摘要
《韻法橫圖》《韻法直圖》是明代梅膺祚《字彙》(1615年)中所附的兩份等韻圖,其編纂目的是“以字彙爲體,韻法二圖爲用”。《字彙》成書後傳至朝鮮半島,黃胤錫《理藪新編》(1774年)卷二十之《韻學本源》中記錄了《韻法橫圖》《韻法直圖》,並吸收邵雍《皇極經世》思想,將二圖與《訓民正音》相結合,在此基礎上創制了新的《橫圖》《直圖》《新定橫直合圖》等爲研究漢語語音服務、具有朝鮮朝特色的韻圖,形成了等韻學研究的新模式,對東亞漢字文化圈内韻書韻圖的研究具有重要的啓發意義。
“Yunfa Hengtu”(《韻法横圖》)and“Yunfa Zhitu”(《韻法直圃》)are two rhyme diagrams attached to Mei Yingzuo's“ZiHui”(《字彙》)(1615)from the Ming Dynasty.The purpose of its compilation was to“based on ZiHui(《字彙》),use the two rhyme diagrams to use”.After“Zi Hui”spread to the Korean peninsula,Huang Yinxi's“Lisou Xinbian”《理薮新編》(1774),Volume 20,“Yunxue Benyuan”(《韻學本源》)recorded“Yunfa Hengtu”(《韻法橫圖》)and“Yunfa Zhitu”(《韻法直圖》),and absorbed Shao Yong's thoughts of Huangji Jingshi(《皇極經世》),and combined the two diagrams of Hengzhi with“Xunmin Zhengyin”(《訓民正音》)。On this basis,“Hengtu”(《橫圖》)“Zhitu”(《直圖》)“Xinding Hengzhi Hetu”(《新定橫直合圖》)with the characteristics of the Joseon Dynasty were created to serve the study of Chinese phonetics,forming a new model of the study of rhyme diagrams,which has important enlightening significance for the study of rhyme diagrams in the cultural circle of East Asian Chinese characters.
出处
《汉语史研究集刊》
2024年第1期134-147,共14页
Studies on the History of Chinese Language
基金
國家哲學社會科學基金冷門絕學研究專項學術團隊項目“東亞漢語音韻學史文獻發掘與研究”(21VJXT014)
