麦积山127窟《西方净土变》中的“建鼓”考释  

An Examination on the Jiangu-drum in Murals about the Illustration of Pure Land Buddhism in Cave 127 at the Maijishan Grottoes

作　　者：孙晓峰[1] 

机构地区：[1]兰州大学敦煌学研究所,甘肃兰州市730020

出　　处：《考古与文物》2014年第3期97-102,共6页Archaeology and Cultural Relics

基　　金：教育部人文社会科学研究西部和边疆地区项目"麦积山石窟127窟研究"(11XJA780002);国家社会科学基金项目"5~8世纪陇右巴蜀之间佛教艺术的交流与传播研究"(12XKG004)

摘　　要：麦积山127窟西方净土变中的建鼓图像是外来佛教文化与中国传统礼仪乐器相互融合的具体表现之一。它一方面展现出北朝晚期中原北方地区通行的建鼓样式,对于探讨先秦两汉时期的建鼓发展与演变有重要价值。另一方面说明随着佛教中国化、世俗化加快以及净土思想的传播,建鼓以其特殊的功能和含义也被纳入佛教音乐图像之中。The iconography of a Jiangu-dmm found inside the 127 cave at the Maijishan Grottoes is a vivid case showing the integration between the Buddhism culture and musical instruments in traditional Chinese ceremony. On the one hand, the iconography itself illustrates the style of Jiangu-drum popular in Northern China during the Late Northem Dynas- ties and serves as a link to explore the development of Jiangu-drum starting from the Pre-Qin and Han Dynasties. On the other hand, this image shows that, given its special function and meaning, Jiangu-drum coherently became part of the musi- cal iconography of Buddhism along with the Sinolization and secularization of Buddhism as well as the spread of Pure Land Buddhism.

关 键 词：建鼓 功能与性质 佛教内涵 

分 类 号：K879.24[历史地理—考古学及博物馆学]