ध्वनि शास्त्र पर आधारित भारतीय लिपि 2

ध्वनि शास्त्र पर आधारित भारतीय लिपि

१८वीं -१९वीं सदी के अनेक पाश्चात्य संशोधकों ने यह भ्रमपूर्ण धारणा फैलाने का प्रयत्न किया कि भारत के प्राचीन ऋषि लेखन कला से अनभिज्ञ थे तथा ईसा से ३००-४०० वर्ष पूर्व भारत में विकसित व्राह्मी लिपि का मूल भारत से बाहर था। इस संदर्भ में डा. ओरफ्र्ीड व म्युएलर ने प्रतिपादित किया कि भारत को लेखन विद्या ग्रीकों से मिली। सर विलियम जोन्स ने कहा कि भारतीय व्राह्मी लिपि सेमेटिक लिपि से उत्पन्न हुई। प्रो. बेवर ने यह तथ्य स्थापित करने का प्रयत्न किया कि व्राह्मी का मूल फोनेशियन लिपि है।

डा. डेव्हिड डिरिंजर ने अनुमान किया कि अरेमिक लिपि से व्राह्मी उत्पन्न हुई। मैक्समूलर ने संस्कृत साहित्य का इतिहास लिखते समय लिपि के विकास के संदर्भ में अपना यह मत प्रतिपादित किया कि लिखने की कला भारत में ईसा से ४०० वर्ष पूर्व अस्तित्व में आई। दुर्भाग्य से बाद के समय में भारतीय विद्वानों ने भी पाश्चात्य संशोधकों के स्वर में स्वर मिलाते हुए उन्हीं निष्कर्षों का प्रतिपादन किया। इस सारी प्रक्रिया में अपने देश की परम्परा व ग्रंथों में लिपि के विकास की गाथा जानने का विशेष प्रयत्न नहीं हुआ।

देखें कि वास्तविकता क्या है?

प्रसिद्ध पुरातत्ववेता और लिपि विशेषज्ञ अ.ब. वालावलकर तथा लिपिकार लक्ष्मण श्रीधर वाकणकर ने अपने संशोधन से यह सिद्ध किया कि भारतीय लिपि का उद्गम भारत में ही हुआ है तथा ध्वन्यात्मक आधार पर लेखन परम्परा वेद काल से विद्यमान थी, जिसकी पुष्टि अनेक पुरातत्वीय साक्ष्यों से भी होती है।

एक आदर्श ध्वन्यात्मक लेखन की बाधाओं का वर्णन एरिक गिल अपने टाइपोग्राफी (च्र्न्र्द्रदृढ़द्धठ्ठद्रण्न्र्) पर लिखे निबंध में कहते हैं कि किसी समय कोई अक्षर किसी ध्वनि का पर्यायवाची रहा होगा, परन्तु रोमन लिपि के अध्ययन से अमुक अक्षर हमेशा व हर जगह अमुक ध्वनि का पर्याय है, यह तथ्य ध्यान में नहीं आता। उदाहरण के तौर पर दृद्वढ़ण्‌- ये चार अक्षर ७ भिन्न-भिन्न प्रकार व भिन्न-भिन्न ध्वनि से उच्चारित होते हैं- ‘ओड, अफ, ऑफ, आऊ, औ, ऊ, ऑ‘। यह लिखने के बाद अपने निष्कर्ष के रूप में गिल कहते हैं कि मेरा स्पष्ट विचार है, ‘हमारे रोमन अक्षर ध्वनि का लेखन, मुद्रण ठीक प्रकार से करते हैं, यह कहना मूर्खतापूर्ण होगा।‘

दूसरी ओर भारत में ध्वन्यात्मक लेखन परंपरा युगों से रही है। इसके कुछ प्रमाण हमारे प्राचीन वाङ्मय में प्राप्त होते हैं-

१. यजु तैत्तरीय संहिता में एक कथा आती है कि देवताओं के सामने एक समस्या थी कि वाणी बोली जाने के बाद अदृश्य हो जाती है। अत: इस निराकार वाणी को साकार कैसे करें? अत: वे इन्द्र के पास गए और कहा ‘वाचंव्या कुर्वीत‘ अर्थात्‌ वाणी को आकार प्रदान करो। तब इन्द्र ने कहा मुझे वायु का सहयोग लेना पड़ेगा। देवताओं ने इसे मान्य किया और इन्द्र ने वाणी को आकार दिया। वाणी को आकार देना यानी लेखन विद्या। यही इन्द्र वायव्य व्याकरण के नाम से प्रसिद्ध है। इसका प्रचलन दक्षिण भारत में अधिक हैं-

