北宋邵雍《皇極經世》〈聲音唱和圖〉傳到了朝鮮半島，出現了像崔錫鼎《經世訓民正音圖說》、黃胤錫《理藪新編》（1744），以及申景浚《韻解訓民正音》（1750）中《漢字音韻圖》（《經世聲音數圖》）等與之相關等韻圖著作。而在日本，則以沙門盛典《韻鏡易解》（1692）、《新增韻鏡易解大全》（1715）為基本等韻圖注解形式。文雄作《磨光韻鏡》（1744），形成了「變異」的後繼等韻圖形式，由此構成了十分鮮活的邵雍《皇極經世》「易數」韻圖在東亞「輻射」的模式。本文從邵雍《皇極經世》術數與語音融合形式、邵雍《皇極經世》與朝鮮崔錫鼎《經世訓民正音圖說》、邵雍《皇極經世》與日本盛典《新增韻鏡易解大全》關係，解讀《新增韻鏡易解大全》韻圖「入門」功能、術數「入門」功能，以及盛典《五韻拗直五位之圖》與《四十三轉總標七音總括之圖》。邵雍、崔錫鼎、盛典「形而上」與「形而下」學術與社會功能的「調整」與「變異」、日本漢字音「漢吳唐三音」研究史等幾個方面價值由此凸顯出來。

The propagation of “Shengyin changhe tu” 聲音唱和圖 (“The Graph of Matching Sounds”) included in Shao Yong’s 邵雍Huangji jingshi 皇極經世 (Book of Supreme World Ordering Principles) into the Korean peninsula was followed by several indigenous works on Chinese phonology, such as Ch’oe Sŏkchŏng’s 崔錫鼎Kyŏngsehunminjŏngŭm 經世訓民正音圖説, Hwang Yunseok’s 黃胤錫Isushinp’yŏn 理藪新編 (1744), Shin’gyŏngjun’s 申景浚 Hunminjŏngŭmunhae 漢字音韻圖 (1750), etc. In Japan it was followed by the work of a monk named Jōten 盛典, namely Inkyō ikai 韻鏡易解 (1692) and a further revision of this original manuscript in 1715, both of which adhered to the traditional scheme of Chinese rime tables. Mon’nō’s 文雄 Makō inkyō 磨光韻鏡 written in 1744 represents, instead, a “variation” and constitutes an extremely vivid pattern of “new interpretations” of Huangji jingshi in East Asia. This paper investigates the phonological structure of Shao Yong’s Huangji jingshi, as well as its relationship with Kyŏngsehunminjŏngŭm and with Jōten’s Inkyō ikai and Shinzō inkyō ikai taizen 新增韻鏡易解大全, stressing their didactic function for “beginner students” of Chinese rime tables. Shao Yong, Ch’oe Sŏkchŏng and Jōten’s “formal” and “metaphysical” scholarship and their relationship with social “adjustment” and “variation,” the historical study of Kan’on, Go’on and Tō’on 漢吳唐三音, and other related matters are particularly highlighted in the present paper.