The studies of Chinese Phonosemantics in Korea have developed progressively since the introduction of Chinese characters to the Korean Peninsula. Scholars throughout history have emphasized the documentation of Chinese character pronunciation and meaning in the compilation of rhyme books and dictionaries, utilizing Hangul annotations to distinguish between Chinese character pronunciations and Sino-Korean character pronunciations. Hwadongjeongeumtongseokunko (華東正音通釋韻考, Park Seong-won, 1747) serves as a representative work, with historical records such as Veritable Records of the Joseon Dynasty (朝鮮王朝實錄) and the preface of Saseong Tonghae (四聲通解) also containing relevant records. As of the end of 2024, the studies of Chinese Phonosemantics in Korea have more than ten related works and over a hundred academic papers, categorized into three main areas: (1) studies on phonosemantic books (approximately 65%), with a focus on the sound and meaning of Buddhist scriptures and Tripitaka Koreana (高麗大藏經) research, represented by the team of Lee Kyoo-Kap; (2) dictionary research (about 15%), identifying Sungyeong Eui’ui (順憬音義) as the earliest Korean dictionary and clarifying its literature type; (3) researches on the relationships between sounds and meanings (around 20%), including Kim Young-Chan’s argument for the independence of phonosemantics, and Yum Jae-Ung’s investigation of specific correspondence of sound and meaning. The studies of Chinese Phonosemantics in Korea exhibits distinctive local characteristics, and future directions include strengthening and expanding Chinese Phonosemantics in Korea as a discipline, incorporating computational linguistics to advance digitalization and corpus-based approaches, and contributing to the internationalization of Chinese Phonosemantics studies.

From its emergence in the late Han Dynasty to its independence in the Qing Dynasty, Chinese phonosemantics has produced numerous phonosemantic works and accumulated rich research achievements up to the present. Classifying and organizing these achievements and compiling the Bibliography of the Achievements on Chinese Phonosemantics is an inevitable requirement for the scientific construction of the discipline of Chinese phonosemantics. The Bibliography of the Achievements on Chinese Phonosemantics serves the practice of building an independent knowledge system in China. It not only provides material basis for the construction of the discipline of Chinese phonosemantics but also offers considerable academic convenience for researchers entering this field, thereby enriching and expanding the content of general phonosemantic research.

In the phonosemantic books listed in Jing Dian Shi Wen (經典釋文), Chunqiu Zuoshi Yin (春秋左氏音) authored by Fu Qian during the late Eastern Han dynasty is the earliest one, marking it as the first work in Chinese phonosemantics studies. From that point, the study of Chinese Phonosemantics has spanned over two millennia. In 721 AD, during Kaiyuan ninth year of Tang Dynasty, Yuan Xingchong presented the Kaiyuan Qunshu Sibu Lu (開元群書四部録) in 200 volumes. It established the “Exegesis of the Classics” category, which included Jing Dian Shi Wen (經典釋文), altering the dependent relationship of phonosemantic books to the classics. It also introduced the “Interpretation of Ancient Texts” category for exegetical books, and the “Traditional Chinese Linguistics” category exclusively for books on Chinese characters and phonology books, subtly forming a structure divided into character, phonology, exegesis, and phonosemantics, which is a significant event in the history of Chinese phonosemantics studies. In Year 1041, during the first year of the Qingli reign of Emperor Renzong of Northern Song Dynasty, Ouyang Xiu compiled the state bibliography Chong Wen Zong Mu (崇文總目) and moved Jing Dian Shi Wen (經典釋文) from the “Exegesis of the Classics” category to the “Traditional Chinese Linguistics” category. Works like You Mao’s Sui Chu Tang Shu Mu (遂初堂 書目), Chao Gongwu’s Jun Zhai Du Shu Zhi (郡齋讀書志), and Chen Kui’s Zhong Xing Guange Shu Mu (中興館閣書目) followed this arrangement, affirming the Chinese linguistic attributes of phonosemantic books, having profound and far-reaching implications. During the Qing Dynasty, Xie Qikun’s Xiao Xue Kao (小學考) established “Phonosemantics” as a distinct category, encompassing various phonosemantic books from the Han and Wei dynasties onward, without restricting them to the type of Jing Dian Shi Wen (經典釋文). This positioned phonosemantics alongside exegesis, character, and phonology as one of the four major branches of traditional Chinese linguistics, solidifying its academic status. In addition to Xiao Xue Kao (小學 考), other significant works of the Qing dynasty, such as Lu Wenchao’s Jing Dian Shi Wen Kao Zheng (經典釋文考證), Wu Chengshi’s Annotations on Prologue of Jing Ji Jiu Yin (經籍舊音序録疏證), Prologue of Jing Ji Jiu Yin (經籍舊音序録), Differentiation of Jing Ji Jiu Yin (經籍舊音辨證), Huang Zhuo’s Collation on Jing Dian Shi Wen (經典釋文匯校), and Hong Liangji’s Han Wei Yin (漢魏音), have become vital works in the disciplinary history of Chinese Phonosemantics. Entering the 21st century, the research in Chinese phonosemantics studies has seen expansive and deeper developments, particularly in the studies of Tang and Five Dynasties’ Buddhist Scriptures phonosemantics and correspondence of sound and meaning. The former was a weak area in earlier Chinese phonosemantics research, while the latter addresses the core issues of the field. Seizing this opportunity, Chinese scholars formally proposed the disciplinary concept and objectives of “Chinese Phonosemantics”, leading the establishment and in-depth exploration of its theories, materials, and research methods, creating an unprecedented surge of interest in the field.