University of Macau / Faculty of Arts and Humanities. / Department of Chinese

本論文共分六章。第一章緒論：敘述研究動機、目的、方法、範圍，並說 明感應記之產生因由。第二章敦煌佛經感應記寫卷校錄乃將普賢菩薩說證 明經感應記－－黃仕強傳、金光明經感應記－－張居道傳、以及二十一則 金剛經感應故事，均一一核對微卷，加以校錄，使這些感應記能完整的呈 現於世。第三章敦煌佛經感應記背景考述，分由感應記之抄寫者、年代， 和佛經與感應記之流傳情形加以考查敘述。第四章敦煌佛經感應記析論： 乃針對感應記之題材與思想，作相關考證與分析。第五章敦煌佛經感應記 之藝術特徵：乃就形式結構、敘事模式、以及語言風格三方面作析論。第 六章結論：說明敦煌佛經感應記之影響與價值。末附敦煌微卷影稿、俗寫 文字對照表、以及參考書目。

Thesis (Ph. D. in anthropology)--Washington State University, May 2008. / Includes bibliographical references (p. 352-386).

Thesis (doctoral)--University of London, 1997. / Typescript. Includes bibliographical references.

Les partitions pour pipa de Dunhuang (fin dynastie Tang, début époque Song), copiées sur les manuscrits P. 3539, P. 3808 et P. 3719 conservés à la BnF ont été découvertes par Paul Pelliot en 1908 dans la grotte numéro 17 du site de Mogao en Chine. Cette thèse décrit les influences musicales et culturelles apportées en Chine par la route la soie, notamment la musique koutchéenne, puis réalise le bilan des études de ces partitions, menées depuis plus de soixante-quinze ans par les plus grands spécialistes dont Hayashi Kenzō, Ren Erbei, Rao Zongyi, Ye Dong, He Changlin, Chen Yingshi, Xi Zhenguan, Rembrandt Wolpert et François Picard. Il est admis qu’il s’agit de partitions en tablature pour un luth pipa à quatre cordes et quatre frettes, tel qu’il existait à l’époque. Les discussions en cours entre les chercheurs sur la tonalité, le rythme et le tempo, l'origine, le genre et l'organisation de ces pièces sont exposés et critiqués. Le logiciel conçu d'après mes spécifications pour faciliter leur étude et produire leur transcription sur portée est décrit. Mes propositions de transcription des vingt-cinq pièces de P. 3808 sont analysées en détail et comparées entre-elles. L'enregistrement de leur interprétation sur pipa de Nanyin, instrument actuel le plus proche des anciens luths, constitue l'aboutissement de ce travail. / The Dunhuang pipa scores (end of Tang dynasty, beginning of Song period), copied on the manuscripts P. 3539, P. 3808 and P. 3719, now kept in the BnF, were discovered by Paul Pelliot in 1908 in the Mogao cave number 17 in China. This thesis describes the musical and cultural influences brought to China by the silk road, including Kuchan music, then reviews the studies of these partitions, conducted over seventy-five years by leading experts including Hayashi Kenzō, Ren Erbei, Rao Zongyi, Ye Dong, He Changlin, Chen Yingshi, Xi Zhenguan, Rembrandt Wolpert and François Picard. It is recognized that they are tablature partitions for a pipa lute with four strings and four frets, as it existed at that time. Ongoing discussions between researchers about the tone, rhythm and tempo, origin, gender and organization of these scores are exposed and criticized. The software designed according to my specifications to facilitate their study and produce their transcription is described. My transcription proposals of the twenty-five pieces of P. 3808 are analysed in detail and compared with each other. The recording of their interpretation with a Nanyin's pipa, current instrument closest to the ancient lutes, is the culmination of that work.

本論文研究之目的，乃欲藉敦煌佛經寫卷之題記研究，以管窺敦煌當地佛教之特殊性 ，及其於中國佛教史上之地位．然限於時間及能力，故僅能就題記所反映之現實性方 面稍作爬梳． 有關佛經寫卷方面之原始資料，係根據王重門氏《敦煌遺書總目索引》、許國霖氏《 敦煌石室寫經題記》、潘重規氏《國立中央圖書館所藏敦煌卷子題記，復校之以黃永 武氏《敦煌遺書最新目錄》及果立中央圖書館所藏之敦煌微捲及古寫本．雖然對列寧 格勒收藏之內容及英、法、北京之寫本真方面皆力有未逮，但因本文並非以考證工作 為主，故文獻多寡並非問題． 恩限於資絡之分散，與文獻本身之不完整，故本文盡量排除有待爭議者，而以其中之 時地人物皆較可信賴者，就其於信仰行為思想方面，所反映之普遍性與特殊性，輔以 史地之背景來加以適當闡發．且由於題記部分之資料不全，故歸納之推理活動乃根據 特殊事實之因果關係來加以推論，而非全然以量化、經驗為根據． 茲以下列六個子題來加以探討： （１）序論 （２）敦煌佛經寫卷之形式 （３）敦煌佛經寫卷題記之內容 （４）佛經寫卷題記所反映之現實性 （５）敦煌佛教的史地考察 （６）結論 敦煌文化乃隸數於漢民族文化圈之最西端，由於地理因素的特殊，以及中股時代種族 融合及宗教傳播之歷史背景，促使其政治型態與社會現況皆迥異於中原地區，故而其 佛教發展與佛教文化自不免呈現獨立自主的特性，在中國佛教史上扮演了轉接、聯絡 的角色．

