文章编号：1672-3104(2015)02-0248-08

摘 要： 朱子学派的礼图传统深刻影响了宋、元、明、清各朝的礼学发展轨迹，而杨复《仪礼图》是其代表性作品。张惠言《仪礼图》是在吸收杨复《仪礼图》的基础上创新发展的成果, 成为中国传统礼图的高峰之作。张惠言《仪礼图》继承了杨复《仪礼图》立足朱子学派遵循《仪礼》的传统，但张惠言《仪礼图》着重于实用性，而杨复《仪礼图》着力于解读《仪礼》文献，两者之作图目的不同。张惠言《仪礼图》细化与完善了杨复《仪礼图》所建构的礼图体系。两者之异同根源于各自的时代文化。

关键词： 朱子学派；杨复《仪礼图》；张惠言《仪礼图》；继承；创新

Abstract: The traditions of Chu His School deeply affect the trajectory of ritual studies in the Song, Yuan, Ming and Qing dynasties. Yang Fu’sFigure Ritualis the representative of such works. Zhang Huiyan’sFigure Ritul, based on inheriting Yang Fu’sFigure Ritual, develops and innovates, hence becoming the summit of the Chinese traditional rituals. On the one hand, Zhang Hui-yan’sFigure Ritualinherits Yang Fu’s achievement which follows Chu His School’s tradition rooted inYi Li, only that they have different purposes as Zhang Hui-yan focuses on the rituals of practicality while Yang Fu focuses on explanation ofYi Li. On the other hand, Zhang Hui-yan’sFigure Ritualbrings about new achievements which are based on Yang Fu’s achievements. The similarities and differences of the two stem from their respective age cultures.