从止贡赞普父子叙事看藏文历史叙事的演变及其功能

A Study on the Evolution of Tibetan Historical Narrative with the Example of the Narratives of King Drigum Tsenpo and his Sons and Native Function

文章通过比较吐蕃金石碑铭、敦煌古藏文文献与后世藏文教法史中对止贡赞普(Dri gum btsan po)父子时期叙事的重要区别,认为后世藏文教法史实际上对《敦煌吐蕃赞普传记》首节中的相关叙事从叙事定位到叙事主题进行了根本性的改造。通过这种改造,后世教法史创造出一种以吐蕃王族支属库氏家族(Khu)为叙事主角,以其辉煌功业和起源为主题的历史叙事新版本。这反映了以库氏为代表的吐蕃王族支系,在后世为全面强化自身在历史叙事中的地位而进行叙事重构的努力。同时,后世教法史中出现止贡原有二子变为三子的叙事细节变化,蕴含着藏族史家在修史之际有意识的文化举动。这一细节改造之举,意在通过叙事重构,发挥历史书写所隐含的助推族群抟合、强化族群内部认同的文化功能,也体现了藏族史家在修史时对历史书写所持文化功能的明确认识。

By comparing obvious differences in the historical narratives of King Drigum Tsanpo(Dri-gum-btsanpo)and his sons in ancient Tibetan inscriptions,Tibetan literature from Dunhuang and the later Tibetan histories of religions,it is found that the later versions of the Tibetan history changed primarily on the relevant narratives of the first section ofDunhuang Biographies of the Tubo'Tsanpos from narrative orientation to the focus of narra⁃tive.In this way,the post-dynastic narratives created a new version of that narrative which focuses on the Khu Family and its honorable contribution and noble origin.This reflects the efforts of the royal paternal branch head⁃ed by the Khu Family to exalt its own status in the historical narrative by the re-narrative of history.In this arti⁃cle,it is pointed out that,in the post-dynastic version,the number of King Drigum Tsanpo's sons was changed from two in the ancient Tibetan narrative to three in the post-dynastic version,which reflects the conscious cul⁃tural effort of Tibetan historians in the writing of history.This change of numbers of princes aims at promoting the integration and internal identity of Tibetan people and reflects the consciousness among Tibetan historian of the cultural function of the writing of history.