筆者在拙稿《敦煌本讚文類と唱導，變文》裏曾提到過佛讚略要本， 本稿便是進一步探討這些佛讚等韻文類發展演變的背景。通過以俗人為對 象舉行的齋會、法會等的宗教儀式上的用途，來考察淨土五會念佛法事在 9、10 世紀敦煌的演化過程，佛讚略要本通過各種齋會、俗講等影響到講 唱文學文體，以補足前稿。 從唱導演變成為講唱體變文、講唱文學的角度來考慮，在敦煌的講唱 體變文的發生以及流行應是9 世紀末到10 世紀，很有可能是10 世紀以後， 這段時期的音樂、讚文的流行和變化需要關注。本稿裏探討了佛讚的流行、 作為其淵源的淨土五會念佛的流行，和種種宗教儀式之間的習合的問題。 筆者認為這些是研究講唱體變文發生所不可忽略的問題。

This article discusses the background and development of Buddhist verse such as the essential book of abridged Buddhist lauds that the author has mentioned in his “Tonkouhon sanmonrui to Shoudou, Henbun.” Aimed at religious rituals like memorial services held for ordinary people, this paper examines the evolving process of Pure Land Buddhist five-tune memorial services of repeating the name of Amitābha Buddha in 9th-and-10th-century Dunhuang and the simplified essential book of abridged Buddhist lauds’ influences on telling and singing literature. Because telling and singing literature like bianwen originate from preaching, the beginning and prevailing of telling and singing bianwen in Dunhuang should be at the end of the 9th century, in the 10th century, and probably after the 10th century. This study probes into the prevalence of Buddhist hymns and their origins, the Pure Land Buddhist five-tune method of repeating the name of Amitābha Buddha, and the blending among religious rituals, which are all noteworthy topics for bianwen research.