摘要
東京國立博物館藏平安時代書《神歌抄》紙背〈毛詩並毛詩正義大雅殘卷〉是現存唯一的唐人經文、傳箋、疏文與《經典釋文》合鈔本，對於認識《毛詩正義》在唐代的傳習方式，以及注疏、《經典釋文》合併的歷史具有重要的參照意義。首先，本文考證了此卷的鈔成時代、文本性質，認為此卷是唐人以《毛詩詁訓傳》為基礎，系統性節錄《毛詩正義》、《經典釋文》，使之合為一卷的自用鈔卷，據其文本性質與形態，宜改題為〈附釋文毛詩注疏鈔殘卷〉。其二，深入分析了鈔卷對《毛詩正義》的九項節錄原則，指出通過系統性的刪略與改筆，《毛詩正義》的三大功能：解經釋注、論證傳箋之合理性以及校勘經注，被單一化為「解經釋注」，而「解經」成為鈔卷所錄疏文的核心功能。其三，分析鈔卷對於《經典釋文》的節錄方式，指出其在《經典釋文》傳播史上的意義。最後，對鈔卷中所見傳箋、《毛詩正義》與《經典釋文》的校勘學價值進行了分析，並利用鈔卷校訂了宋刻本《毛詩詁訓傳》、南宋刊單疏本《毛詩正義》的部分訛誤。
The fragmented manuscript of Maoshi and Maoshi zhengyi housed in the Tokyo National Museum is the only remaining manuscript that has Maoshi guxunzhuan (毛詩詁訓傳), Maoshi zhengyi (毛詩正義) and Jingdian shiwen (經典釋文) in one document. This article investigates the properties of the manuscript as well as the time at which it was written. Based on the information on the reverse side of the manuscript, this article believes the manuscript was written by some Chinese scholar in the Tang dynasty, and it seems that the scholar expressed a systematic idea throughout his transcription. Maoshi zhengyi had three functions, namely explication, emendation as well as demonstration which proved the rationality of the annotation written by Mao Heng and Zheng Xuan. However, this manuscript only focused on the explication of the poems and the annotation, which seemed to reflect a new academic atmosphere in the Mid-Tang dynasty.
關鍵詞
《毛詩正義》《神歌抄》 鈔卷 注疏合刻 域外漢籍
Maoshi zhengyi, Anthology of Songs for Rituals Offered to the Gods, manuscript, combined printing of commentary and sub-commentary, Sinographic texts