因數明理——論陳藎謨《皇極圖韻》的理數思想與韻圖設計

To Explicate Theory by Numbers: On the Theory-Number Thought and the Phonological Table Design in Chen Chin-mo's Huangchi Tuyun

陳藎謨《皇極圖韻》直承邵雍、蔡元定、祝泌一脈的易數思想，其韻圖形制以〈聲音唱和圖〉為範本，又融入河圖洛書、《洪範》九疇的概念框架，書中對於音類的離析與歸併，往往為求牽合主觀預設的理數，而不惜扭曲實際語音的真貌。儘管陳藎謨《皇極圖韻》在當時也曾受到沈寵綏、方以智、潘耒、涂謙……等人的關注與推崇，但自二十世紀以來，音韻學者多依循高本漢研究典範，聚焦在「語音史」問題的研究上，對於《皇極圖韻》這類摻雜等韻家個人主觀臆斷的韻圖，因其難以客觀地反映出真實音系，多被評定為玄虛迷亂之作，而予以棄置不論。
本文延續著「音韻思想史」的研究路徑，以《皇極圖韻》為主要文本，並參照互文性（intertextuality）理論，觀察《皇極圖韻》與不同文本之間的脈絡關係，一方面往前追溯，與邵雍《皇極經世》、祝泌《皇極經世鈐》與《皇極經世解起數訣》、九宮圖、洛書等文本相互參照，剖析《皇極圖韻》的形式結構及其設計理據，一方面往後瞻望，觀察《皇極圖韻》如何被後世讀者所理解與轉用。

Chen Chin-mo's Huangchi Tuyun is directly derived from Shao Yong, Cai Yuan-ding, and Zhu Mi’s philosophical tract of Zhou Yi. The model of the phonological table is based on Shengyin Changhe Table, incorporating Hetu Luoshu and the conceptual framework of the nine categories of Hongfan. The divergence and convergence of the sound categories in Huangchi Tuyun are sometimes influenced by subjective presuppositions, and even constructed so as to distort the real sound it describes. Although linguistics scholars──Shen Chong-sui, Fang Yi-zhi, Pan Lei, and Tu qian──complimented Chen’s Huangchi Tuyun, most phonological scholars from the 20th Century onwards take the paradigmatic path designed by Karlgren, focusing on the history of phonology. Moreover, they tend to regard Huangchi Tuyun as a piece of abstract and chaotic work, and attach no importance to the book.
This paper employs the research methods of the history of phonological thought as the main tool to discuss Huangchi Tuyun, as well as the theory of intertexuality to examine the contextual relations between this work and other works. This paper traces and refers to Shao Yong’s Huangchi Jingshi, Zhu Mi’s Huangchi Jingshiqian and Huangchi Jingshi Jieqi Shujue, Jiugongtu, and Luoshu, dissecting the formal structure and its design basis in Huangchi Tuyun, as well as observing how this work is understood and reused by contemporary readers.