२. अथर्ववेद में गणक ऋषिकृत सूक्त गणपति अथर्वशीर्ष की निम्न पंक्तियां लेखन विद्या की उत्पत्ति का स्पष्ट प्रमाण देती हैं-

गणादिं पूर्वमुच्चार्य वर्णादिं तदनन्तरम्‌। अनुस्वार: परतर:। अर्धेन्दुलसितम्‌। तोरण रुद्धम्‌। एतत्तवमनुस्वरूपम्‌। गकार: पूर्वरूपम्‌। अकारो मध्यरूपम्‌ अनुस्वारश्र्चान्त्यरूपम्‌। बिन्दुरुत्तररूपम। नाद: संधानम्‌। संहिता संधि:। सैषा गणेश विद्या।

अर्थात्‌ पहले ध्वनि के गण का उच्चारण करना फिर उसी क्रम में वर्ण (रंग की सहायता से) बाद में लिखना तत्पश्चात्‌ अक्षर पर अनुस्वार देना, वह अर्ध चंद्रयुक्त हो। इस प्रकार हे गणेश आपका स्वरूप, चित्र इस प्रकार होगा ग्‌ यानी व्यंजन तथा बीच का स्वर का भाग यानी आकार रूपदंड तथा अंत मुक्त अनुस्वार। इसका नाद व संधिरूप उच्चारण करना यही गणेश विद्या है, जिसे गणपति जानते हैं।

३. ध्वनि सूत्रों को देने वाले भगवाने शिव थे। भिन्न-भिन्न वेद की शाखाएं बोलने वालों की मृत्यु के कारण लुप्त होने लगीं। अत: उसे बचाने की प्रार्थना लेकर सनकादि सिद्ध दक्षिण में चिदम्बरम्‌ में भगवान शिव के पास गए। उनकी प्रार्थना सुनकर भगवान शिव ने अपने स्वर्गिक नृत्य के अन्तराल में अपने डमरू को नौ और पांच अर्थात्‌ चौदह बार बजाया। उसी से १४ ध्वनि सूत्र निकले, जो माहेश्वर सूत्र कहलाये। इसका वर्णन करते हुए कहा गया है-

नृत्तावसाने नटराजराजो
ननाद ढक्कां नवपंचवारम्‌।
उद्धर्तुकाम: सनकादिसिद्धान्‌ एतद्विमर्षे शिवसूत्रजालम्‌।
कौशिक सूत्र-१

चौदह माहेश्वर सूत्रों का उल्लेख पाणिनी निम्न प्रकार से करते हैं। (१) अ इ उ ण्‌ (२) ऋ लृ क्‌ (३) ए ओ ङ्‌ (४) ऐ औ च्‌ (५) ह य व र ट्‌ (६) ल ण्‌ (७) ञ म ङ ण न म्‌ (८) झ भ ञ्‌ (९) ध ठ घ ष्‌ (१०) ज ब ग ड द श्‌ (११) ख फ छ ठ थ च ट त्र य्‌ (१२) क प य्‌ (१३) श ष स र्‌ (१४) ह ल्‌

४. वेदों के स्मरण व उनकी शुद्धता बनी रहे इस हेतु विभिन्न ऋषियों ने जटा, माला, शिखा, रेखा, दण्ड, रथ, ध्वज, तथा घन पाठ की जटिल पद्धतियां विकसित कीं, जो बिना लिखे सुरक्षित रखना कठिन था।

५. महाभारतकार व्यास मुनि जब महाभारत लिखने का विचार कर रहे थे तब उनके सामने समस्या थी कि इसे लिखे कौन, तब उन्होंने उसके समाधान हेतु गणेशजी का स्मरण किया- ‘काव्यस्य लेखनार्थाय गणेशं स्मर्यताम्‌ मुने‘। जब गणेश जी आए तो व्यास मुनि ने उनसे कहा ‘लेखको भारतस्यास्य भव गणनायक:, अर्थात्‌ ‘आप भारत ग्रंथ के लेखक बनें।‘ इसका अर्थ है गणपति उस समय के मूर्धन्य लिपिकार थे।

