佛典 緇門警訓에 나타난 ‘示ㆍ視’의 詞義 考 ― ‘見ㆍ看ㆍ觀’과의 異同을 통하여

Not all minds are alike. The citta (mind/心), manas (thinking/意) and vijnana (heart/識) are indeed all different (as according to the Sanskrit terms). When one is going through a certain kind of mind training, that mind will not just be of one kind but will be categorized into ‘the mind that needs to be trained’, ‘the subjective mind that desires to be trained’, ‘the mind that has been selected for a certain purpose to be trained’, ‘the mind that will face a step by step process when in the training process’, and finally ‘the mind that has reached its ultimate goal through training’. As such, if one was to know clearly the terms such as the citta (mind/心), manas (thinking/意) and vijnana (heart/識) or the ‘unenlightened (不覺), primal awakening (本覺), activated awakening (始覺), semblance awakening (相似覺), proportional englightenment (隨分覺), ultimate enlightenment (究竟覺) which are frequently used in Buddhist scriptures(佛典), it would be of immense help in further grasping and understanding not only the Buddhist scriptures but also the sentences written in Chinese characters. Based on the above cognizance, verbs such as see (見), look (看), view (觀) as one group and show (示), look upon/regard (視) as the other group which are frequently used in Buddhist scriptures were compared in this research paper to reach the following conclusions. First, in the case of ‘show (示), look at (視)’, they are used when the object realm of perception (色境) is put before one for show or one looks at the object realm of perception because it is placed in front of them. On the other hand, the group ‘see (見), look (看), view (觀)’ happens when the protagonist has the intention of wanting to see. Second, show (示) actually means to ‘reveal/expose oneself’ while look upon/regard (視) refers to a situation where the subject of exposure is shown first then looked upon. In short, ‘see (見)’ looks upon the target with the clear intention to see and base the result as one’s knowledge while ‘look upon/regard (視)’ has a stronger meaning in looking upon a subject because the ‘object realm of perception (色境)’ was placed before the protagonist.