敦煌文学的程式化特征及其来源  

STYLIZED FEATURES OF DUNHUANG LITERATURE AND THEIR ORIGINS

作　　者：孙尚勇[1] 

机构地区：[1]西北大学文学院,陕西西安710069

出　　处：《西南石油大学学报（社会科学版）》2009年第5期95-107,共13页Journal of Southwest Petroleum University(Social Sciences Edition)

基　　金：国家社会科学基金项目"中国古代乐府通论"(07XZW006)

摘　　要：敦煌文学的程式化特征主要体现于歌辞作品当中,同时于一般诗歌和变文等诗体作品中也大量存在。程式的使用在中国汉魏六朝时期的本土诗歌中已经有所表露,但尚未表现为普遍特征,其作品一般篇幅不长,构成也较为简单,这些都与敦煌文学中的程式表现大相径庭。研究认为:敦煌文学作品与佛教的亲缘关系,敦煌写经中对中古汉译偈颂程式的充分反映,皆表明敦煌文学的程式化特征源于汉译偈颂。从中国文化传统的层面来看,汉译佛经偈颂这一行为,使《诗经》时代的口头诗学传统在经历了中古文学数百年的断层之后,重新在作家书面文学领域获得了部分的继承和发扬,而敦煌俗文学则正是沟通二者的一个重要环节。The stylized features of Dunhuang literature are mainly found in poetries,songs and Bianwen.Stylization began to appear in Han and Six Dynasties poetry but did not develop into a general characteristic.Unlike Dunhuang style,literature works at that time were short and of simple structure.The study reveals that the close relationship between Dunhuang literature works and Buddhism fully demonstrates Chinese translation of Buddhist hymns was the origin of the stylization features of Dunhuang literature.Seen from traditional Chinese culture,Chinese translation of Buddhist hymns inherited and developed oral poetry in Book of Poetry in written form after hundreds of years′ stagnation.Between the two,Dunhuang colloquial literature functioned as a link.

关 键 词：汉魏六朝 敦煌文学 程式 汉译佛经偈颂 

分 类 号：I206.2[文学—中国文学]