從載體到文體：兩漢至六朝碑誌文體之研究

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Title:	從載體到文體：兩漢至六朝碑誌文體之研究 From Medium to Genre: A Study of Epigraphic Genres from the Two Han Dynasties to the Six Dynasties
Authors:	劉怡青
Contributors:	中國文學系
Keywords:	兩漢六朝碑誌文體 the Two Han Dynasties the Six Dynasties Epigraphy Literary genre
Date:	2016
Issue Date:	2016-02-24 13:02:21 (UTC+8)
Abstract:	本論文所指之「碑誌」實指「碑」與「墓誌」，初步將兩者視為文體，源自於梁《文選》分出「碑文」與「墓誌」兩類以收文，「碑文」與「墓誌」與其他文體的不同之處，除了鐫刻在石質載體上外，此「石質載體」亦是稱之為「碑」與「墓誌」。因此，碑誌在載體與文體之間是如何轉化的？其發展脈絡為何？又碑誌文體地位確定之後有何發展？針對上述的問題，從《文選》對於碑誌的錄文，可以瞭解兩漢至六朝實為碑誌的發展期，故本論文整理現存兩漢至六朝近八百三十筆的碑誌資料，以瞭解碑誌由載體到文體的過程。此外，《文選》中雖碑與墓誌併立，但就發展而言碑早於墓誌，亦影響墓誌的出現，故以此發展次序作為本論文討論順序。碑究竟何時出現？在先秦至東漢初年的文獻中如《三禮》、《說文》等，早有碑的記載，但此時的碑僅是器具或是豎石。對照筆者所整理的兩漢碑誌資料，直至東漢中期，原為器具的碑才成為刊刻的載體之一。又在漢代厚葬成習的影響下，立碑以昭示亡者生平蔚為風潮，碑所刊載的內容從初期簡單的官歷紀錄，到以銘、頌、誄等文體以歌詠亡者，可知碑內文之撰寫，與上述文體關係密切。隨著這類追述君父之功美的誌人之碑的廣立，「碑文」記載形式逐漸固定，並在東漢末桓、靈、獻三帝時期達到高峰，在有撰寫形式及應用方向的情況下，碑文體的概念及共識逐漸形成，如東漢末劉熙《釋名》始將碑視作為「文」，發展至劉勰《文心雕龍》時，碑文體概念臻於成熟。在「碑」文體地位逐漸確立的同時，隨著魏晉時期禁碑令的發佈，促使碑走入墓中，故在六朝的碑誌資料中，就載體形制而言，顯示兩晉的「墓誌」多以碑的形態出現，後在配合墓穴的空間限制之下，至東晉晚期墓誌才脫離碑的影響，成為獨立的個體。隨著墓誌載體形制的確立，墓誌文體則以南北朝為主要發展的時期，且有不同的情況出現。大量的北朝墓誌出現於北魏孝文帝遷都洛陽之後，在北朝墓誌中可觀察出墓誌文體由簡至繁，體例確定的過程；南朝雖數量少但體例完整，可作為墓誌文體的範例討論上。結合北朝與南朝墓誌發展的特色，對於墓誌有「墓誌銘」、「墓誌銘并序」等異稱的產生，以及與內容體例之間對應關係能有更明確的說明，得以建立出墓誌從碑獨立而出之後，隨著設置場域的不同，自成一系的發展脈絡。本論文以碑誌原始資料瞭解其文體形成的過程，而碑誌文體地位的確立，則需從歷代文獻對於碑誌的收錄與討論著手。從史書經籍志或藝文志對於碑誌書籍的收錄，到以梁《文選》為代表的文章總集對於「碑誌」錄文的分類，以及元‧潘昂霄《金石例》與明‧王行《墓銘舉例》與清‧黃宗羲《金石補例》等金石義例之書，針對碑誌體例的整理與說明。透過這些圖書文獻整理與編纂「碑誌」時的想法，從中探討碑誌成為文體之後發展的情況。 In this dissertation,“Beizhi” (a general nomenclature for epigraphy) is defined as comprising bei or stone slabs with inscribed texts, and muzhi or epitaphs. Both are understood as literary genres in the anthology Wen Xuan of the Liang Dynasty. Bei and muzhi differ from other genres in their lapidary nature: they are also a sort of physical medium. How did beizhi change from medium to genre? What is the process of change? What sort of developments took place after epigraphy became fixed literary genre? The articles recorded in the Wen Xuan form a seminal corpus that could be used to demonstrate the developmental process of epigraphy from the two Han Dynasties to the Six Dynasties. This dissertation collates and analyzes 830 surviving beiwen and muzhi dated between the two Han Dynasties to the Six Dynasties in order to understand the process of how the two changed from medium to genre. Furthermore, while Wen Xuan places equal emphasis on beiwen and muzhi, the former appeared earlier than the latter, and plays a causal role in the formation of the epitaphic genre. As such, this dissertation treats the two genres in the chronological sequence of their appearance. When did the word bei or stele appear? Earliest attestations to the are San Li, Shuowen Jiezi, and other such texts, date between the pre-Qin Dynasty to the Eastern Han Dynasty. Bei refers specifically to an instrument or an erected stone slab. Survey data compiled and analyzed in this dissertation demonstrates that bei does not become a literary medium until the Eastern Han Dynasty. During the Han Dynasty, one aspect of conspicuous consumption in