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燃灯祈福胡伎乐——西安碑林藏盛唐佛教“燃灯石台赞”艺术新知 被引量:6

Lighting the Lantern and Performing Foreign Dance and Music to Pray for Good Fortune——A New Artistic Learning on the Buddhist “Eulogy on the Stone Lantern”Inscription of the High Tang Period Collected in the Beilin Museum, Xi'an
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摘要 在寺院道观中供奉燃灯石台曾为盛唐时的流行风尚,但实物留存较少。西安碑林于20世纪50年代入藏的开元二十九年(741年)燃灯石台,其上刻《燃灯石台赞》铭文,并署有供灯祈福者的官职和姓名。祈福者为来自内教坊、云韶府、宁王府、彰礼门、京总监的66人,其中包括任云韶使的宦官苏思勖,琵琶高手贺怀智、纪孩孩等。石台上还刻有具异域风情的胡人乐舞和异兽,其形式与风格应来自拂菻艺术。 To donate stone lanterns to the Buddhist and Taoist monasteries and temples was a very popular fashion in the High Tang period, but very few physical cases of the stone lanterns of that time survived to the present. In the 1950s, the Beilin Museum in Xi'an acquired a stone lantern pillar carved in the twenty-ninth year of Kaiyuan Era (741) of the Tang Dynasty, which bears the inscription of "Randeng shitai zan (Eulogy on the stone lantern)" and the names and official titles of the donors of this stone lantern to pray for good fortune. The 66 donors were from the neijiaofang yunshaofu (Bureau of Natural Harmony) , Mansion of Prince of Ning, (Palace Music School) , Zhangli Gate, jingzon^ian (supervisor-general of the Court of the Imperial Stud) and other institutions, including Su Sixu, who was the director of the Bureau of Natural Harmony, and He Huaizhi and Ji Haihai, who were two of the famous pipa-lute musicians at that time. On the stone pillar, the scene of dance and music performance played by the people in foreign costumes and facial features and figures of exotic animals are also carved, the form and style of which would be from the Byzantine art.
作者 葛承雍
出处 《文物》 CSSCI 北大核心 2017年第1期60-75,共16页 Cultural Relics
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