At the dynasty of Northern Song, Shao Yung wrote the book named Huang ji jing shi shu (皇極經世書). The syllable chart of Sheng yin chang he tu (聲音唱和圖), which contains "Tian-sheng" (天聲 finals) and "Di-yin" (地音 initial), is presented in volume 7 to 10 in the book. Tian-sheng can be classified into "four tones" (四聲)(level tone, falling-rising tone, falling tone, and entering tone, 平上去入) and "opening or closing" (闢翕), while Di-yin can be grouped into "four ratings"(四等) (opening, emitting, gathering and shutting, 開發收閉) and "voiceless sound or voiced sound"(清濁). Shao Yung used and expressed his symbolic-mathematics of Yi-jing (象數易) by replying to Tian-sheng and Di-yin. In Guan wu wai pian (觀物外篇) of Huang ji jing shi shu, the "Rhythm Method"(韻法) was further proposed to match the characteristics of the rhyme "opening and closing"(開閉) and the season circulation, and this revealed the cross-domain cognition of combining phonology with Yi-jing-ology(易學). However, studies on Shao Yung have always paid more attention to the theory of Yi-jing-ology and less attention to phonology, or linguistic scholars have usually focused more on Sheng yin chang he tu, and less on other chapters. Only a few researchers, such as Zhang Xing-Cheng and Zhu Yin-Lao, studied on Shao Yung from the finals or Fan-qie (反切), and added "Two primaries noumenon and application" (二元體用) in to discuss. In Huang Ji's and Yu Ben's studies, the pronunciation focuses on the initial angle, and also focuses on the explanations of the theory of Yi-jing-ology and Shu shu (術數). Wang Zhi and He Meng-Yao discovered the internal contradictions of Shao Yung's works, and both of them questioned the characteristics of the rhyme "closing". However, the explanations in these research seem to be insufficient. Now we try to understand the content of Guan wu wai pian and analyze the previous explanations about Shao Yung's Season Rhyme Method and the meanings of opening and closing. This article will refer to the previous interpretations, analyze their advantages and disadvantages, and try to divided these interpretations into three categroies which are finals with Yi-jing-ology, initial with Shu shu, and phonetics with ambiguity. We hope to supplement the research of Shao Yung's phonology by analyzing Rhyme Method anew, and hope that we could more understand how to combine phonology with Yi-jing-ology. That might provide a good reference for the cross-disciplinary development of phonology