方以智（1611-1671）被譽為「百科全書派」的學者，不單精研等韻之學，更是獨樹一幟的大思想家。《切韻聲原》的韻圖框架以方氏的《易》學思想為根柢，並融合印度悉曇、泰西拼音之學；今日研究者必須貫通「音韻學」與「象數學」，方能合理闡釋設計理據與音韻系統。然而，綜觀當前關於方以智學術研究之現況，音韻學研究者、哲學研究者之間，卻是涇渭分明、互不相融：哲學研究者聚焦於方以智思想之詮釋，鮮少旁及音韻學研究範疇，對於《切韻聲原》大多闕而不論；音韻學者雖以《切韻聲原》為材料，但卻刻意排除象數思想的影響，兩者均有所偏執，難以全面、深入解讀《切韻聲原》的奧義。有鑑於此，本文擬從「音韻思想史」的角度入手，由「祛魅」（disenchantment）走向「返魅」（reenchantment），探究《切韻聲原》的設計理據，關注音韻學與象數學之間的互滲關係，思考：方以智如何以象數之學為根柢，在傳統切韻之學的基礎上，會通悉曇、泰西之韻學，並將諸種複雜因子予以統攝、調和，從而設計出理想的韻圖形制與切音方案，藉以達到「知無聲之源、盡聲音之變」的終極目標。

Extoled as an “Encyclopedia” scholar, Fang Yizhi (1611-1671) was not only versed in phonology, but also a great thinker. His masterpiece Qieyun Shengyuan was based on his system of thought and, in many respects, integrated the Siddha and Taixi Pingyin. Only when the researchers today are very learned about phonology and Image-number Ology can they reasonably account for the design motivation and phonological system. However, the Fang Study today is now clearly divided into two groups, i.e. the phonology scholars and philosophy scholars: most philosophy scholars would focus on the interpretation of Fang’s thought and rarely touched the issues on the phonology research; they always leave Fang’s masterpiece Qieyun Shengyuan without further discussion. On the other hand, however, most of the phonology scholars seem tentatively to avoid Fang’s Image-number thought and entirely focus his Qieyun Shengyuan as the object of research. Both of them have their merits and flaws and hardly can any of them fully reveal the gist of this work. Due to the limits mentioned above, the paper tends to explore the design motivation of the work as well as the interrelated relationship between phonology and image-number ology from disenchantment to reenchantment from the perspective of history of phonological philosophy. The paper will argue how Fang, based on his image-number ology and the traditional study of qie phonology, comprehend the Siddha phonology as well as the European phonology. Any of the multiple and complicated factors will be coherently integrated in order to outline an ideal rhyme table and qie sound policy of achieving the ultimate goal of “tracing the origin of soundless in the past and understanding the variations of sounds in the future.”

方以智;切韻聲原;等韻;音韻思想史;設計理據

Fang Yizhi;qie phonology;Deng-yun;history of phonological philosophy;design motivation