本文以大澤賚《韻鏡發輝》及其系列相關文獻為研究對象，解讀其以「四十三轉三十八字母定局圖」重訂《韻鏡》本圖的特點，並討論《韻鏡發輝》在日本《韻鏡》學中的歷史意義。《韻鏡發輝》遵循釋文雄的「正音」理念，對《磨光韻鏡》進行增改，藉以「重新校訂」《韻鏡》本圖。儘管《韻鏡發輝》未曾提及與《磨光韻鏡》的關係，但透過本文的相互對照，明顯可見《韻鏡發輝》應是遵循《磨光韻鏡》考訂《韻鏡》的「復原韻鏡」之理念，故才創造出數種特殊的編寫體例。本文關注的焦點有三：第一，《韻鏡發輝》的重訂目的，大澤賚如何闡發《磨光韻鏡》正音理念，藉以作為編寫《韻鏡發輝》的基礎；第二，重訂增字的意義，包含增訂多少字，其音韻地位的特點是什麼，過程中涉及韻目、例字的調整。第三，透過254個增字的考察，解讀「增設兩母」等特殊情況，瞭解《韻鏡發輝》重訂後之特色。

The present paper focuses on Ōsawa Rai's 大澤賚 (1777-1865) Inkyō hakki 韻鏡發輝 and its series of related literature, interpreting the features of its “Sishisan zhuan sanshiba zimu dingju tu” 四十三轉三十八字母定局圖 which is a revision of Yunjing 韻鏡 (Mirror of Rhymes) and discussing the historical significance of Inkyō hakki within the history of Yunjing studies in Japan. Following the concept of zhengyin 正音, namely an ideal standard of pronunciation, as intepreted by Mon'nō 文雄 (1700-1763), Inkyō hakki modifies Makō yinkyō 磨光韻鏡 in order to revise Yunjing. Although Inkyō hakki does not specfically mention its relationship with Makō yinkyō, it is clear when comparing the two works that the former uses the latter in an attempt to “restore the original” of Yunjing, and to that end, includes a number of specific writing forms and examples. There are three focuses of this paper: first, the purpose of the production of Inkyō Hakki as well as how Ōsawa Rai adopted the zhengyin theory of Makō yinkyō as the basis for his work are expounded. Second, the author explores the meaning of re-editing the added characters, including the number of characters added, the characteristics of their phonological posistions, and the adjustments of both yunmu韻目 (rhyme entries) and example characters involved in the processes. Third, through investigating the 254 additions, deciphering the addition of two zimu 字母 and other notable circumstances, this paper apprehends the features of Inkyō hakki following the revision.