Yunjing xuli's jieyin and its subsequent rhyme-tables

摘要: 《韵镜·序例》之"借音"说是《韵镜》学术史研究的重要理论问题，以往研究对此还不够重视。从东亚《韵镜》学史的角度来看，"借音"说内涵并非一成不变，与《韵镜》"原型"相比，主要有三种后续衍生韵图形式：第一，与序例文字不符的后续衍生形式，以宥朔《韵镜开奁》为代表；第二，以近代音体系"重构"《韵镜》的后续衍生形式，以汤浅重庆著作为代表；第三，以"华音"(明清官话音)体系"重构"《韵镜》的后续衍生韵图形式，以文雄《磨光韵镜》为代表。这体现出《韵镜》重构体系的多元性，蕴含着诸多汉语语音史问题，为我们研究中古音、近代音，乃至明清官话音均提供了一个新契机。 ABSTRACT: Yunjing Xuli (韵镜·序例)'s Jieyin (借音) is an important theoretical issue in the study of the academic history of Yunjing (韵镜), which has not been paid enough attention in previous studies. Jieyin (借音)'s meaning is changing from the perspective of history of Yunjing (韵镜) study in East Asia. There are three subsequent rhyme tables: 1) the forms inconsistent with content of Xuli (序例), represented by Yūshaku's Inkyō Kairen (韵镜开奁); 2) the forms reconstructing Yunjing (韵镜) based on Modern Chinese phonology, represented by Yuasa Jūken's works; 3) the forms reconstructing Yunjing (韵镜) based on Huayin (华音) phonology, represented by Mon'no's Makō Inkyō (磨光韵镜). It reflects the diversity of the reconstruction system of Yunjing (韵镜), which contains many problems in the history of Chinese phonology study, and provides a new opportunity for us to study the phonology of middle ancient, Modern, and even the Ming-Qing Mandarin.