{"id":8900,"date":"2019-11-13T13:43:53","date_gmt":"2019-11-13T13:43:53","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-reading\/qiequn-zhizhang-tu-qie-yun-zhi-zhang-tu\/"},"modified":"2019-11-13T13:43:53","modified_gmt":"2019-11-13T13:43:53","slug":"qiequn-zhizhang-tu-qie-yun-zhi-zhang-tu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/de\/qiequn-zhizhang-tu-qie-yun-zhi-zhang-tu\/","title":{"rendered":"Qiequn zhizhang tu \u5207\u97f5\u6307\u638c\u56fe"},"content":{"rendered":"
 The Qiequn zhizhang tu \u5207\u97f5\u6307\u638c\u56fe "Finger-and-palm charts to the cut rhymes system" is a rhyme table from the Song period \u5b8b (960-1279) originally attributed to Sima Guang \u53f8\u9a6c\u5149 because he had written the preface. A small chapter on the rules of the composition (Jianli \u68c0\u4f8b) was written by the Yuan period \u5143 (1279-1368) scholar Shao Guangzu \u90b5\u5149\u7956.<\/p>\n

The 2 juan "scrolls" long book was lost at an early point of time and could o<\/em>nly be reco<\/em>nstructed as a quotation in the Ming period \u660e (1368-1644)encyclopedia Yo<\/em>ngle dadian \u6c38\u4e50\u5927\u5178. It is the oldest book providing an overview of the early modern Chinese "equal rhymes" (dengyun \u7b49\u97f5). A lot of Ming and Qing period \u6e05 (1644-1911) scholars like Sang Shaoliang \u6851\u7ecd\u826f (Qingjiao zazhu \u9752\u90ca\u6742\u7740), Zhou Bin \u5468\u8d5f (Shanmen xinyu \u5c71\u95e8\u65b0\u8bed), Mo Youzhi \u83ab\u53cb\u829d (Yunxue yuanliu \u97f5\u5b66\u6e90\u6d41) already doubted that Sima Guang was the author. Zou Tefu \u90b9\u7279\u592b and Chen Li \u9648\u6fa7 first raised the name of Yang Zho<\/em>ngxiu \u6768\u4e2d\u4fee as that of a potential author, but even his is far from certain. It is sure that the book was compiled during the Southern Song period \u5357\u5b8b (1127-1279) and was written later than the rhyme book Sisheng dengzi \u56db\u58f0\u7b49\u5b50. Zhao Yintang \u8d75\u836b\u68e0, author of the Dengyun yuanliu \u7b49\u97f5\u6e90\u6d41, assumes that it was written between 1176 and 1203.<\/p>\n

The Zhizhangtu includes 20 rhyme tables, each of which is headed by 36 initial consonants. This pattern is identical to the earlier Sisheng dengzi, yet there are some im<\/em>portant differences in the arrangement. In the Zhizhangtu, the 36 co<\/em>nsonants are arranged in 36 columns, wheras earlier books like theYunjing \u97f5\u955c and the Sisheng dengzi had o<\/em>nly 23 columns. The sequence of the co<\/em>nsonants is identical to that in the treatise Qiyin lüe \u4e03\u97f3\u7565 in the To<\/em>ngzhi \u901a\u5fd7, but the co<\/em>nsonant group \u5f71 [\u0294] \u6653 [x] \u5323 [\u0263] \u55bb [j] is different in the Sisheng dengzi and other books like Wuyin jiyun \u4e94\u97f3\u96c6\u97f5 or Qieyun zhinan \u5207\u97f5\u6307\u5357, wher it is \u6653 [x] \u5323 [\u0263] \u5f71[\u0294]\u55bb [j]. The Zhizhangtu does not indicate the names of the she rhymes \u6444 and in fact has, like the Sisheng dengzi, o<\/em>nly 13 instead of 16 finals because \u5b95 (\u012da\u014b, \u012dωa\u014b, \u012dak, \u012dωak, \u0251\u014b, u\u0251\u014b, \u0251k, u\u0251k) and \u6c5f (\u0254\u014b, ω\u0254\u014b, \u0254k, ω\u0254k), \u66fe (\u012d\u0259\u014b, \u012dω\u0259\u014b, \u012d\u0259k, \u012dω\u0259k, \u0259\u014b, u\u0259\u014b, \u0259k, u\u0259k) and \u6897 (\u0250\u014b, \u012d\u0250\u014b, ω\u0250\u014b, \u012dω\u0250\u014b, \u0250k, \u012d\u0250k, ω\u0250k, \u012dω\u0250k, æ\u014b, ωæ\u014b, æk, ωæk, \u012d\u025b\u014b, \u012dω\u025b\u014b, \u012d\u025bk, \u012dω\u025bk, ie\u014b, iωe\u014b, iek, iωek), and \u679c (\u0251, u\u0251, \u012d\u0251, \u012du\u0251) and \u5047 (a, \u012da, ωa) are put into one group. The amalgamation of the old 206 rhyme groups established in the Tang period \u5510 (618-907) dictio<\/em>nary Qieyun \u5207\u97f5 to the 106 rhyme groups of the Song period (the so-called pingshui rhymes \u5e73\u6c34\u97f5). While the Zhizhangtu puts all rhymes of the \u6c5f [\u0254\u014b, ω\u0254\u014b] group into one, closed-mouth (hekou \u5408\u53e3) group, together with the rhymes \u9633 [\u012da\u014b, \u012dωa\u014b] and \u5510 [\u0251\u014b, u\u0251\u014b], the Sisheng dengzi unifies the groups \u5e2e, \u89c1 and \u5e84 as such pro<\/em>nounced with an open mouth (kaikou \u5f00\u53e3) and the other groups of the \u6c5f series with \u77e5 and \u6765 as such pro<\/em>nounced with a closed mouth.<\/p>\n

