摘要
从云冈石窟第12窟音乐窟的代表乐器图像与司马金龙墓葬石雕棺床上的乐器图像可见北魏平城时期存在的乐器品种与音声形态。这些胡汉乐器表现出不同的起源传承和民族属性。北魏王朝对胡乐的接纳,使得中原地区随处可闻“胡乐铿锵”之声,改变了汉唐千年间雅、俗、胡三乐的地位和比重,从而在胡汉音乐融合的进程中发挥了重要的开拓作用。
From the representative instrument images in Cave 12 of the Yungang Grottoes and the instrument images on the stone carvings and coffins of Sima Jinlong’s tomb,it can be seen that the types and forms of musical instruments existed during the Pingcheng period of the Northern Wei dynasty.These Hu and Han musical instruments exhibit different origins,inheritances,and ethnic attributes.The acceptance of Hu music by the Northern Wei dynasty made the Central Plains region hear the sound of“Hu music clanging”everywhere,changing the status and proportion of yayue(court music),suyue(folk music),and Hu music during the Han and Tang dynasties,thus playing an important pioneering role in the process of integrating Hu and Han music.
作者
姬乐
吴巧云
JI Le;WU Qiao-yun(School of Music,Michigan State University,East Lansing Michigan,48823,the US;School of Music,Datong University,Datong Shanxi,037009)
出处
《云冈研究》
2023年第3期19-27,共9页
Yungang Research
基金
山西省文物局2023年度重点科研课题“云冈学通论编辑研究”(晋文物函【2022】470号)
山西大同大学哲学社会科学校级项目云冈学专项“云冈乐舞图像艺术长廊”(20230109)
关键词
北魏平城
胡汉音声
乐器
民族
Pingcheng in Northern Wei dynasty
Hu-Han music
musical instrument variety
nationality
