所謂「五代切韻殘卷」，亦即「敦煌五代刻本大唐刊謬補闕切韻殘卷」，指的是法國巴黎國家圖書館所藏的P2014P2015、P2016、P4747、P5531五則刊刻於五代時期的切韻卷子。關於「敦煌五代切韻殘卷」最早抄錄與研究的學者是姜亮夫先生。他於民國廿五年遊巴黎，羅了許多敦煌韻書的材料，於民國四十四年出版《瀛涯敦煌韻輯》。該書總分三部：首為「字部」，是將所授之韻書殘卷作一摹寫；次為「論部」，即將所摹抄的卷子作一分析研究；末為「譜部「是論部的總結。之後，潘重規先生在批閱原卷後，不但補摹了姜亮夫先生所缺的殘葉，在「五代切韻殘卷」部分，則補摹了P2014的第八、九兩葉，P2015的第二、三兩葉，並且也對於文字的辨識與論點作了若干的校訂，寫成了《瀛涯敦煌韻輯新編》。近年，周祖謨先生《唐五代韻書集存》，上編以原卷翻影更附若干摹寫，下編則依上編之編類，分別進行考釋、校訂與分析研究。綜觀以上諸篇，對於「敦煌五代切韻殘卷」的形式、抄錄編目、韻數等問題，多所考究探索，予當今學者啟發良多，今據周祖謨先生《唐五代韻書集存》上編之原卷翻影，更參酌上述諸家論點，分析比較，個人認這些殘卷當是屬於同源而不同版本的韻書殘卷，而且從「刊刻時代」與「韻目相承」等條件而論，這批殘卷足以代表晚唐或五代的取韻現象，由此可見，這批「五代切韻殘卷」在《切韻》沿革史上確實佔有非常特殊的地位。

The so-called“ the cie-rhyme residues of the Five-dynasty", alias "the Dung-huang Five-dynasty edition of Complementing cie-rhyme residues of Tang dynasty", means the five cie-rhyme papers of the Five-dynasty, including P2014, P2015, P2016, P4747, and P5531, which are collected in the Paris National Library of France. The first scholar who reduplicated and studied the Dung-huang cie-rhyme residues of the Five-dynasty is Professor Jiang liang-fii. He traveled in Paris in 1936 and collected lots of material about the Dung-huang poetic collection; then he published uThe Collection of Ying-ai Dung-huang rhymed This book can be divided into three parts. The first part is "Transcription" which records the papers that he collected. The second part is "Analysis" which analyzes and studies the recorded papers and the third part is "Conclusion” which is the summary of "Analysis.” Afterward, after his analyzing the original paper. Professor Pan Jhong-gui not only completed the left pages that Professor Jiang did not mention, but also complemented the eighth and ninth pages of P2014 and the second and third pages of P2015. He also made some corrections about the differentiation and analyses of words and wrote "The New Edition of the Collection of Ying-ai Dung-huang rhymed In recent years, Professor Jhou zu-mo wrote "The Collection of Rhyme in Tang and Five dynasty" and the first part of this book is the reduplication of original paper, including some facsimile. The second part of this book is the criticism, correction and analysis, based on the first part. In summary, the articles mentioned above discuss a lot about the problems of the form, edition and rhyme number of the Dung-huang cie-rhyme residues of the Five-dynasty and they also give current scholars much enlightenment. In this article, according to the reprint of the first part of Professor Jhou's "The Collection of Rhyme in Tang and Five dynasty" and taking the former scholars' point of views as reference, after analyzing and comparing, I think that these residue papers belong to the rhyme residue of the same source but different editions. Moreover, under the consideration of "the period of block-print” and "rhyme inheriting", these residue papers are enough to represent the rhyme-catching situation in late Tang and the Five-dynasty. Therefore, these cie-rhyme residues of the Five-dynasty do play an important and significant role in the history of "cie-rhyme.”

敦煌;切韻;敦煌殘卷;切韻殘卷;五代

Dun-huang;Cie-rhyme;Dun-huang;Residue;Cie-rhyme residue;Five-dynasty;