中國歷代學術長期影響下，日本韻學中對於反切方法乃至《韻鏡》格位的解釋，具有從悉曇學轉向等韻學之傾向。此學術轉向的契機及途徑，與江戶時代的學術特色有關。據前人研究及筆者之觀察，漢學日本化在日本漢學史中具有穩固的基礎。其中，日本人將日本語的音系結構與中國歷代音韻理論相搭配，用以解釋經典訓詁與音義，此不僅與中國歷代音韻理論有關，還牽涉佛經解讀時的悉曇學，以及韻圖文人化之後的等韻學，然此學術轉向之發生，較中國學術史而言來得晚，其轉向的呈現方式，也與中國範式有所不同。據本文觀察，文雄反切法中所強調的助紐反切與韻圖反切表面看來雖是等韻化的結果，但仍有部分承襲自悉曇學的反音方法。如「假名助紐」雖應用了中國式唐人反切法中的助紐，但其假名助紐的口誦方式卻是承襲明覺以來悉曇反音法中的「五音」概念，即利用「五十音圖」來推理字音。至於「韻圖反切」雖是獨尊《韻鏡》的展現，但文雄把《韻鏡》高度經典化，使《韻鏡》具有跨時空的適用性，進而利用《韻鏡》來規範唐音，這種忽視歷史音變而對後起音韻進行規範的作法，乃是悉曇反音舊習。正因文雄的反切法中仍有悉曇學遺緒，故能理解日本韻學特殊之處，並藉此知曉江戶韻鏡學與明清等韻學殊途之一因。

Under the sustained influence of Chinese historical academics, the methods to get Chinese pronunciation while reading the Chinese literatures were changed in the Edo period, and the explanation of the form of rhyme book called “Yunjing” were also different from that in the Ming and Qing dynasty. In general, the traditional phonology turned the way from Siddhaṃ-based analysis to Yunjing-based analysis during the Edo period. Edo Japanese scholar, like Monnou(文雄), took Yunjing to construct the system of Japanese Kanji-on, including Go-on, Kan-on, and To-on, which can be one reason why the way of Siddhaṃ-based analysis had gone insignificant. However, throughout the Japanese traditional phonology, the Siddhaṃ-based ideas are still remained in some part of Yunjing study. We checked the Yunjing related documents of Monnou, and found some visible traces to show the Siddhaṃ ideas in those books. Therefore, the diversity between Japanese Yunjing explanations from Chinese Yunjing interpretations can also be appeared.