摘要
琵琶是中国中古时期的重要乐器,但是其形制演变与时空传播长期存在杂乱混淆。隋唐时期是中国古代琵琶发展的关键阶段,对于考察琵琶发展和传播的源流具有重要意义。本文以佛教石窟寺中的琵琶图像为中心,利用考古类型学方法,系统梳理敦煌莫高窟和新疆地区石窟寺中所见琵琶图像的发展演变;在此基础上,进一步指出一件乐器的变化背后往往蕴含着文化的交融,展现着时代的开放。
The pipa was an important musical instrument in medieval China,and also one of the cultural ties that connected various regions along the Silk Road,but the development of its shape and its dissemination through China and the regions connected to the Silk Road has been a source of confusion for a long time.The Sui and Tang dynasties were a crucial period for the development of the pipa in ancient China and are of great significance for studying the historical and cultural development of this instrument.Focusing on the images of pipa in Buddhist cave temples,and by using Archaeological typology,this paper discusses the development of these images in the Mogao Grottoes at Dunhuang and in the cave temples of Xinjiang.On the basis of this research,it is emphasized that the historical changes of musical instruments is ultimately reflective of the cultural openness and blending of the time.
作者
周杨
ZHOU Yang(History Department,School of Humanities,Xiamen University,Xiamen,Fujian 361005)
出处
《敦煌研究》
CSSCI
北大核心
2020年第4期64-73,共10页
Dunhuang Research
基金
中央高校基本科研业务费项目“汉唐时期丝绸之路音乐文物新探”(项目号:ZK1176)。
关键词
琵琶图像
敦煌莫高窟
龟兹石窟
隋唐
images of pipa
Dunhuang Mogao Grottoes
Qiuci Grottoes
Gaochang Grottoes
Sui and Tang dynasties