Older dictio<\/em>naries unified the syllables of the rhyme group \u6c5f [\u0254\u014b, ω\u0254\u014b] with labial (\u5e2e [b]) and velar (\u89c1 [k]) initials with syllables of the rhyme group \u9633 [\u012da\u014b, \u012dωa\u014b] with dental initial \u5e8a (d\u0292\u02b0), identified as syllables pro<\/em>nounced with less open mouth (kaikou erdeng \u5f00\u53e3\u4e8c\u7b49), while all other syllables of the rhyme group \u6c5f [\u0254\u014b, ω\u0254\u014b] were treated as belo<\/em>nging to a separate group with the initials \u77e5 [\u0163], \u5e8a (d\u0292\u02b0) or \u6765 [l] and closed mouth (hekou erdeng \u5408\u53e3\u4e8c\u7b49). TheZhizhangtu rated all syllables of the rhyme group \u6c5f [\u0254\u014b, ω\u0254\u014b] as such with closed mouth and unifed them with closed-mouth syllables of the joint rhyme group \u9633\u5510 [\u012da\u014b, \u012dωa\u014b].
Rhymes of the group \u652f [\u012de, \u012dωe] are rated traditio<\/em>nally as less closed syllables (sandeng \u4e09\u7b49), while the Zhizhangtu categorized them as much open (yideng\u4e00\u7b49). The Yuan period dictio<\/em>nary Zho<\/em>ngyuan yinyun \u4e2d\u539f\u97f3\u97f5 would eventually establish a further rhyme group (\u601d [s\u012d\u0259]) to meet the difference of the modern pronunciation.<\/p>\n

The Zhizhangtu furthermore again separates the joint rhyme groups \u6b62 (\u012de, \u012dωe, i, ωi, \u012d\u0259, \u012d\u0259i, \u012dω\u0259i) and \u87f9 (iei, iωei, \u012d\u025bi, \u012dω\u025bi, \u0251i, u\u0251i, ai, ωai, \u0250i, ω\u0250i, æi, ωæi, u\u0252i, \u0252i, \u012d\u0250i, \u012dω\u0250i) and thus destroyed the system of the she rhymes. The open-mouth syllables \u9f50 [iei, iωei] and \u796d [\u012d\u025bi, \u012dω\u025bi] of the rhyme group \u87f9 were unified with the open-mouth syllables \u652f [\u012de, \u012dωe] \u8102 [i, ωi] \u4e4b [\u012d\u0259] \u5fae [\u012d\u0259i, \u012dω\u0259i] of the rhyme group \u6b62. The open-mouth (yideng \u4e00\u7b49) syllables of the rhyme group \u7070 [u\u0252i] and the closed-mouth syllables (sideng hekou \u56db\u7b49\u5408\u53e3) of the \u9f50 [iei, iωei] group were unified with the closed-mouth syllables of the rhyme groups \u652f\u8102\u4e4b\u5fae.<\/p>\n

A lot of rhymes formerly categorized as much closed (sideng \u56db\u7b49) are identified in the Zhizhangtu as less closed (sandeng \u4e09\u7b49), which proves that during the Song period there was not any more such a huge difference between sounds pro<\/em>nounced with an open mouth and such with a closed mouth. These differences to older rhyme dictio<\/em>naries show that the Zhizhangtu was closer to the modern pro<\/em>nunciation than earlier dictio<\/em>naries that often retained obsolete initials and finals not any lo<\/em>nger in use.<\/p>\n

The Qieyun zhizhang tu was first printed in 1230. The Yo<\/em>ngle dadian version was included in the collectaneum Siku quanshu \u56db\u5e93\u5168\u4e66. Master Yan \u4e25\u6c0f from Sichuan has reproduced the book in the collectaneum Yinyunxue co<\/em>ngshu \u97f3\u97f5\u5b66\u4e1b\u4e66. In 1883 it was printed by the To<\/em>ngwen press \u540c\u6587\u4e66\u5c40 in Shanghai, in 1910 it was printed by Master Xiong’s \u718a\u6c0f Jiubushi Studio \u65e7\u8865\u53f2\u5802. It is also included in the collectanea Mohai jinhu \u58a8\u6d77\u91d1\u58f6, Co<\/em>ngshu jicheng \u4e1b\u4e66\u96c6\u6210 andShiwanjuanlou co<\/em>ngshu \u5341\u4e07\u5377\u697c\u4e1b\u4e66.
 
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