पाणिनी ने ऋग्वेद्‌ शिक्षा में विवेचन किया है कि वाणी अपने चार पदों में से चौथे पद वैखरी में आती है, तब मनुष्य के शरीर के पंच अंग के सहारे ध्वनि उत्पन्न होती है। इस आधार पर स्वर व व्यजंनों का सम्बंध जिस अंग में आता है उसका वर्गीकरण निम्न प्रकार है-

१. कंठ्य-श्वास कंठ से निकलता है तब तो ध्वनि निकलती है उसके अर्न्तगत निम्न अक्षर आते हैं- अ,आ, क, ख, ग, घ, ङ, ह और विसर्ग।

२. तालव्य- कंठ से थोड़ा ऊपर दांतों के निकट कठोर तालु पर से जब श्वास निकलती है तो वह ध्वनि इ,ई,च,छ,ज,झ,ञ,य और श के द्वारा अभिव्यक्त होती है।

३. मूर्धन्य-जीभ थोड़ी पीछे लेकर कोमल तालु में लगाकर ध्वनि निकालने पर वह निम्न अक्षरों में व्यक्त होती है-ऋ,ट,ठ.ड,द,ण,ष।

४. दंत्य-जीभ दांतों से लगती है तब जिन अक्षरों का उच्चारण होता है वह हैं लृ,ल,त,थ,द,ध,न,स।

५. ओष्ठ्य-दोनों ओठों के सहारे जिन अक्षरों का उच्चारण होता है वह हैं- उ,ऊ,प,फ,ब,भ, म, और व।

इनके अतिरिक्त ए,ऐ,ओ,औ,अं,अ: यह मिश्रित स्वर हैं।

उपर्युक्त ध्वनि शास्त्र के आधार पर लिपि विकसित हुई और काल के प्रवाह में लिपियां बदलती रहीं, पर उनका आधार ध्वनि शास्त्र का मूलभूत सिद्धान्त ही रहा। प्रख्यात पुरातत्वविद्‌ वालावलकर जी ने प्राचीन मुद्राओं में प्राप्त लिपियों का अध्ययन कर प्रमाणित किया कि मूल रूप में माहेश्वरी लिपि थी जो वैदिक लिपि रही। इसी से आगे चलकर व्राह्मी तथा नागरी आदि लिपियां विकसित हुएं। प्रख्यात लिपिकार वाकणकर द्वारा निर्मित तालिका में हम इसे देख सकते हैं।

पुरातत्वीय प्रमाण-

लिपि के विकास एवं पुरातत्वीय प्रमाणों पर आधारित वालावलकर एवं वाकणकर के संशोधनों एवं प्रतिपादनों का उल्लेख करते हुए डा. मुरली मनोहर जोशी ने अपने लेख ‘लिपि विधाता गणेश‘ में जो विचार व्यक्त किए हैं वे यह सिद्ध करते हैं कि प्राचीन काल से लिपि की कला का भारत में अस्तित्व था और वह पूर्णतया ध्वनि शास्त्र पर आधारित था, जो विश्व की अन्य लिपियों में नहीं दिखाई देता है। डा. जोशी के शब्दों में-

‘व्रिटिश म्यूजियम में एक सील (क्र. ३१-११-३६६/१०६७-४७३६७-१८८१) रखी है जिसकी अनुकृति नीचे चित्र में प्रदर्शित है। ईसापूर्व छठी शताब्दी की इस सील में बेबीलोनी कीलाक्षर लिपि एवं व्राह्मी लिपि दोनों एक साथ विद्यमान हैं। कीलाक्षरों को तो १९३६ में ही पढ़ लिया गया था किन्तु बीच की एक पंक्ति को कोई अज्ञात लिपि मानकर यों ही छोड़ दिया गया था। पुरालेखविद्‌ वालावलकर ने ही इस अज्ञात लिपि को पढ़कर यूरोपीय विद्वानों की मान्यता कि भारत ने लिपि कहीं बाहर से उधार ली, झुठला दी। उनके अनुसार यह सील अशोक पूर्व माहेश्वरी लिपि में लिखी संस्कृत का साक्ष्य प्रस्तुत करती है।

