以一貫萬――論陳藎謨《元音統韻》及其音學思想

Unify Ten Thousand with One: On Chen Jinmo's ''Yuanyin Tongyun'' and Its Phonetic Thoughts

陳藎謨（？-1679）精通音韻之學，更鑽研易學、算術等諸般學問，且曾受到西學之薰陶。在韻學研究上，先後編撰《皇極圖韻》（1632）、《元音統韻》（1714），此二書深受邵雍（1011-1077）《皇極經世》之學影響，沾染濃郁的象數玄理色彩，向來為「語音史」研究者所忽略。本文以《元音統韻》為主要研究對象，懸置現代音韻學的客觀主義觀點，以開放而好奇的眼光重新審視《元音統韻》文本，描述全書之編排體例與形制設計，反思韻圖、切語之設計理據，從而深入理解陳藎謨的思想意涵，一方面闡釋陳藎謨韻學之獨特創新，及其在音韻思想史上的定位；一方面則檢視歷來學者對《元音統韻》的解讀與評價，辯證其中可能的誤讀與缺漏。

Chen Jinmo (？-1679) was proficient in the study of phonology, and also delved into various knowledge such as Yi Xue, arithmetic, etc., and was influenced by Western academics. In the study of rhyme, he successively compiled ''Huangji Tuyun'' (1632) and ''Yuanyin Tongyun'' (1714). These two books were deeply influenced by Shao Yong's (1011- 1077) ''Huangji Jingshi''. The rich color of image and number metaphysics has always been ignored by researchers of ''History of Phonetics''. This paper takes ''Yuanyin Tongyun'' as the main research object, adopts ''phenomenology'' as the analytical framework, suspends the objectivist viewpoint of modern phonology, re-examines the text of ''Yuanyin Tongyun'' with an open and curious eye, and describes the whole book The arrangement style and shape design of Chen Jinmo reflect on the rationale for the design of rhyme diagrams and fanqie, so as to deeply understand the connotation of Chen Jinmo's thoughts. On the one hand, it explains the unique innovation of Chen Jinmo's rhyme and its position in the history of phonological thought; Scholars' interpretation and evaluation of ''Yuanyin Tongyun'' analyzes and demonstrates possible misreadings and omissions in it.