《音聲紀元》的理論依據及其韻圖結構  

The Theoretical Basis of Yinsheng Jiyuan and Its Rhyme Structure

作　　者：王朋 李子君 Wang Peng;Li Zijun

机构地区：[1]吉林大學文學院,長春130012

出　　处：《文献语言学》2023年第2期239-251,257,共14页

基　　金：國家社會科學重大基金項目“宋代‘廣韻-集韻’系統韻書韻字大成、數據庫建設及宋代韻書史建構”(19ZDA255)。

摘　　要：《音聲紀元》用天地一氣、陰陽相配的哲學思想探尋聲音之源,崇五音、尊律吕,以邵雍、李文利的學説爲用;其韻部與律吕、節氣、地支等概念相配,以明理無常形;爲建立適用四方各域的聲、音系統,兼顧南北、正俗之音,不以單一音系爲據;其圖以理論爲尊,不以事實爲據,韻圖結構與實際語音存在矛盾;其前後兩圖均以“平水韻”爲紐帶,雖有不同,其實一也。Yinsheng Jiyuan explores the source of sound with the philosophy of heaven and earth as one qi and yin and yang as a match.It worships five tones and laws,and uses the theories of Shao Yong and Li Wenli;Its rhyme part matches with the concepts of Lv,solar terms,and local branches,so as to make sense of impermanence;In order to establish a sound and sound system applicable to all areas of the four directions,taking into account the sound of the north and south,the sound of the good and the common,and not based on a single sound system;Most of the figures are based on theory rather than facts,and there are contradictions between the rhyme structure and the actual pronunciation;The front and back two pictures are linked by Pingshui Yun.Although they are different,they are actually one.

关 键 词：五音 平水韻 陰陽相配 南北音 十二律 

分 类 号：H114.9[语言文字—汉语]