承佛界天神风骨融汉土道儒仙韵——云冈石窟的飞天乐舞  

Inheriting the Character of Buddhism and the Immortal Charm of Taoism and Confucianism——The Flying Dance of Yungang Grottoes

作　　者：吴巧云 姬乐 WU Qiaoyun;JI Le

机构地区：[1]山西大同大学音乐学院,大同037038 [2]美国密歇根州立大学音乐学院

出　　处：《黄钟（武汉音乐学院学报）》2020年第3期130-143,168,共15页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：2016年教育部人文社科项目《云冈石窟乐伎舞伎图像及北魏音乐舞蹈研究》(项目批准号:16YJA760042)阶段性科研成果。

摘　　要：飞天作为佛教艺术中最喜闻乐见的艺术形象,在不同地域、不同历史时期承载了不同的文化内涵。云冈石窟的飞天承继印度、西域、西凉的佛教造像艺术传统,吸收中国古老的儒、道文化营养,融合南北朝时期东西南北各族文化,在北魏平城时期呈现出独特的形态。剖析云冈不同时期飞天的造型特点,概述云冈有代表性的几种飞天乐舞,不仅可以探寻云冈飞天所蕴含的文化内涵,飞天形象中国化、世俗化的历程,还可以为当下复现创编云冈飞天乐舞提供基础素材与理论依据。As the most popular image in Buddhism art,the flying apsaras carried different cultural connotations in various regions and historical periods.The flying apsaras of Yungang Grottoes inherited the artistic tradition of Buddhist statues from India,the Western Regions and the XiLiang Dynasty,absorbed the essence of ancient Chinese culture in Confucianism and Taoism,integrated culture of all nationalities of Southern and Northern dynasties,so it presented a unique form in the Pingcheng period of the Northern Wei Dynasty.Analysing the flying apsaras image characteristics of different periods of Yungang Grottoes,summarizing some kinds of typical flying dances of Yungang can not only seeks its cultural connotations and the process of Chinese image,but also provides basic materials and theories for reproducing and creating Yungang flying dance.

关 键 词：云冈石窟 飞天乐舞 文化内涵 

分 类 号：J609.2[艺术—音乐]