《韻鏡》與人名命名－江户韻學之文化面考察

江戶時期韻學大興，韻學本身亦產生自悉曇學到等韻學的轉向，是故江戶韻學可說是圍繞《韻鏡》形成了特有的學術風潮。由於《韻鏡》在中國失傳已久，日本的《韻鏡》應用成了聲韻學史上不可或缺的一頁。日本《韻鏡》學除了語文學上的應用之外，也被拿來做為取名用字的依據。江戶時期不少日本人相信《韻鏡》的格位與音聲能判斷姓名之吉凶，故韻圖在日本除了學術之用，亦兼其庶民性與實用性的用途。本文欲以幾部江戶時期的《韻鏡》解說書及註釋書中關於「名乘字」的說明為研究對象，研究姓名學相關論述如何與《韻鏡》相涉，並藉此分析《韻鏡》如何應用於命名、及其應用的基礎理論，並探討對當時的社會之影響，以展現江戶韻學此一文化面向之特徵。

關鍵字

《韻鏡》；名乘字；江戶韻學；文化轉型

並列摘要

The study of traditional phonology was prevalent during the Edo period in Japan, and the focus of studies were shifting from explanations on Siddham 悉曇 to yuntu 韻圖 (Chinese rhyme charts), so much so that academic trends were particularly centered on the chart Yunjing 韻鏡 (Mirror of Rhymes). However, despite being an important historical document on phonology, Yunjing had failed to be handed down from generation to generation until the Qing dynasty. Fortunately, the numerous applications of Yunjing developed in Japan have allowed us to fill in several gaps regarding research on both Chinese and Japanese traditional phonology. Besides being essential for traditional phonology or philology, Yunjing was also used to select names for individuals. Due to each place on the chart of Yunjing standing for an equivalent sound within the Eight Trigrams 八卦, people during the Edo period believed that Yunjing could be used to determine whether a name was favorable or not based on its grammatical case and sound. This kind of mechanism for Japanese naming is referred to as nanorizi 名乘字, which along with commentaries and annotated works on Yunjing is the primary focus of this article. I argue that by analyzing nanorizi as well as fundamental theories on its application, we are able to further understand how Chinese rhyme charts, such as Yunjing, affected naming culture during the Edo period in Japan.