唐代拍板、箜篌、方响在五代的流变——以冯晖墓彩绘砖雕为例  

The Evolution of the Tang Musical Instruments,Including the Clappers, the Konghou and the Fangxiang,in Times of the Five Dynasties

作　　者：贾嫚[1] 

机构地区：[1]陕西师范大学音乐学院,陕西西安710119

出　　处：《陕西师范大学学报（哲学社会科学版）》2014年第3期106-112,共7页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：教育部人文社会科学研究规划基金项目(12YJA760026);陕西省社会科学基金项目(13J074);陕西师范大学人文社会科学研究基金重点项目(09SZD05)

摘　　要：种类繁多的中外乐器是唐代乐舞繁荣发展的重要组成部分,对后世影响甚为久远,尤其对五代影响更为直接。陕西地区出土的后周冯晖墓彩绘砖雕乐舞图中拍板、方响、箜篌3种乐器图像,是中国传统乐器、外来乐器从唐到五代的流变再现,其发展轨迹与当时社会变迁相互映衬。这3种乐器不仅是唐代乐舞的重要组成,也是上承唐韵、下启宋风中极为重要的中间环节,其史学价值、艺术价值不言而喻。Varieties of foreign and domestic musical instruments were part of prosperously-developed music-accompanied dance in the Tang Dynasty. The influence of those musical instruments lasted many generations,especially their direct influence in the Five Dynasties. The clappers,the Konghou and the Fangxiang in the colour tilecarved drawings of music-accompanied dance unearthed in Feng Hui＇s tomb in the Later Zhou Dynasty were the evolutionary reproduction of all Chinese traditional and foreign musical instruments from the Tang Dynasty to the Five Dynasties,which mirrored the traces of development of these musical instruments and changes in the current society. The three musical instruments as an important part of the music- accompanied dance in the Tang Dynasty carried on the music style of the Tang Dynasty and acted also as the primary intermediate link to the music style in the Song Dynasty,whose historical and artistic value are self-evident.

关 键 词：唐五代乐器 冯晖墓 拍板 方响 箜篌 

分 类 号：K242[历史地理—历史学] J632[历史地理—中国史]