敦煌禪宗歌詩《行路難》綜論

Study on the Zen sect Dun-Huang Ballad“Rugged Journey”

唐代盛行的淨土宗與禪宗是佛教中國化、世俗化最為成功的宗派。中國化是將印度的思維、文化、及語言特色，以中國的思維模式、文化特色及表達方式來呈現佛教的教義；世俗化則是以非佛教的世俗文化來展現佛教的教理與教法。其表現的特色，在語言方面則是白話口語；在文學方面，則在於通俗歌詩的運用。整體而言，中國化與世俗化在佛教文化與文學的發展過程中，俗曲在佛教宣揚教義的運用上，表現極為鮮明而突出。敦煌寫卷有關佛教藝文，如《五更轉》、《十二時》、《歸去來》、《行路難》⋯⋯等，在在凸顯了禪宗與淨土宗靈活運用世俗歌曲來體現悟道心境與作為傳法弘道之方便手法，充滿人間佛教的特質。本文特據敦煌藏經洞發現的《行路難》寫本，結合《樂府詩集》、《全唐詩》⋯等世俗文獻，以綜論《行路難》的歌曲的系統、源流、體制及唐代禪宗《行路難》的思想內容，並探討禪宗對《行路難》歌曲運用，及其影響等相關問題。

The Pure-land sect and Zen sect, popular during the Tang Dynasty, are the most successful of all to be sinicized and secularized. The distinctions are its use of colloquial and vernacular language, and also the application of ballads familiar to the general public. The Tun-huang Manuscripts that carries records of Buddhism art and literature, such as 五更轉、The Twelve Hours 十二時、Homecoming 歸去 來、Rugged Journey 行路難 etc., displays clearly the agile application of the Pure-land and the Zen sect of secular folklores to incarnate the mental state of philosophical realizations, and its being a convenient method to preach and propagate Buddhism teachings, and also the characteristics of an earthly Buddhism. This essay tends to expound panoramically the system, origin, frame and the cerebrations of the Zen sect of the Tang Dynasty of the ballad 行路難, and also its the applications and influences.