詩韻（一般指《詩經》韻腳）與諧聲是上古音研究中的兩大支柱，是漢語內部的系統材料。就此而言，在上古音研究中，其重要性遠遠高過通假異文、聲訓、讀若、又音等等其他材料。其中，諧聲因其同時反映聲韻調各方面的信息而尤為關鍵，自清代至今備受重視。清儒如段玉裁等人大量製作「諧聲表」，利用「諧聲表」討論古韻。現代學者如高本漢等人提出「諧聲原則」，發掘諧聲在聲母研究方面的重要價值。利用諧聲討論上古音，前賢時修均有不同程度的重要發現。 「諧聲表」提綱挈領、以簡御繁，用諧聲聲符串聯起上古韻部。清儒中，江有誥分部精審，其《諧聲表》製作最為精良。 本文以江有誥《諧聲表》為研究對象，探討了江氏諧聲研究的內容、成就及貢獻。通過判斷聲符歸部、討論注音形式、分析諧聲現象，探討「諧聲表」的演變源流、觀察上古的韻部和聲調。 本文研究的主要創新點和價值在於以下幾個方面： 一、補前人之缺，全面探討江有誥《諧聲表》 江氏的古音研究備受推崇，但關注詩韻者多，討論諧聲者少。即使有所涉及，也多為局部討論或宏觀論述。 我們首次全面、系統、深入地檢討江有誥《諧聲表》，討論其中的諧聲現象、反切注音、聲符歸部等等。我們深入分析《諧聲表》的全部注音材料，論述其性質；探索江有誥《諧聲表》所見之諧聲現象，印證前人的觀點，藉此確定其價值；判斷聲符歸部正誤，明確江有誥失誤之處及原因，全面補充、訂正其《諧聲表》。 本論文是關於江有誥《諧聲表》的系統研究，對於學界利用江氏《諧聲表》討論諧聲現象、進而探討上古音系等相關工作皆有所助益。 二、提出新的觀察角度，從音韻史的視角討論江有誥的諧聲研究成就。 前人討論諧聲，但是多從聲符歸部的正誤入手。目的在於確定聲符歸部，鮮少涉及歸部差異的背後，諸家不同的緣由與考量。 而我們選擇了「諧聲表」製作的角度，把江有誥《諧聲表》放到清儒「諧聲表」的演進序列之中，以文本內部研究為起點，將其置於諧聲研究史的角度之下觀察。我們比較段玉裁、王力、周祖謨、董同龢等人的《諧聲表》，分析歸部原則、實質差別、材料取捨、字形認識等多項差異，討論《諧聲表》製作的傳承與演變，判斷江氏《諧聲表》在諧聲研究史上的成就、價值及地位。 溯往而知來，本論文對於檢討諧聲研究方法的理論與應用具有補充和參考意義。 / Rhyme and pictophonetic characters are the two pillars of the study of ancient sound, and it is the internal systematic materials of Chinese. In view of this, its importance is much higher than the borrowed character（假借字）, shengxun（聲訓）, duruo（讀若）, youyin（又音） and so on. Among them, pictophonetic characters are particularly critical because of its simultaneous reflection of all aspects of Chinese ancient sound. And since the Qing Dynasty,they have received so much attention. Confucian scholars in Qing Dynasty made a large number of pictophonetic table|（「諧聲表」）, and use them to discuss the ancient rhyme, such as Duan Yucai（段玉裁）. Modern scholars such as Klas Bernhard Johannes Karlgren put forward the pictophonetic principle（「諧聲原則」） to discover the important value of pictophonetic characters in the study of consonants. Using the pictophonetic principle（「諧聲原則」） to discuss the ancient sound, scholars always have different findings. Pictophonetic table（「諧聲表」） uses less to accomplish more, links a series of ancient rhyme. In Qing Dynasty, Jiang Yougao（江有誥） divide rhyme accurately, his Pictophonetic table（〈諧聲表〉）is the most sophisticated. This paper focuses on the content, accomplishment and contribution of Jiang's Pictophonetic table（〈諧聲表〉）. We discusses the form of fanqie（反切），the phenomena of pictophonetic characters, the origin and evolution of pictophonetic table（「諧聲表」）, and we also observes the ancient rhyme and tone. The full text is divided into six chapters. We believe that the main innovation and value of this paper lies in the following aspects: 1、Complement the previous lack of study about Jiang Yougao's（江有誥） Pictophonetic table（〈諧聲表〉）, and we give a comprehensive discussion. Jiang's research is highly respected, but people gave more attention to the poem rhyme and discussed about pictophonetic characters less. Even if there is involved, but also mostly local discussion or macro discussion. For the first time, we have comprehensively, systematically and in-depthly reviewed Pictophonetic table（〈諧聲表〉） of Jiang Yougao（江有誥）, discussing the the form of fanqie（反切）, the phenomena of pictophonetic characters. We analyze the phonetic materials of Pictophonetic table （〈諧聲表〉）; explore the phenomenon seen in Jiang's Pictophonetic table （〈諧聲表〉）. There are patent errors in Jiang's Pictophonetic table （〈諧聲表〉）, and we complement and revise it. We believe that this paper is a systematic research of Jiang's Pictophonetic table（〈諧聲表〉）, which is helpful for the scholars to discuss the pictophonetic characters phenomena and to discuss the ancient phonology and other related works. 2、Put forward a new point of view and discuss the achievements of Jiang Yougao's （江有誥）Pictophonetic table（〈諧聲表〉） from academic perspective. The previous discussion of pictophonetic characters rarely involved to the differences and the various different reasons behind the differences. We chose the point of the view making pictophonetic table（「諧聲表」）, put Jiang Yougao's（江有誥） Pictophonetic table（〈諧聲表〉） into the the evolution of Qing Dynasty pictophonetic table（「諧聲表」）sequence, we catch the internal research of the text as a starting point, put it into the study of the history of the view of pictophonetic table（「諧聲表」）. We campare Duan Yucai（段玉裁）, Wang Li（王力）, Zhou Zumo（周祖謨）, Dong Tonghe（董同龢）'s pictophonetic table（「諧聲表」）in different aspects such as pictophonetic characters, principles, the choice of materials, different understanding about characters’shape. We gave the judgment about Jiang Yougao（江有誥） in the history of pictophonetic table（「諧聲表」）, also about the achievements, value and status. We believe that this paper can give the reference to the theory and application of research for pictophonetic characters.