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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/142279


    Title: 敦煌講史講唱文學的佛教敘事
    Authors: 楊明璋
    Contributors: 中文系
    Date: 2021.05
    Issue Date: 2022-10-07 09:49:54 (UTC+8)
    Abstract: 唐五代宋初的「講史」講唱文學有部分作品不時穿插有佛教元素的敘事，像〈唐太宗入冥記〉講述太宗入冥所遇的種種，表現的即是典型的佛教幽冥世界觀；而〈韓擒虎話本〉一開頭的法華和尚，卷末的五道大神、天曹地府等，〈董永變文〉的善惡童子、帝釋、阿耨池，〈舜子變〉的帝釋，〈齖［齒可］書〉末尾的「呪曰」，甚至分別有濃厚儒家色彩的〈孔子項託相問書〉及道教色彩的〈葉淨能詩〉，前者有石堂、石師子、石金剛，後者有「帝釋」差神人送符本等具佛教色彩的敘事，又葉淨能以隱身術入大內的情節也和姚秦鳩摩羅什譯《龍樹菩薩傳》所記龍樹菩薩皈依佛前的作為是一致。究竟是什麼緣故，致使這些講史講唱文學作品都帶有佛教元素的敘事？講唱者基於何種語境有此一類的敘事？有無可能這些講史講唱作品的講唱者，和講經講唱一樣，也是出自僧人的編創？又〈董永變文〉一開頭也有「大眾志心須淨聽，先須孝順阿耶孃，好事惡事皆抄錄，善惡童子每抄將」等頗似講經講唱的語句，像〈盂蘭盆經講經文〉就有類似的句子──「大眾須生敬重心，知道此經行孝行」，而到了宋代同樣是講述董永與織女故事的《清平山堂話本》〈董永遇仙記〉，其故事情節較〈董永變文〉，既有承襲的痕跡，亦有所增添，更有意思的是〈董永變文〉中原本的佛教人物與詞彙，已被玉帝、仙女、嚴君平等道教人物與詞彙取代。
    Relation: 2021 中國敘事學國際研討會, 清華大學中文系
    Data Type: conference
    Appears in Collections:[Department of Chinese Literature] Proceedings

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