明代《易》學圖書化與另類的象數觀，為繼宋元以來的時代特色，並且不因理學、心學的義理化學術傾向，而影響其承繼與發展。陳摶一系圖書之學的新制，象數思想得以在困境中，結合圖式以另一種形式呈現，並且配合義理的詮釋，表現其更具彈性多元的工具化、具象化功能。章潢《圖書編》廣輯宋元《易》學圖式，處處可見漢代《易》學的重要主張與元素，以一種新的面貌與理解視野重現，標誌著對傳統的接受與再造。本文主要從《圖書編》的圖說中，耙梳有關漢《易》象數本色之圖式，包括日月為易、月體納甲、十二消息卦與六十四卦卦氣等有關範疇之圖說，詮解其承繼自宋、元以降之可能系譜與重要內涵。

Xiang-shu theory in Ming Dynasty, developed with the use of Yi diagrams, inherited the existing characteristics of Yixue in Song and Yuan. Its inheritance and development is not influenced by the Yili tendency to either Li-xue or Xin-xue. Since Chen Tuan’s Tu-shu Yixue, Xiang-shu, faced with difficult situations, has been combined with Yi diagrams and presented in another form. Meanwhile, with the interpretation of Yili, Xiang-shu demonstrated diverse facades. Zhang Huang compiled numerous diagrams from Song and Yuan Dynasties in his Tushubian. Important arguments and elements of Yixue in Han Dynasty manifested throughout this book in innovative ways, marking the acceptance and transformation of tradition. The present study aims to comb through diagrams related to Xiang-shu in Han Yi in Tushubian, including ri-yue-wei-yi, yue-ti-najia, 12-xiao-xi-gua, and 64 gua gua-qi, and explain their contents and possible inheritance relationship with Yixue in Song and Yuan Dynasties.