佛教唱导文本与上梁文经典体式的成型

Buddhist Monastery Singing Text and the Stylistic Formation ofShang Liang Wen

上梁文是历史悠久的建筑民俗文体,其名始见于唐五代,其体定型于宋代,经典体式为“首尾俪语,中陈六诗”。上梁文经典体式的成型与佛教唱导文本,尤其是斋文、讲经文等关系密切。受佛教咒愿与功德思想影响,唐五代敦煌上梁文形成以赞叹功德和次第发愿为主体的基本模式,然其体式驳杂,寄调“儿郎伟”民间辞曲,尚未具备稳定的文体形态。宋代上梁文在此基础上,确立了“骈—韵—骈”的经典文体定式,其“首尾俪语”的行文布局与宫廷佛教斋文如出一辙;而其“三三七七七”体韵诗及骈韵组合体式,在唐代佛教讲经文等唱导文书中不乏其例。可以推断,宋代文人巧妙地借鉴了佛教斋文、讲经文等唱导文本的文体样式,最终创出别具一格、雅俗圆融的上梁文经典体式。追溯上梁文的成型之路,或可窥见社会文化诸因素对中国古代文体发展的重要影响。

Shangliang wen is an architectural folklore style with a long history.First seen in the Tang and Five Dynasties Period,the style of shangliang wen—with parallel prose at the beginning and end of each text,and six poems in the middle—was set in the Song Dynasty.The formation of this classic style is closely related to Buddhist monastery singing,especially zhai wen and jiangjing wen.Affected by the Buddhist wishes and merits thought,the basic model of shangliang wen in Dunhuang in the Tang and Five Dynasties was to treat praise merits and wishes by order as the main part of its text.However,with heterogeneous elements mixed in the“erlangwei”folk song text,it had not yet formed a stable style until Song Dynasty when the“parallel prose-verse-parallel prose”was adopted,which is exactly the same as that of the court Buddhist zhai wen.Besides,its“three-three-seven-seven-seven”-character poetical lines are also common in Tang Dynasty Buddhist monastery singing documents,for example,the jiangjing wen texts.It can be inferred that the literati in the Song Dynasty cleverly borrowed the styles of monastery singing texts such as Buddhist zhai wen and jiangjing wen,and finally created a unique and elegant classic style of shangliang wen.Tracing back to the formation of shangliang wen s,we can see the important influence of social and cultural factors on the development of ancient Chinese literary styles.