壁画音乐图像与社会文化变迁——榆林窟和东千佛洞壁画上的拉弦乐器再研究  

Mural Music Images and Social Cultural Changes——Re-study of the Bowed strings instruments in Yulin grottoes and East Thousand-Buddha grottoes

作　　者：郑炳林[1] 朱晓峰[1] 

机构地区：[1]兰州大学敦煌学研究所,甘肃兰州730020

出　　处：《东北师大学报（哲学社会科学版）》2016年第1期1-6,共6页Journal of Northeast Normal University(Philosophy and Social Science Edition)

基　　金：教育部人文社会科学重点研究基地重大项目(2009JJD770019);国家科技支撑计划国家文化科技创新工程项目(2013BAH40F02)

摘　　要：榆林窟和东千佛洞壁画上绘制的5件拉弦乐器图像,是目前敦煌石窟壁画仅有的拉弦乐器类图像,也是已知最早的拉弦乐器图像史料,它的出现对拉弦类乐器历史和系统的完善具有重要的学术意义。先前的研究主要集中在拉弦乐器历史的梳理和壁画乐器定名的问题上,但其仅在莫高窟之外的榆林窟和东千佛洞出现的原因同样值得研究。如果以拉弦乐器作为研究视角,来探究其所在壁画的时代和风格,不仅能够梳理乐器本身的历史,而且可以对西夏时期敦煌石窟的营建史以及壁画所蕴含的历史意义有一个全新的思考。The murals of Yulin grottoes and East Thousand-Buddha grottoes have 5images of Bowed strings instruments which is the only image of it showed in Dunhuang grottoes,and it＇s also the earliest image historical data of Bowed strings instruments,It has the important academic significance of the history and can perfect the system of the musical instruments.Previous research has focused on the history combing and named of Bowed strings instruments,but the reason why those images only showed in Yulin grottoes and East Thousand-Buddha grottoes,which is outside of the Mogao grottoes areas,it＇s also worth to study.If with the Bowed strings instruments as a research perspective and explore the era and style of the murals,it＇s not only can combing the history of Bowed strings instrument itself,and also can be provide a new thinking of the construction history of the murals in Western Xia of Dunhuang Grottoes and historical significance in it.

关 键 词：榆林窟 东千佛洞 拉弦乐器 嵇琴 西夏 

分 类 号：K879.41[历史地理—考古学及博物馆学]