Three Studies Of Textual Criticism Of Dunhuang Bianwen

This dissertation considers that the author of Pomobian was Wuzhen. It was not created in the fist half of tenth century as acknowledged, but indited during 887 to 890. The era of the manuscript of P.2187’s Pomobian was at the October the tenth, 9th year of Tianfu(944). The era of the manuscript of S.3491’s Pomobian was probably later than 953. It is certainly that the author of Shengtianyinyuanbian was Baoxuan. It seems most likely that Baoxuan was born in 870 s, and passed away in 950 s. Shengtianyinyuanbian was very likely indited during 892 to 937. In Dunhuang, at that time, the connection between Shengtianyinyuanbian and Pomobian reflects the literary inheritance relationships between performers who acted and sang Bianwen, particularly those Bianwen which is on the subject of Buddhist sutras. By seeking the regularity of the structure of Buddhist sutras Bianwen, we believe that there were many performers rather than one who divided the work of acting and singing. Buddhism Shentong which theatricalized by Bianwen is first divided into five categories in this dissertation. They are Shenzutong or Shenshentong, Tianyantong, Tian’ertong and Taxintong, Loujintong and Sumingtong, and Ruyishentong, and they can be reviewed in Buddhist sutras. They are similar to ‘Wushentong’ and ‘Liushentong’ which are common in Buddhist sutras. This dissertation thinks that authors of Bianwen theatricalized some Buddhist sutras according to Buddhist sutras’ description of Shentong. Fantastic and thaumaturgic parts of Shentong were theatricalized to make Bianwen more dramatic and vivid. Objectively, it enhanced the level of literature of Bianwen. Also it increased audiences’ interests about Buddha dharma, and promoted their faith. And the word ‘Bian’ of Bianwen is most likely have its root in ‘Shentong xianbian’ of Buddhism.