mortuary practices is the erection of stelai to promote the fame of the deceased. Stelai first appeared to be inscribed with brief bureaucratic cursi of the deceased, then became more elaborate, comprising genres such as epigram, elegy, and encomium to commemorate the dead. The texts of inscribed stelai have a direct relationship with such literary genres. As paternal self-fashioning became widespread, the texts of inscribed stelai, or beiwen, gradually formalized and reached to its zenith during the late Eastern Han Dynasty, particularly under the reign of the Emperors Huan, Ling, and Xian. With formulaism and function meticulously defined, beiwen as a genre became a social concensus. Liu Xi’s Shi Ming is the first case to equate the word bei (or stele) as wen (or text). This equation became standard following the seminal work Wenxin Diaolong by Liu Xie, leading to the stabilization of the concept of a beiwen genre. As bei became commonly accepted as a description for the literary genre beiwen, sumptuary laws established during the Wei and Jin Dynasties drove the practice of erect stone stelai underground. This development can be observed by the form of the epitaphs of the two Jin Dynasties, which still resembled the elongated and erect stone slabs. Nevertheless, the tight quarters of the underground chambers led to further modifications of the shape of the stones of the epitaphs, leading to the separation and specification of the epitaphic form. Parallel to the development of the lapidary medium is the adaptation of the beiwen to the literary tastes of the Northern and Southern Dynasties, and a spectrum of sub-genres were produced as a result. Epitaphs of the Northern Dynasties appeared in volumnous quantities after Emperor Xiaowen of the Toba Wei moved the capital to Luoyang. The epitaphic genre of the Northern Dynasties also show considerable elaboration and formulaism. Epitaphs of the Southern Dynasties have less surviving examples, but their formulaism is also useful for comparative purposes. The variant types such as muzhiming (epigram-type epitaphs) and muzhiming bing xu (epigram-type epitaphs with proem) could be explained in the context of the development of the epitaphic genre during the Northern and Southern Dynasties. Later examples of epitaphs are also systematized following such spatial and historical analyses. This dissertation uses epigraphic texts as source data to study the formation of individual epigraphic genres, and literary anthologies as evidence to study the establishment of the prestige status of epigraphic genres. Historiographical, canonical, encyclopedic works and other varieties, including Wen Xuan during the Liang Dynasty, as well as Jinshili by Pan Ang-Xiao of the Yuan Dynasty, Mumingjuli by Wang Xing of the Ming Dynasty, and Jinshibuli by Huang Zong-xi of the Qing Dynasty, yield information regarding the rationales of cataloging and categorization, collation and annotation of epigraphic texts that illuminate the developments after their establishment as literary genres
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