隋唐至宋元，是漢語語音史上一個非常重要的時期，漢語語音由中古音演變為近代音。目前，學界對這一演變的大致脈絡已基本達成共識，但對其間的演變細節仍不十分清楚，不少問題還存在諸多爭議。因此，有必要進行更為細緻深入地探討。利用詩文用韻來考察漢語的韻母系統，是漢語語音史研究中經常使用的一種手段。透過韻文材料的用韻，我們可以觀察某韻部孕育、萌芽、擴散、壯大到形成的整個過程，由變異到變體到凝固分立的每一步驟，即演變細節，可以還原歷時音變的真實，是探尋語音演變歷程最適宜的研究材料。 前賢已完成了隋代以前通代韻部史的演變研究，而隋唐以下雖有人涉足，但缺乏成熟的具有學術深度的研究。由於材料過於浩繁，本研究選取具有代表性的止、蟹攝作為研究對象，旨在探討二攝在隋至元代約800年間的分合演變情況。止、蟹攝由《切韻》的支脂之微齊佳皆灰咍祭泰夬廢（以平賅上去）諸韻，演變重組為《中原音韻》的支思、齊微、皆來3部，其中支思部的產生是漢語語音史上的重大事件，是近代音的一個重要標誌，本研究釐清這一歷時演變過程，對漢語語音史研究具有重要學術價值。 本研究使用的材料主要有：《隋韻譜》、《全唐詩》、《全宋詞》、《新校元刊雜劇三十種》、《脈望館鈔校本古今雜劇》、《元曲選》、《全元散曲》等。有止、蟹攝入韻的韻段共計20075個，其中隋代380個、唐代古體詩4140個、近體詩7382個、宋詞4472個、元曲3701個。 本研究首先建立了隋代詩文、全唐詩、全宋詞、全元曲用韻數據庫，在此基礎上窮盡梳理了止、蟹攝在隋詩文、唐詩、宋詞、元曲中的押韻情況，得出以下結論： （1）蟹攝諸韻（系），齊與祭隋代已混用不分，北宋詞中轉入止攝，但晚唐五代詩歌中已現端倪；灰咍隋代已混用不分，佳皆初唐與灰咍合流，泰韻中唐併入皆咍，灰、泰合口字大概晚唐五代已開始向止攝轉入，但進程緩慢，整個宋代一直處於這種轉變過程中，直至元曲中，才與齊祭廢、部分止攝形成齊微部，而皆咍、佳半、夬半、泰開口則成為皆來部。 （2）止攝諸韻系，脂之隋代已混用不分；支、微，隋至初唐以獨用為主，中唐以後與脂之混用不分；至遲南、北宋之際，支脂之開口精莊組字已從止攝分化出來，獨立為一部，又約1個世紀后，開口章組（包括日母）字也從止攝中分化出來，與精莊組一起形成支思部。 （3）唐代近體詩和古體詩用韻差別懸殊。近體詩中，支脂之同用、微獨用；齊祭同用、佳皆同用、灰咍同用。古體詩中，支脂之微同用；齊祭同用、佳皆灰咍同用。 （4）佳韻系中唐以後分為兩組，一組押入蟹攝，一組押入假攝。 （5）灰韻系的去上聲字最早轉入止攝。 （6）至遲南宋初年，資思部已經產生。北宋秦觀詞中已見資思獨用的痕跡，而生活在南、北宋之交的楊無咎，已明確使用了資思部。之前學界一直認為在詩詞用韻中最早使用支思部的是金末蒙初的元好問，我們的研究至少可將這一時間提至南宋初年。更為重要的是，楊無咎用的是資思部，正是支思部形成過程中的一個重要節點，與同時期的《切韻指掌圖》、射字詩、叶音反切等形成互證鏈，可以斷定宋代確有資思部。

The time span of Sui(隋) Dynasty to Yuan(元) Dynasty, has definitely great value to the history of Chinese Phonetics, while the Chinese Phonetics changed from Medieval to Modern Phonetics. Recently,there are some common view of the road map of the evolution,but the process and details of the changes are still vague, and some controversies surrounded them. It is nesseary to study them in a meticulous and deepgoing way. Using the rhyme of Rhyming materials to analyze the Finals system of Chinese, is one of the most used methods in the research of history of Chinese Phonetics. In that way , Careful observation of the classification of rhymes of the process of incubation, germination, diffusion, growth and formation become possible. Every step from change to variation to solidification and separation, i.e. evolution details, can restore the truth of the diachronic sound change, and is the most appropriate research material to explore the evolution process of speech. The predecessors have completed the study of the evolution of the history of rhyme classes before the Sui(隋) Dynasty, while there are few achievements under the Sui(隋) and Tang(唐) Dynasties, which need to be supplementary researched urgently.Due to the vast amount of materials, this study selected representative Zhi(止),Xie(蟹) SHE(攝) as the research subject. The purpose of this paper is to explore the evolution of their division and integration during the period of about 800 years from Sui(隋) Dynasty to Yuan(元) Dynasty. Zhi(止),Xie(蟹) SHE(攝), became ZhiSi(支思),QiWei(齊微),JieLai(皆來) of ZhongYuanYinYun(中原音韻) from the Zhi(支), Zhi(脂), Zhi(之),Wei(微), Qi(齊), Jia(佳),Jie(皆), Hui(灰), Hai(咍) etc of Qie Yun(切韻). The appearing of ZhiSi(支思) is an important event in the history of Chinese phonetics and an important symbol of modern phonetics. This study clarifies this diachronic evolution process and has important academic value for the study of the history of Chinese phonetics. The main materials used in this study are SuiYunPu(隋韻譜), QuanTangShi(全唐詩), QuanSongCi(全宋詞), XinJiaoYuanKanZaJuSanSshiZhong(新校元刊雜劇三十種), MaiWangGuanChaoJiaoBenGuJinZaJu(脈望館鈔校本古今雜劇), YuanQuXuan(元曲選), QuanYuanSanQu(全元散曲) etc. The total rhyming classifications are 20075, in which 380 are Sui(隋) Dynasty, 4140 are Guti poems of Tang(唐) Dynasty, 7382 are Jinti poems of Tang(唐) Dynasty, 4472 are Ci(詞) of Song(宋) Dynasty, 3701 are Qu(曲) of Yuan(元) Dynasty. This study established the rhyme databases of Sui Dynasty