The Tang Dynasty was a golden age in the history of Chinese poetry. In terms of format, ancient-style lujue, five-character, or seven-character poems all achieved a peak status. Tang poems could not only be recited, paired with music, and can be used with wind and string instruments. Thus, the rise of Tang Dynasty music reflected the glory of Tang poetry development. In this thesis, regarding sound poems and lyrical poems, the author primarily discusses the Dunhuang lyrics, Tang poetry, and Yuefu poetry that could be sung between Sui and Tang dynasties to the Five Dynasties. In terms of ancient poems of Tang music, this study uses the Dunhuang Qupu¡]¡m´°·×¦±ÃСn¡^arranged by Ye Dong¡]¸­´É¡^, Tang Dynasty Wuxuan Pipapu¡]¡m¤­©¶µ\µ]ÃСn¡^, Tang Dynasty thirteen-string Renzhi Yaolu¡]¡m¤¯´¼­n¿ý¡n¡^ guzheng sheet music, Tang Daqu Renzhi Yaolu¡]­ð¤j¦±¡m¤¯´¼­n¿ý¡n¡^ guzheng song, Sanwu Yaolu¡]¡m¤T¤­­n¿ý¡n¡^ pipa sheet music, and Boya Dipu¡]¡m³Õ¶®²ÃÃСn¡^ horizontal flute sheet music (not including choral accompaniment sheet music and piano accompaniment sheet) as the materials, and studies the sheet music as well as the associated Tang sound poems, in turn discussing the relationship between sound poem lyrics and the sheet music. This thesis is divided into nine chapters. In each chapter, the portions on ¡§Tang sound poems¡¨ are categorized as Tang sound poem ¡§Daqu¡¨ and ¡§Faqu¡¨ for discussion, and ¡§Daqu¡¨ and ¡§Faqu¡¨ sound poems and sheet music are discussed. Finally, ¡§Tang dance music¡¨ not classified into ¡§Daqu¡¨ and ¡§Faqu¡¨ is discussed, to explain the various issues in the sound poems and the music. In sum, this thesis compositely organizes the three aspects of ¡§total number of sound poems and musical arrangement discourse conditions,¡¨ ¡§the structure and sound poem application of five types of sheet music,¡¨ and ¡§the interpretation of sound poem lyrics in musical organization.¡¨ The author hopes to infuse new vitality into previous scholarly research into ¡§Tang sound poems,¡¨ making an interdisciplinary connection in the practice of ¡§sound poem lyrics¡¨ in ¡§Tang sheet music¡¨ to Chinese Tang and Five Dynasties classical poetry and traditional sheet music, in order to blaze a new trail.

Thesis (Ph.D.)--University of Pennsylvania, 2002. / Adviser: Victor Mair. Includes bibliographical references.

No description available.

Of the thousands of Buddhist manuscripts discovered at Dunhuang, there are many examples of non-official sūtras and dhāraṇī collections more difficult to identify than those with titles identical to canonical sūtras. Manuscript collection catalogs are the first sources consulted when one undertakes research involving manuscripts and in order to be a truly valuable resource, they need to reflect current scholarship. This thesis studies the Dunhuang manuscript, Pelliot chinois 3538, from different perspectives, examining its ritual, iconography, and textual variances. It compares its iconographical program to manuscript sūtras and canonical scriptures, uncovering new information regarding the content of multiple manuscripts. From this research it is apparent that P.3538 is an Avalokiteśvara dhāraṇī ritual that is iconographically informed from a variety of canonical texts: sūtras in the Nīlakaṇṭha/Qianshou cluster, the Mahāpratisarā dhāraṇī sūtra and its corresponding amulet culture, and sūtras connected with the bodhisattva’s narrative history. In examining other manuscripts from Cave 17, we have found that it is a member of a Dunhuang manuscript cluster and is visually represented in an ink on paper altar diagram, Stein no. Ch.00189, from the British Museum. Integrating these findings would enrich descriptive catalogs for future research. / Religion