唐代墓葬中的胡人伎乐形象与唐代的乐籍制度  

The Figures of the Central Asian Dancers and Musicians in the Burials of the Tang Dynasty and the Music Service Registration System of the Tang Dynasty

作　　者：杨瑾[1] 

机构地区：[1]陕西历史博物馆,陕西西安710061

出　　处：《文博》2016年第1期44-52,共9页

基　　金：2013年度国家社科基金项目"唐代墓葬中的胡人形象研究"(13XZS016-)阶段性研究成果

摘　　要：唐代墓葬中发现的体貌特征明显为胡人的伎乐形象反映了唐代乐籍制度下一个构成复杂、生活形态多样的边缘群体。这一群体凭借高超的乐舞才能在唐代从宫廷到民间的乐籍管理体系中呈现出社会地位和经济来源上的多层级关系,他们带来的西域各国乐舞技艺精华与唐代社会文化风尚相结合,生动诠释了唐代"礼乐治国"理念下胡乐胡舞的传播与融合过程。然而,这一群体在融入唐朝社会过程中遇到的种种文化冲突使他们的生存状态有了些许尴尬。The figures of the dancers and musicians with distinguishing physical features of the Hu （Central or West Asian） people found in the burials of the Tang Dynasty reflected a marginal group with complicated composition and diversified lifestyles under the restriction of theyueji （hereditary music service registration） system of the Tang Dynasty. Relying on their music and dance skills, the people of this group obtained and showed their multi-hierarchical relationships in social statuses and economic resources in theyue/i system from the imperial court to the folk societies; they integrated the essences of the dance and music from the states of the Western Regions brought in by them and the fashions and cultures of the Tang society, vividly depicted the diffusion and convergence of the dance and music from the Western Regions in the Tang society under the idea of ＂Ruling the state with ritual and music＂. However, the cultural conflicts run into by this group when they were joining into the Tang society made their lives somewhat uneasy.

关 键 词：唐代 壁画 陶俑 胡人伎乐 乐籍制度 

分 类 号：K878.8[历史地理—考古学及博物馆学] K242[历史地理—历史学]