日本江户前期《韻鏡》的特殊改編－以《音韻指掌圖》作為考察

The Unique Adaptation of Mirror of Rhymes in the Early Edo Period: Takeshita Tomotsuna's Yinyun Zhizhang Tu

本文以竹下朋繩《音韻指掌圖》作為研究對象，考察如何將《洪武正韻》的分韻安排與《韻鏡》圖次框架相互結合，並觀察江戶前期重新改訂《韻鏡》的情況。《音韻指掌圖》欲以《韻鏡》圖次的框架，承載個人「通韻」的復古理念，故選擇以《洪武正韻》改編《韻鏡》。在這樣的理念下，將同攝同等的幾個韻併為一圖，並在原《韻鏡》收錄例字上進行增刪。全文關注的焦點有三：第一，《音韻指掌圖》的編撰源由，經由解讀章節大綱的安排，從其體例闡述復古理念的影響。第二、韻圖形制的改編方式，透過融合《洪武正韻》等相關古籍的特點，大規模整併《韻鏡》圖次，並重新調整和增刪例字，展現出另一種重訂《韻鏡》的形式。第三，如何承繼《韻鏡開奩》的「反切拼合」原理，並詮釋增列〈反切八法之圖〉、〈四聲九弄方圖法〉、〈五音圓圖法〉三圖之用意。

By centering its analysis on Takeshita Tomotsuna's 竹下朋繩 (?-?) Yinyun zhizhang tu 音韻指掌圖 (Comprehensive Understanding of Phonology, with Illustrations), this article investigates how the rhyme scheme of Hongwu zhengyun 洪武正韻 (Standard Rhymes of the Reign of the Hongwu Emperor) was integrated with the rhyme chart framework of Yunjing 韻鏡 (Mirror of Rhymes) and explores the circumstances surrounding the revision and adaption of Yunjing during the early Edo period. When authoring Yinyun zhizhang tu, Takeshita desired to use the framework of Yunjing to demonstrate ＂tong yun＂ 通韻 (＂cross-rhyme＂) grounded in his personal notion of revitalization and thus choose Hongwu zhengyun as the basis for revising Yunjing. With this concept in mind, several similar rhymes were combined into one chart and were then added or removed from the examples originally included in Yunjing. The present article particularly focuses on three points: first, I reveal the reasons for the creation of Yinyun zhizhang tu by interpreting the organization of the chapter outline, and from the work's style and form, elucidate the influence of the above notion of revitalization, or ＂returning to the old ways.＂ Second, the utilization of a rhyme chart structure as a method of adaption is discussed; that is, by first merging the phonological characteristics of Hongwu zhengyun and other related ancient writings with the large-scale and comprehensive charts of Yunjing as well as altering the phonological characters (including the adding or removal thereof), a new revised form of Yunjing was able to be realized. Last, I expound how Yinyun zhizhang tu inherits the theory of combining ＂fanqie＂ 反切, namely the use of two characters to express another character's phonetic value, from Inkyō kairen 韻鏡開奩, and interpret the author's reasoning for adding additional writings on phonology with specific rhyme charts, such as ＂Fanqie ba fa zhi tu＂ 反切八法之圖, ＂Sisheng jiu nong fang tufa＂ 四聲九弄方圖法, and ＂Wuyin yuan tufa＂ 五音圓圖法.