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This paper examines the creation process of Hangul from a new perspective. First, it is claimed that this new writing system, which King Sejong the Great himself invented and named Hunmin-jeongeum, is a set of phonetic symbols to represent the Sino-Korean pronunciation of Chinese characters. “Hunmin- jeongeum (訓民正音)” means the correct pronunciation of Chinese characters to be taught to the people. In other words, Hangul was made to represent the Sino-Korean pronunciation of Chinese characters based on Tongguk-jeongun (東國正韻), which is the book about the Sino-Korean pronunciation of Chinese characters that King Sejong had compiled by modifying the earlier Sino-Korean pronunciation of Chinese characters. Subsequently, King Sejong’s second daughter, Princess Jeongui(貞懿), used Hunmin-jeongeum to indicate some phonological changes in the pronunciation of Chinese characters, and in the process, she realized that the new script could be used to represent Korean inflectional endings such as verbal inflectional suffixes, case markers, and particles. This recognition led her to the use of the new script to write the Korean language. During this period, the name of the new script was ‘eonmun (諺文)’, which literally means ‘vulgar script,’ and this name reflects the perception about Hangul viewed as a lower-level script compared to Chinese characters. During the period of Taehan Empire (大韓帝國), it was referred to as the ‘national script (국문(國文))’ since eonmun was considered a vulgar, depreciative term, but it was called eonmun again during the period of Japanese colonial rule, and then the term Hangul was used in opposition to the use of the name. King Sejong initially invented only 27 letters to represent onset consonants, and they were used to transcribe Yùnhuì (韻會), the Chinese rhyme book. Then, a buddhist monk and scholar named Shinmi, a well-known authority on Buddhist scriptures of the period, participated in the creation of the new script, and letters for middle vocalic sounds of syllables, letters for vowels, were additionally invented. The characters of the writing system for Sanskrit, a language of ancient India, were divided into mātr for vowels and vyanjana for consonants, and these letters were called ‘half letter (半字),’ and its education was called teaching alphabets or ‘teaching half letter (半字敎)’. On the other hand, each letter of Siddham script represented a combination of a consonant and a vowel corresponding to a syllable, and this writing system was called ‘full letter (滿字)’. The education of this script was called ‘teaching full letter(滿字敎)’, which refers to the education of Sanskrit characters or Siddham. Sanskrit characters are syllabic characters that represent combinations of consonants and vowels. Teaching of half and full characters (半滿二敎) is an expression frequently appearing in Buddhist scriptures, and it refers to the education of Sanskrit characters. The renowned Buddhist monk, Shinmi, was well versed in Vyākaraṇa, the grammar of the ancient Indian inflectional language, and shèngmíng-jìlùn (聲明記論), a phonological study of Vyākaraṇa, since he learned them through the Tripitaka Koreana of Buddhist scriptures. Thus, he contributed to the additional invention of 11 middle vocalic sound letters of Hunmin-jeongeum based on the mātr, vocalic letters of Sanskrit characters. Before that, 27 letters for consonants were created based on the onset consonant sounds of Chinese Phonology (聲韻學), and they were called 27 fănqìe (反切) letters. They are ‘27 eonmun letters’ mentioned in the letter of appeal that Choe, Manri wrote against the creation of the new script.