汉字单音，易于对偶，因而我国古代文章注重骈偶之美，敦煌文作为其重要组成部分，其语言文字的骈偶之美，郑振铎、姜书阁等先生曾从不同角度予以肯定。文章结合民族心理、时代风气、佛教文化、敦煌纸张匮乏等因素，探讨了敦煌文讲求骈偶的多种渊源，并从对偶、平仄、句法、数典隶事等方面探索其骈偶之美的具体表现。敦煌文作品起于魏晋南北朝，以至晚唐五代，几乎与骈文发展的历史兴衰同步，随着骈俪之文的衰微，也导致了它自身发展的不景气。但敦煌文崇尚骈偶之美的创作形式，对宋代乃至后世散文产生了深远影响。宋代以后，骈俪之文别为一体，号为四六文，而其中“上梁文”一体，最早的作品则始见于敦煌文中，而后繁荣于宋代。%Chinese words are monosyllabic and easy to be symmetric, so the ancient Chinese prose is of sym- metry aesthetics, Dun Huang Prose, as the most important component, is typical of this feature, its symmetry aesthetics is highly appreciated by Zheng Zhen -duo and Jiang Shu -ge, etc. Combined with such factors as national psychology, social atmosphere, Buddhism culture, paper shortage, etc., the origin of symmetry aes- thetics of Dun Huang Prose is discussed, and its expression is studied from the aspects of symmetry, tones, syntax, etc. Dun Huang Prose originated from Wei Jin Southern and Northern Dynasties and ended by the late Tang and Five Dynasties, almost keeping the same pace with the rise and fall of parallel prose. The syrmnetry aesthetics was highlighted in Dun Huang Prose, which had exerted a far- reaching effect on the prose in the Song Dynasty and even afterwards. After the Song Dynasty, the parallel prose was different in style, called four-six prose, among which Shang Liang Wen （the diction used when a roof beam was set） was found in Dun Huang Prose, and later on became very popular in the Song Dynasty.
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