摘要
文章以丝绸之路、辽西走廊为视角,以辽宁朝阳纺织厂M2号唐墓及纤维厂唐代孙则墓出土的音乐文化遗存(乐俑)为研究对象,探索其乐俑的组合形式、乐器特征及其所反映的音乐文化交流与融合情况。文章认为,纺织厂M2号墓中的“抚琴俑”应为“卧箜篌俑”,该墓的伎乐组合符合隋唐七、九、十部乐中“高丽乐”的特征;孙则墓仪仗骑马奏乐俑是东北地区此类音乐文化遗存的首次发现。作者认为,这些遗存属于丝绸之路、辽西走廊上唐代东北与中原文化交流系统中的文化。
Took the musical cultural remains(musician figurines)excavated from the M2 Tang tomb and the tomb of Sun Ze of the Tang Dynasty which discovered in Textile Factory and in the Fiber Factory in Chaoyang,Liaoning Province respectively as research object,and viewed from the Silk Road and the Liaoxi Corridor,the article explores the combination forms of the musical figurines,the characteristics of the musical instruments.Furthermore,the author discoveries the musical cultural exchange and integration situations reflected by them.The conclusions are that the“player figurine”in Tomb M2 should be the“Lying Khonghou figurine”,cause the ensemble form of Chinese Gigaku coincides the characteristics of“Koryo music”in the Seven Bu Music,Eight Bu Music,Nine Bu Music(Bu means kinds)of the Sui and Tang dynasties;the horse-riding musician figurine in Sun Ze Tomb are the first discovery of musical culture in the Chinese northeast.At end,the author concludes that these remains belong to the cultural exchange system between Northeast China and Central China during the Tang Dynasty along the Silk Road and the Liaoxi Corridor.
出处
《北方音乐》
2023年第1期118-126,共9页
Journal of the Northern Music
基金
沈阳音乐学院2020年度院级课题青年项目“东北亚丝绸之路上的古代辽宁音乐文化研究”(课题编号:2020YLQ15)研究成果。
关键词
辽宁朝阳
辽西走廊
唐墓乐俑
乐俑组合
音乐遗存
Liaoning Chaoyang
Liaoxi corridor
Tang tomb music figurines
music figurine assemblage
musical remains
