Sino-Vietnamese pronunciations are the way Vietnamese people read Chinese characters. Going through the process of formation and development, they have become an important part of the Vietnamese language. In the field of literature, Sino-Vietnamese sounds are closely related to Tang poetry in China and Tang poetry in Vietnam. Tang poetry is a Chinese literary achievement consisting of systems of authors and works with strong influences on Sinosphere countries in medieval time such as Vietnam, Japan, and Korea. In Vietnam, Tang poems are read by Sino-Vietnamese pronunciations, which ensure tonal harmony. Scholars in China, Vietnam, and other countries have studied Tang poetry in terms of phases, authors, styles, and ideologies. However, there has been no attempt to investigate the characteristics and functions of Sino-Vietnamese pronunciations in Tang poetry. In this paper, we study the characteristics and functions of Sino-Vietnamese pronunciations in Tang poetry in China and Vietnam based on the comparison of similarities and differences of reading Tang poems by Sino-Vietnamese pronunciations and by contemporary Chinese by means of surveying 133 poems in Three hundred Tang poems. Comparative data on the ability to keep Tang poetry’s same tone rules and Tang poetry’s rules of Sino-Vietnamese pronunciations and contemporary Chinese show that both types of reading can either remain or break the rules of this poetry type, but their proportions are different. 54% of poems by Sino-Vietnamese pronunciations keep Tang poetry’s same tone rules and Tang poetry’s rules while the rate of poems by contemporary Chinese reading is 34%. The number of poems in which Sino-Vietnamese pronunciations can keep the rules while contemporary Chinese cannot is 28 (accounting for 21%). The number of poems in which contemporary Chinese can keep the rules while Sino-Vietnamese pronunciations cannot is 1 (accounting for 1%). The survey results show the remarkable advantages of Sino-Vietnamese pronunciations regarding the ability to keep Tang poetry’s same tone rules and Tang poetry’s rules compared to the contemporary language used by Chinese people. This is attributed to the fact that Sino-Vietnamese pronunciations are close to the sounds of Tang poetry and still preserve the tone patterns. With such a characteristic, in the process of cultural adaptation, Vietnamese people use Sino-Vietnamese pronunciations to compose, translate, as well as appreciate and study Tang poems. There were thousands of authors, and there were poetry collections of thousands of Tang poems written in Sino-Chinese in medieval time. The similarities and differences between Sino-Vietnamese pronunciations and contemporary Chinese in Tang poems prove cultural adaptation among nations, contributing to preserving the diverse beauty of valuable literary works of humankind.

颜习斋是中國明末淸初-立杰出的忠想家、敎育家。 他以級为豪迈的概向 两千多年来的学术威权挑战， "开二千年不能开之口， 下二千年不敢下之笔“, 猛烈批汉学与宋明理学， 强烈要求回归周孔之正学. 也以“夏古’为旗帜， 而从事 儒学新形态的探索工作, 返本开新可以恰当地概括也的思想特征。 由他的思想持 征可以窥贝明末淸初中國哲学的新动向。 不过，当地祟实习行哲学无法落实于外 在的杜会而只能向学问中探求时， 乾嘉朴学也就呼之欲出了。