इस पंक्ति का पाठ है- ‘अवखेज्ञराख नु औहर्मनुभ्य: ददतु‘ जो कीलाक्षरों में लिखे अनुबंध की संस्कृत में की गयी संपुष्टि है-इस साक्ष्य से मैक्डोनल एवं ब्यूहलर की स्थापनाएं कि भारत ने ईसा पूर्व पांचवी शताब्दी में लिपि बाहर से उधार ली थी, निस्सार सिद्ध हो जाती है। इसी तरह एक अन्य महत्वपूर्ण साक्ष्य है पेरिस के लूण्रे म्यूजियम में ईसा पूर्व (३०००-२४००) की एक पेलेस्टाइन में उत्खनन के समय सार्गन राजा के यहां से उपलब्ध हुई सील है।

इस सील चित्र को देखकर जॉन मार्शल ने कहा था कि इस सील के पुरातत्वीय परिणाम बेहद चौंकाने वाले हैं। इस सील के सिंधु घाटी सील के साथ साम्य ने यूरोपीय विद्वानों की भारतीय लिपि के बाहरी उद्गम सम्बंधी स्थापनाओं पर अनेक प्रश्नचिन्ह लगा दिए। अब कम-से-कम हमारे मनीषियों द्वारा लिपि बाहर से उधार लेने का शोर मचाया जाना तो मंद पड़ ही गया है। लेकिन भारतीय लिपि की प्राचीनता सम्बंधी प्रश्नों पर अभी भी अंग्रेजीदां प्राच्यविद्‌ चुप्पी लगाए हैं।‘

वैदिक ओंकार-

‘इसी क्रम में छठी शताब्दी ईसा पूर्व के सोहगरा ताम्र अभिलेख (चित्र-४) पर भी दृष्टिपात करना आवश्यक है। इसकी प्रथम पंक्ति में वही चित्र बना हुआ है जिसे वालावलकर की तालिका में वैदिक ओंकार बताया गया है। चित्र-५,६ व ७ को भी देखिए। ये सब सिक्कों के चित्र हैं, जिनमें वैदिक ओंकार तथा स्वास्तिक जैसे आध्यात्मिक प्रतीक अंकित हैं। प्रश्न यह है कि वैदिक ओंकार की आकृति ऐसी क्यों मान ली जाए। ज्ञानेश्वरी में ओंकार रचना का वर्णन करते हुए लिखा है-

अ- कार चरणयुगल। उ-कार उदर विशाल।
म-कार महामंडल। मस्तका-कारे॥११॥
हे तिन्ही एकवटले। तेच शब्दव्रह्म कवत्तल।
ते मियां गुरुकृपा नमिले। आदि बीज ॥२०॥

‘शब्द व्रह्म या एकाक्षर व्रह्म, प्रण की आकृति का ज्ञानेश्वरी में किया गया वर्णन महत्व का है। वर्तमान देवनागरी में लिखे जाने वाले ॐ से इस वर्णन का मेल स्पष्ट नहीं होता। किन्तु वालावलकर के वैदिक ओंकार से अवश्य इसका साम्य है। यदि माहेश्वरी सूत्रों के अर्धेंदु सिद्धांत पर गौर किया जाए तो यह गुत्थी सुलझ जाती है। दाएं चित्र देखिए-सबसे नीचे दो अर्धेंदु हैं जो ‘अ‘ के प्रतीक हैं; उसके ऊपर फिर एक अर्धेंदु खण्ड है जो ‘उ‘ को व्यक्त करता है, सबसे ऊपर एक वृत्त एवं अर्धेंदु बिंदु है जो ‘म‘ को प्रदर्शित करता है।

इस प्रकार ज्ञानेश्वरी का ओंकार, गीता एवं उपनिषदों का एकाक्षर व्रह्म या प्रणव जो भी कहिए; वह माहेश्वरी सूत्रों के अर्धेंदु सिद्धांत के अनुसार निश्चित आकारों को, जो निश्चित ध्वनियों के प्रतीक हैं, जिन्हें क्रमानुसार जोड़ने से बनी एक निश्चित आकृति है। देवनागरी के ॐ में भी यही सिद्धांत परिलक्षित होता है। यदि वैदिक ओंकार को ऊपर चित्र की भांति नब्बे अंश से घड़ी की सुई की दिशा में घुमा दें, देवनागरी आकृति से अदभुत साम्य हो जाता है। एक दृष्टि से वैदिक ओंकार के देवनागरी ॐ में रूपांतरण तक की यात्रा भारतीय लिपि के विकास की कहानी है। इसे ऋग्वेद से लेकर पद्मपुराण तक खोजा जा सकता है।

लेखक – सुरेश सोनी

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