敦煌变文讲唱形式与骈体  

Narrative Chanting Style of Dunhuang Bianwen and Parallel Prose

作　　者：莫道才[1] 钱辉 Mo Daocai;Qian Hui

机构地区：[1]广西师范大学文学院

出　　处：《文学与文化》2025年第1期108-114,共7页Literature and Culture Studies

基　　金：国家社科基金重大项目“历代骈文研究文献集成”(编号:15ZDB068)成果。

摘　　要：敦煌变文中,无论是佛教故事还是历史故事,都存在着不少的体。敦煌变文中的体多用于对环境的描写,对人物形象的刻画。在讲经文中,常用于解释经文;在历史故事变文中,常用于叙事。敦煌变文与骚体相结合,是因为受唐代文风的影响,部分内容被加工为狱体;也是因为变文使用体便于现实的讲唱以及对佛教的宣扬。敦煌变文在实际的宣讲活动中使用文或韵散结合的文字,使讲唱形式达到声音上、文采上、道理上、典故上的要求。同时,也能够体现佛教的神秘感、庄严感。Parallel style can be frequently found in Dunhuang Bianwen(Buddhist Writings for public lectures),both in Buddhist stories or historical stories,mainly used to describe the environment and to portray the characters.It is often used to explain sutras in Buddhist preaches and to narrate stories in historical stories.The combination of Dunhuang Bianwen and parallel style resulted from the influence of Tang Dynasty's writing genre,parts of the content were processed to form the parallelism.It is also because the use of parallelism in Bianwen is beneficial both to the preaches in reality and for the promotion of Buddhism.The demands for sound,literacy,morality and allusion can be met by integrating the parallel style with rhyming text in the actual preaching activities,with the mystique and solemnity of Buddhism simultaneously manifested.

关 键 词：敦煌变文 形式 讲唱 骈体 

分 类 号：I207.2[文学—中国文学]