自宋至今，歐陽修編定之的譜圖，被修譜者當作一種典範。歐陽修之圖譜雖然矗立在江西吉安故里其父母的合葬墓前，但是，他並沒有在江西創建宗族。本文的幾個例子顯示，不一定與歐陽修有實際血緣關係的地方上的宗族，在不同的歷史時期，因為種種理由，使自身與歐陽修建立起宗族關係。而歐陽修所訂之譜圖，作為聯宗的憑藉有其歷史過程，這其中便牽涉到從宋到明清宗族定義的變化。宋元時期，祭祀的核心是墓祭。至明中期以後，隨著祠祭的興起，祠與產緊密相連，系譜所關涉的血緣的語言越來越成為地域社會權力關係的依據和表達媒介。由此，與地緣相扣的地方宗族成為了鄉村的主體。因此，一千年間，宗族的理念雖然維持不變，但實際上卻是方式不同、層面多樣的的社會建構。

Since the Song dynasty, the genealogical diagram designed by Ouyang Xiu has been regarded as a model in genealogical compilations. However, although he set it up at his parents’ grave in his family home in Jiangxi province, he did not establish the lineage in Jiangxi. Nevertheless, the examples in this essay show that local lineage groups that were not related by birth to Ouyang Xiu, in different historical periods, for different reasons, set up lineage relationships with him. The historical process by which Ouyang Xiu’s genealogical diagram came to play a part in the building of lineage connections mirrored the changing meaning of the lineage from the Song through the Qing. As the center of ancestral sacrifice shifted from the grave in the Song and the Yuan to the ancestral hall and its properties from the mid-Ming, the language of descent came to be more and more a means of expressing power. Therefore, the territorial lineage came to be looked upon as a model of the village. Although the ideas that made up the lineage remained unchanged for a millennium, they were expressed in different forms throughout this period and they contributed to different social structures.

宗族；系譜；歐陽修

lineage; genealogy; Ouyang Xiu