聖歌本與宗教認同：《撒羅滿讚歌》（Odes of Solomon）中以色列信仰傳統的延續與斷裂

Hymnal and Religious Identity: Continuity and Discontinuity of Israel's Faith Tradition in the Odes of Solomon

《撒羅滿讚歌》（The Odes of Solomon）是現存最古老的基督徒詩歌本，它收錄的詩歌不僅是具有重要歷史與神學意義的古代儀式文本，它們更被若干教會視為與經書同等地位的神聖啟示。《撒羅滿讚歌》向我們展現聖歌本既是信仰的表達、又是信仰的教導與內容：它在公元一、二世紀成為猶太基督徒表達與強化自己作為耶穌門徒與以色列信仰傳統繼承人的宗教認同，它更也包含了重要的基督徒教導，例如聖神、聖三與基督論、甚至聖母學。本文透過與舊、新約、l Enoch、宗徒教父作品的相互分析，指出《撒羅滿讚歌》是以色列信仰傳統在早期教會的連續與斷裂，它的神學與猶太神祕主義說明何以自二世紀初起，便不受當時蒙興之普世教會接受，尤其它作品中對聖神與先知的高度推崇。

The Odes of Solomon is the oldest extant Christian hymnal that can be dated back to the mid-1st and early 2nd centuries. The hymns collected in the Odes are not only ancient ritual texts with great historical and theological significance, they are also considered by some churches to be divine revelations with the same status as scripture. The work also reveals to us how a hymnal can be both fides qua creditor and fides quae creditor: in the first and second centuries CE, the Odes became a text that the ancient Jewish Christians used to express and strengthen their religious identity as both followers of Jesus and heirs of the Israel faith tradition; it also contains important Christian teachings regarding the Holy Spirit (Pneumatology), the Trinity, and Christology, and even the Mariology. This paper, by examining the Odes' lyrics and their textual relations with the [Christians'] Old and New Testaments, 1 Enoch, and the Apostolic Fathers, argues that the Odes represents early church's continuation of and break with the faith tradition of Israel; the theologies and [Merkabah] mysticism found in the Odes' lyrics illustrate why, from the early second century, they were not accepted by the emerging proto-orthodox catholic/universal church, especially given their high esteem for the Holy Spirit and the prophets.