poetry(隋詩), QuanTangShi(全唐詩), QuanSongCi(全宋詞) and QuanYuanQu(全元曲) in the first. On this basis, the rhyme situation of Zhi(止) and Xie(蟹) SHE(攝) in them were thoroughly sorted out, and the following conclusions are drawn up. 1.Among the XieSHE(蟹攝) rhyming series, Qi(齊) and Ji(祭) rhyme series use were mixed and undifferentiated in Sui(隋) Dynasty, and then emerged into ZhiSHE (止攝) in the North Song(宋) Dynasty Ci(詞) poems, but there were already rhyming samples in the poems of the late Tang(唐) Dynasty and Wudai(五代) Dynasties. Hui(灰) and Hai(咍) rhyme series use were mixed and undifferentiated in Sui(隋) Dynasty, Jia(佳)Jie(皆) rhyme series emerged into Hui(灰) and Hai(咍) rhyme series in the early years of the Tang(唐) Dynasty, Tai(泰) rhyme series emerged into Jie(皆) and Hai(咍) rhyme series in the middle years of the Tang(唐) Dynasty; The HeKou(合口) Characters of the Hui(灰), Tai(泰) rhyme series probably starting to emerged into ZhiSHE(止攝) in the late Tang(唐) Dynasty and Wudai(五代) Dynasties, but the process was slow, and the whole Song(宋) Dynasty was in the process of this transformation, It was not until the Qu(曲) of Yuan(元) Dynasty that QiWei(齊微) was formed with the Qi(齊)Ji(祭)Fei(廢) rhyme series and the partial rhyme series of the ZhiSHE(止攝). The KaiKou(開口) Characters of Jie(皆) ,Hai(咍),Jia(佳)(half), Guai(夬)(half), Tai(泰) rhyme series composed of the JieLai(皆來) . 2.Among the ZhiSHE(止攝) rhyming series, Zhi(脂) Zhi(之) rhyme series use were mixed and undifferentiated in the Sui(隋) Dynasty; Zhi(支),Wei(微) rhyme series rhyming exclusively from the Sui(隋) Dynasty to the early years of the Tang(唐) Dynasty, rhyming interactively after the the middle years of the Tang(唐) Dynasty; Around the South and North Song(宋) Dynasties, The KaiKou(開口) Jing(精)Zhuang(莊) Groups Characters of Zhi(支) Zhi(脂) Zhi(之) rhyme series were disjuncted from ZhiSHE(止攝) and became an independent part. About a century later, The KaiKou(開口) Zhang(章) Groups (include Ri(日))Characters were disjuncted from ZhiSHE(止攝), composed of ZhiSi(支思), with Jing(精)Zhuang(莊) Groups. 3.There were noticeable differences between the ryhme system Jinti poems and Guti poems of the Tang(唐) Dynasty. In Jinti poems rhyme system, Zhi(支) Zhi(脂) Zhi(之)rhyme series rhyme interactively,Wei(微) rhyme series rhyme exclusively; Qi(齊)Ji(祭) rhyme series rhyme interactively, Jia(佳)Jie(皆) rhyme series rhyme interactively, Hui(灰)Hai(咍) rhyme series rhyme interactively. In Guti poems rhyme system, Zhi(支) Zhi(脂) Zhi(之) Wei(微)rhyme series rhyme interactively, Qi(齊)Ji(祭) rhyme series rhyme interactively, Jia(佳)Jie(皆) Hui(灰)Hai(咍)rhyme series rhyme interactively. 4.Jia(佳) rhyme series were divided into two groups after the Middle Tang(唐) Dynasty, one group rhymed into XieSHE(蟹攝), one group rhymed into JiaSHE(假攝). 5. The Qu(去)Shang(上) tones of Hui(灰) rhyme series were the earliest ones which emerged into ZhiSHE(止攝). 6.At the latest in the early South Song(宋) Dynasty, Zisi(資思) had been established. There were traces of Zisi(資思) in QinGuan(秦觀)’s Ci(詞) in the north song(宋) dysnasty, however, Yang Wujiu(楊無咎), who lived at the turn of the Southern and Northern Song Dynasties, used Zisi(資思) in his Ci(詞) clearly. Previously, scholars always thought that the earliest using of Zhisi(支思)in the rhyme of poetry was Yuan Haowen(元好問) of the late Jin(金) Dynasty and the early Mongolia(蒙) Period. Our research could at least mention this time to the early Southe Song(宋) Dynasty. More importantly, What Yang Wujiu(楊無咎) used was Zisi(資思), an important node in the formation of Zhisi(支思), form a chain of mutual evidence with QieYunZhiZhangTu(切韻指掌圖),Xieyin(叶音) in the same period. Therefore, it can be concluded that there was indeed existed Zisi(資思) in the Song(宋) Dynasty.