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It is also called "han'on", "honsetsu" or "setsugou". In China, this is a method of combining the sounds of two Chinese characters to indicate the sound of each character. For example, "東" (Eastern) is represented by the "han'on" (Father character) "tək" (De) and the initial consonant "t-" of the upper character (also called the father character) "tək" (De) and the rhyme and four-tone "-oŋ^平" of the lower character (also called the mother character) "hong" (Red) are combined to derive the sound "toŋ^平" of the ending character "東". In China, the oldest example of the sound of a character being represented by the " ^hanshu " (Notes on the Book of Han) by Fuqian and Ying Shao (Osho) in the 2nd century is said to be in the "Hanshu" (Notes on the Book of Han) by Fuqian and Ying Shao (Osho). Before that, it was represented by the same sound, such as "東音ﾄ" (Eastern sound freeze) or "東という若ﾄ" (Eastern reading young freeze). Since the invention of the "han'on" (Father character) was convenient, it was used as the main phonetic method until recent years. Until the Tang dynasty, "What what tan " was used, but after the Song dynasty, it was changed to "What what cut " and the "cut" character. In Japan, this tan-kiri was also widely used to learn the sounds of characters, and especially after the invention of the Japanese syllabary, tan-kiri began to be performed using it. Ming Jue's "Tan-on Sakuho" (1093) provides a detailed explanation of this method. For example, in "Men Mo Hong Tan," the "Ma" from "Mo" and the "U" from "Hong" are taken and combined, but the consonant "Ma" is converted to "Mo" from the Japanese syllabary, which rhymes with the discarded kana "Ko" from the lower character "Kou," to find the sound "Mo" of the lower character "Men." The Japanese syllabary is used ingeniously to derive a single sound (m- in this example) from the upper character tan-kiri. The three main sources of fan-cutting used in Japan are thought to be the Gyokuhen (Yupian) written by Gu Yewang (around 543, the 9th year of the Datong era in the Liang dynasty), the Qieyun (Jieyun) written by Lu Fayan and others (601, the 1st year of the Renshou era in the Sui dynasty), and the Ongi (Pronunciation of the Sound of All Classics) written by Xuanying (between 635, the 9th year of the Zhenguan era in the Tang dynasty, and 663, the 3rd year of the Longshuo era in the Tang dynasty).

[Katsuaki Numamoto]

"'Han'on Manners' by Mikaku (included in the 'Kokugogaku Taikei, Vol. 4', 1936, Kouseikaku)" ▽ "'Bunkyō Hifu Ronkou, Kenkyu-hen, I', by Konishi Jin'ichi (1948, Oyasu Publishing)" ▽ "'Studies on the History of Japanese Rhyming', by Mabuchi Kazuo, three volumes (1962-65, Japan Society for the Promotion of Science)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

「反音(はんおん)」「翻切(ほんせつ)」「切語(せつご)」などともいう。中国で、各字の字音を表示するために漢字二字の字音を組み合わせて示す方法。たとえば、「東」は反切「徳紅反」で示され、その上字（父字ともいう）「徳（tək）」の頭子音t-と、下字（母字ともいう）「紅（ɦoŋ^平）」の韻および四声-oŋ^平とを組み合わせて、帰字「東」の字音toŋ^平を導くものである。中国において、反切によって字音が示されたもっとも古い例は、2世紀の服虔(ふくけん)・応劭(おうしょう)の『漢書注』とされ、それ以前は「東音凍」とか「東読若凍」のように、同音の漢字で示されていた。反切が発明されてからは便利なため、近年に至るまで主たる表音法として利用された。なお、唐代までは「何何反」が用いられ、宋(そう)代以後「何何切」と「切」字に改められた。日本でも、この反切が字音学習に大いに利用されたが、とくに五十音図が発明されてからは、それによって反切が行われるようになった。明覚(めいかく)の『反音作法』（1093）はその方法を詳論したものである。たとえば「蒙　莫紅反」において、「莫(マク)」の「マ」と「紅(コウ)」の「ウ」とを取り出して結合させるが、その際、子音を表す「マ」を、下字の音「コウ」の捨てたほうの仮名「コ」と五十音図で同韻となるマ行の「モ」に変換して、帰字「蒙」の音「モウ」を求める方法である。反切上字から単音（この例ではm-）を導き出すために、五十音図が巧妙に利用されたものである。なお、日本で利用された反切の三大典拠は顧野王撰(こやおうせん)『玉篇(ぎょくへん)』（梁(りょう)大同9年〈543〉ごろ）、陸法言(りくほうげん)等撰『切韻』（隋(ずい)仁寿元年〈601〉）、玄応(げんのう)撰『一切経音義』（唐貞観9年〈635〉～龍朔3年〈663〉の間）と考えられる。

［沼本克明］

『明覚著『反音作法』（『国語学大系　第四巻』所収・1936・厚生閣）』▽『小西甚一著『文鏡秘府論考　研究篇　上』（1948・大八洲出版）』▽『馬渕和夫著『日本韻学史の研究』全三巻（1962～65・日本学術振興会）』

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