从“夷夏之辨”到“民族交响”--琴曲《普庵咒》形成与演变中的多民族文化交流  

From“Distinction between Yi and Xia”to“Ethnic Symphony”——The Multi-Ethnic Cultural Exchanges in the Formation and Development of the Pu'an Zhou

作　　者：杨本华 Yang Benhua(Department of Philosophy,Nanjing University,Nanjing 210023,China)

机构地区：[1]南京大学哲学系,江苏南京210023

出　　处：《西北民族大学学报（哲学社会科学版）》2020年第5期44-49,共6页Journal of Northwest Minzu University(Philosophy and Social Sciences)

基　　金：国家社会科学基金重大项目“儒佛道三教关系视域下中国特色佛教文化的传承与发展研究”(项目编号:18ZDA233)。

摘　　要：中国佛教琴乐作品《普庵咒》的形成及其演变过程是多民族文化交流成功的历史经验体现。《普庵咒》作为佛教琴乐作品代表之一,形成于古琴文化史上的“夷夏之辨”背景下,最终随着佛教中国化的转型而成功融入中国文化。《普庵咒》在形成中呈现了中印文化与儒佛道三教文化的交融,在其演变过程中又形成了多民族乐器演奏、多民族地域流传、多民族群众参与三大特点的大量衍生音乐作品。古琴曲《普庵咒》的形成与演变所呈现的多民族文化交流的成功经验对当今民族文化交流具有一定的借鉴意义。The formation and development of Pu'an Zhou,a Chinese Buddhism Guqin music work,embodies the historical experience of successful multi-ethnic cultural exchanges.As one of the representatives of Chinese Buddhism Guqin music works,Pu'an Zhou was formed under the background of the distinction between Yi and Xia in the history of Guqin culture,and finally successfully integrated into Chinese culture with the development of Sinicization of Buddhism.In the process of formation,Pu'an Zhou has presented Chinese and Indian cultures,and the blend of the three religions of Confucianism,Buddhism and Daoism.In the process of development of Pu'an Zhou,came into many derivative musical works with three characteristics ofmulti-ethnic musical instruments,multi-ethnic regions and multi-ethnic people.The experience of ethnic cultural exchanges presented in this process of formation and development of Pu'an Zhou has undoubtedly some reference significance for the exchanges of ethnic cultures in the world today.

关 键 词：普庵咒 佛教琴乐 夷夏之辨 民族文化交流 儒佛道三教 

分 类 号：G03[文化科学]