinese phonetic sound or the corresponding voiced sound.
Six, Wu Yin's Mica characters and box mother's characters are zero initials.
Seven, Wu Yin has a clear and oppressed tone and no Chinese pronunciation.
Eighth, the Chinese nasal Wuyin still pronounces nasal sounds. In the Chinese nasal sounds, the pronunciation of the nasal sounds is differentiated, and the nasal sounds and the voiced stops at the corresponding pronunciation sites are pronounced respectively.
Nine, there are several rhymes in < Yun Yun > in Wu Yin Li.
Tenth, the boundaries between Wu Yin and Han Yin are relatively clear. The third-order rhymes in the Chinese phonological system can basically reflect the characteristics of the mesonym with [i].
Eleven, the rhyme system of Wu Yin and Han Yin can generally reflect the difference between opening and closing.
Twelve, Wu Yin and Han Yin preserve the characteristics and boundaries of Yin, Yang and ending in three types of rhymes. Generally speaking, Japanese Chinese phonology is simpler, and the correspondence between Chinese and Guang Yun phonology is more orderly than that between Wu Yin and Guang Yun phonology, with fewer exceptions.
The study of Middle-ancient Chinese phonetics shows that from the Zhou and Sui Dynasties to the late Tang Dynasties, Chinese phonology has undergone several changes, one after another: during the Sui and Tang Dynasties, tongue sounds differentiated and supraglottic sounds appeared. In the early Tang Dynasty, lip sounds differentiated and light lip sounds appeared. Two sets of free variants; after the late Tang Dynasty, the two sets of nasal sounds left only one set, or left nasal sounds or nasal stuffy consonants.
Before Sui and Tang Dynasties, nasal sounds were divided into three types: mud, sun and niang; during the early Tang Dynasty, lip sounds were divided into three types; and there was no clear phenomenon of voiced sounds.
In the Southern phonetic sounds of the Northern and Southern Dynasties, mica was the same as the box mother. In the Chang'an dialectal sounds of the Tang Dynasty, the box mother was Qinghua and Xiaomu were the same.
In rhyme category, the beginning and ending of Chinese in the north and South all end with Qing consonant. Da, Jiang, Zeng, Ji, Tongzhao, Yangshengyun - tail, entering Yun - K tail; Shan, Xizhao, Yangshengyun - n tail, entering Yun - t tail; Xian, Shenzhao, Yangshengyun - M tail, entering Yun - P tail. The latter is even lower.
The above results are sorted out into phonological phonology and rhyme tables of Southern Chinese in the Northern and Southern Dynasties and Northern Chinese in the Tang Dynasty.
Finally, we can get a glimpse of the faces of the rhyme books of various rhymes.
【学位授予单位】：华中科技大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：H36;H113
【参考文献】
相关期刊论文 前2条
1 尉迟治平;对音还原法发凡[J];南阳师范学院学报;2002年01期
2 刘广和;历史语言的若干研究方法评议——读徐通锵《历史语言学》札记[J];汉语学习;2000年05期
，本文编号：2192143
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