敦煌文獻齋願文體的源流與結構

On Study of the Origin and Structure of Zhai Yuan Wen Style in Dun-Huang Manuscripts

學者總想把握隨著人、地、時、事、物等場合而變易不居的齋醮法會內容，試圖以簡馭繁。郝春文將這類作品稱為「齋文」，並將全篇結構分成「號頭」、「嘆德」、「齋意」、「道場」、「莊嚴」、「號尾」等六個部分。其次宋家鈺則謹守四段式的文體結構。最後太史文（Stephen F. Teiser）將「《雜齋文》一本」之「患文」分為「嘆德」、「齋意」、「患者」、「道場」、「莊嚴」、「願文」、「號尾」七部分，並解析其句式。三位學者的分析主要還是出於S.2832號「夫嘆齋分為段」的啟示再作細部的調整。筆者則參考眾多敦煌齋願文獻和傳統載籍，以及日本10世紀末的作品：「真如藏本‧《玉澤不渴鈔》」「序體願文十番目錄」及其文例，認為「嘆德」、「齋意」、「道場」、「莊嚴」四段雖然是齋願文體的主要內容，但是必須加上頭尾及齋主部分，頭可以是嘆佛或嘆德，也可感嘆人生無常；至於莊嚴與發願可一而再，再而三地生發；迴向的對象從諸神佛到齋主，以及死去親人或生靈，都可含括在內。因此勿論齋醮法會的整體流程是繁複還是簡略，時間或長或短，完全以齋會的類別與規模、齋主的地位、齋襯的多寡而定。甚至從傳統文獻，以及南唐‧釋應之《五杉練若新學備用》卷下自述的作意及〈道場齋疏并齋文〉文例，說明10世紀中葉以後，從齋願文中分出部分內容，先向神佛表白，讀誦鋪排物件的簡短疏文，有如日本「諷誦體願文」的結構樣式，以迄於明清以來的齋疏文體號無兩樣，更與目前越南、臺灣的法會疏文結構樣式類似。

Since the context of Zhai Jiao Fa Hui might be differed by the attendee, purpose, time, and place, its wording also has to change accordingly. However, it changed, also have to meet the demand of constantly gathering all through the year, the supply side thus gradually come up with a “regular model set” to provide a quick solution for each situation. On the one hand, they can maintain a spiritual, though professional, outlook to the folks and give proper comfort in each and every circumstances, on the other hand, they can also avoid cut-throat competition from the peers which might eventually nudge each other out of business. These are well documented in Yuan Ren's “Zhu Tan Xun Li Xin Ji”. But it is also quite intriguingly that, for the unknown reason, the related discussion on this new literature is still unfound in Six Dynasty era, especially when considering that is the high time of analytical discussion on many Chinese literature forms. If tracing upward, Liu Xie's “Wen Xin Diao Long” ＜Zhu Men＞ might be deemed as related works. As a result, scholars always try to categorize all the documentary and sort out a clear and simple structure of it. The first scholar who did the analysis is Mr. Hao Chun Wen. He names the literature as “Zhai Wen”, and separate its structure into six parts: “Hao Tou”, “Tan De”, “Zhai Yi”, “Dao Chan”, “Zhuan Yan”, and “Hao Wei”. Then Mr. Song Jia Yu try to establish a rigorous four parts literature structure. And Stephen F. Teiser separated “A book if Za Zhai Wen” (according to S.1441V+S.5673) into seven parts: “Tan De”, “Zhai Yi”, “Huan Zhe”,”Dao Chan”, “Zhuan Yen”, “Yuan Wen”, “Hao Wei” and analyzed its form of sentences. Three scholars mainly do their analysis based on S.2832 “Fu Tan Zhai Fen Wei Duan” and fine-tuned accordingly. The Author, after consulting many Dun Huang Zhai Yuan documents and traditional record, as long as Japanese “Chen Ru Can Ben Yu Ze Bu Ke Cao”, “Xu Ti Yuan Wen Shi Fan Mu Lu”, propose that though “Tan De” “Zhai Yi”, “Sao Can”, “Zhuan Yen” are four essential parts of Zhai Yuan Wen Ti, we should also add “Tou Wei” and “Zhai Zhu” two parts into it. “Tou” can be Tan Fo or Tan De, as well as a lament to the transiency of human life. As for “Zhuan Yen”, “Fa Yuan” can recite repeatedly, the target of Hui Xian can range from Gods, Buddhas, hosts to those who already dead or still alive.