《金粟山大藏經》殘卷之異體字研究 ——以上圖藏本為中心 none

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Title:	《金粟山大藏經》殘卷之異體字研究 ——以上圖藏本為中心 none
Authors:	蔡秋霞;Chiu-shia Tsai
Contributors:	中國文學系碩士在職專班
Keywords:	書風;字樣;大藏經;異體字;Chinese character structure;Calligraphy style;Variant Chinese characters;Tripitaka
Date:	2010-07-16
Issue Date:	2010-12-08 13:57:37 (UTC+8)
Publisher:	國立中央大學
Abstract:	摘要《金粟山大藏經》書寫於北宋初年，是《開寶藏》刊雕後的手抄本佛經，可知為了供養或做功德，書寫的風氣仍然未絕。《金粟山大藏經》便是由金粟寺的師父們抄寫作為供養的佛經，抄寫時為了講求速度及受個人書寫習慣與風格的影響，而形成《金粟山大藏經》中特有的異體字。本文研究之《金粟山大藏經》殘卷是以上海圖書館收藏之資料為中心，研究目的以了解《金粟山大藏經》的版本及異體字在宋朝的傳承與使用情形為主，輔以書風及字樣的探究。經本文以歷史研究法及文獻分析法加以探究分析，並歸納整理後，確認《金粟山大藏經》經文的版本與《磧砂藏》有關聯，是來自唐朝的某部經，字樣版本來源則是《高麗藏》。《金粟山大藏經》的異體字經整理後，分為（一）筆畫變異。（二）部件變易。（三）部件混用。（四）整體變異。（五）書法變化。五方面加以分析，分析結果發現《金粟山大藏經》殘卷異體字大都是傳承字比較多，少數是因書手個人書寫習慣與風格造成異體字，此乃因宋朝版刻漸盛行，字體已漸統一，書寫也有所遵循。本文研究結果除可補強異體字的研究層面，補充大型字書收異體字不足的情形外，更可拓展佛經異體字的研究與佛經書風的賞析，讓這外來文化成為中國真正文化的一部份，並讓佛經異體字，成為文字傳承史上的一員。 Summary “Chin-Su-San Tripitaka” was written in early North Song dynasty, and it was a manuscript of Buddhist scriptures after “Kai-Bao-Zang” engraving. “Chin-Su-San Tripitaka” was hand written by the monks of Chin-Su temple to show their respect to Buddha and to accumulate the merit. Influenced by personal calligraphic styles and pursuit of speed writing, Chinese scribes created some variant Chinese characters which were recorded only in “Chin-Su-San Tripitaka”. This essay is based on the fragments of “Chin-Su-San Tripitaka” reserved by ShangHai Library. Objective of this research is to study the different versions of “Chin-Su-San Tripitaka”, to understand the usage and legacy of variant Chinese characters in Song dynasty, and to explore the calligraphic styles and character structures of Buddhist scriptures. By historical research, literature methodology, and comprehensive analysis, we confirm that the version of “Chin-Su-San Tripitaka” is related to “Ji-Sha-Zang”. These two texts are all from the same Buddhist scripture in Tang dynasty, and the character structures are originated from “Gao-Li-Zang”. Variant Chinese characters can be classified by: (1) Variance of stroke order, (2) Variance of radical, (3) Mix of radical, (4) Variance of characters, and (5) Variance of calligraphy styles. This analysis indicates that character structures became unified in Song dynasty due to the prevalence of engraving; therefore, most of variant characters from the fragments of “Chin-Su-San Tripitaka” were legacy, and just few of them were resulted from different personal calligraphic styles. The essay not only makes up the deficiency of variant characters collection in recent research documents, but also expands the research level of Buddhist scriptures. This research makes variant characters of Buddhist texts become legacy of Chinese characters, and brings the foreign culture into China literature history.
Appears in Collections:	[Executive Master of Chinese Literature] Electronic Thesis & Dissertation

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