北宋邵雍（1012~1077）作《皇極經世書》，卷七到卷十為〈聲音唱和圖〉，圖分天聲（韻母）與地音（聲母），天聲分平上去入、闢翕，地音分開發收閉、清濁，以聲音唱和作為邵雍象數易的完整運用體現。又《皇極經世書‧觀物外篇》更進一步提出「韻法」，嘗試綰合相關韻部開閉特性與四時運行之理，益顯其聲韻與易學的跨領域認知。但歷來研究邵雍，多重易學，較少注意聲韻學；或注意聲韻學者，多只注重〈聲音唱和圖〉，少論及其他篇章。僅少數如張行成、朱隱老，從韻母或反切著眼，並結合邵雍易學的二元體用進行討論；或如黃畿、余本，偏重以象數易理或術數角度切入的說解語音性質；或如王植、何夢瑤，則從發現邵雍著作內部矛盾，兩人對於「閉」音歧義性質都提出疑問。然前人解釋似皆有所不足。今試圖理解〈觀物外篇〉相關內容，嘗試解析前人對於邵雍「四時」與「開閉」之意。本文將參考前人的解讀，分析各說之得失，並試圖將前輩學者的解說分為韻母易理、象數易理、聲母術數、音理歧義四種切入角度，結合學術風氣的背景考察，以更了解何以出現這些不同的闡釋角度。希冀藉由「韻法」的重新解析，彌補現今邵雍聲韻學研究之不足，並企圖結合闡釋學理論以更清楚歷代對邵雍四時韻法不同的接受現象，以具體的實例看到聲韻學如何與易學結合，提供聲韻學跨領域發展的參考。

At the dynasty of Northern Song, Shao Yung wrote the book named Huang ji jing shi shu (皇極經世書). The syllable chart of Sheng yin chang he tu (聲音 唱和圖), which contains “Tian-sheng” (天聲 finals) and “Di-yin” (地音 initial), is presented in volume 7 to 10 in the book. Tian-sheng can be classified into “four tones” (四聲)(level tone, falling-rising tone, falling tone, and entering tone, 平上去入) and “opening or closing” (闢翕), while Di-yin can be grouped into “four ratings”(四等) (opening, emitting, gathering and shutting, 開發收閉) and “voiceless sound or voiced sound”(清濁). Shao Yung used and expressed his symbolic-mathematics of Yi-jing (象數易) by replying to Tian-sheng and Di-yin. In Guan wu wai pian (觀物外篇) of Huang ji jing shi shu, the "Rhythm Method"(韻法) was further proposed to match the characteristics of the rhyme “opening and closing”(開閉) and the season circulation, and this revealed the cross-domain cognition of combining phonology with Yi-jing-ology(易學). However, studies on Shao Yung have always paid more attention to the theory of Yi-jing-ology and less attention to phonology, or linguistic scholars have usually focused more on Sheng yin chang he tu, and less on other chapters. Only a few researchers, such as Zhang Xing-Cheng and Zhu Yin-Lao, studied on Shao Yung from the finals or Fan-qie (反切), and added “Two primaries noumenon and application” (二元體用) in to discuss. In Huang Ji’s and Yu Ben’s studies, the pronunciation focuses on the initial angle, and also focuses on the explanations of the theory of Yi-jing-ology and Shu shu (術數). Wang Zhi and He Meng-Yao discovered the internal contradictions of Shao Yung’s works, and both of them questioned the characteristics of the rhyme “closing”. However, the explanations in these research seem to be insufficient. Now we try to understand the content of Guan wu wai pian and analyze the previous explanations about Shao Yung’s Season Rhyme Method and the meanings of opening and closing. This article will refer to the previous interpretations, analyze their advantages and disadvantages, and try to divided these interpretations into three categroies which are finals with Yi-jing-ology, initial with Shu shu, and phonetics with ambiguity. We hope to supplement the research of Shao Yung’s phonology by analyzing Rhyme Method anew, and hope that we could more understand how to combine phonology with Yi-jing-ology. That might provide a good reference for the cross-disciplinary development of phonology.