上梁文“六诗”文体刍议  

On the Formation of“Six Poems”Style in Shang Liang Wen

作　　者：王志钢[1] WANG Zhigang(Publicity Department,Liaoning Guidaojiaotong Polytechnic Institute,Shenyang,Liaoning 110023)

机构地区：[1]辽宁轨道交通职业学院党委宣传部,辽宁沈阳110023

出　　处：《绍兴文理学院学报》2020年第7期30-35,共6页Journal of Shaoxing University

摘　　要：结合敦煌文献、佛教文献等,从文学、文化学角度探讨上梁文“六诗”文体中的六个方位词和“3/3/7/7/7”节奏型的影响因素。“六诗”中的六个方位词至宋代最终定型为东、西、南、北、上、下,这种组合形式或受到佛教话语中“十方有佛”观念的影响,不排除受到道教驱傩活动等因素影响。从文学史角度探讨了“六诗”方位词中东、西、南、北语言顺序的文学传统;上梁文抛梁歌的“3/3/7/7/7”节奏型应受到隋唐五代燕乐和唐五代敦煌歌辞影响,“六诗”重章叠唱的艺术手法应受到《诗经》的影响。Combining Dunhuang literature and Buddhism literature,the present paper explores the six orientation words in the“six poems”style of Shang Liang Wen(a kind of parallel prose used to express blessings when houses are built and beams laid)and the influencing factors of the“3/3/7/7/7”rhythm pattern from the perspectives of literature and culture.The six orientation words in the“six poems”were finalized in the Song dynasty as East,West,South,North,Upper and Lower.The paper holds that this combination may be influenced by the concept“Buddha exists in all directions”in the Buddhist discourse,but it may also be influenced by factors such as Taoist exorcism(an activity of exorcising ghosts and meeting gods at the end of the year or the beginning of spring in China).The paper explores the literary tradition of the linguistic order of East,West,South,and North in the“six poems”from the perspective of literary history;the“3/3/7/7/7”rhythm pattern of Shang Liang Wen is influenced by the music played at court feasts in the Sui and Tang dynasties and the Five Dynasties and by the Dunhuang songs in the Tang dynasty and Five Dynasties;the artistic technique of repetition in the“six poems”is influenced by The Book of Songs.

关 键 词：上梁文 “六诗” 文体 文学发生学 

分 类 号：I207.6[文学—中国文学]