“敦煌舞”研究的文化构想与实践取向(下)  

The Cultural Conception and Practice Orientation of the Research on “Dunhuang Dance”(Part Two)

作　　者：于平[1,2] Yu Ping(the Chinese Literary and Art Critics A ssociation,Beijing,100083;Nanjing Academy of the Arts)

机构地区：[1]南京艺术学院博士后流动站 [2]南京艺术学院舞蹈学院,北京100083

出　　处：《民族艺术研究》2022年第2期102-113,共12页Ethnic Art Studies

摘　　要：高金荣先生在《敦煌舞蹈的基本训练》一文中,明确将“敦煌舞”定义为“敦煌壁画式舞蹈”,属古典舞范畴。由此,围绕“敦煌舞”的研究,必然有对“敦煌壁画舞蹈”的研究,特别是对天宫伎乐、飞天、伎乐天等乐舞形象的研究。“敦煌舞”作为“唐代舞蹈”的重要组成部分,研究者将目光聚焦其来龙去脉,前溯古天竺今印度的舞蹈,中探西域古龟兹的舞蹈,下追日本赓续的“唐舞图”的舞蹈。与此同时,研究者重新焕发出研究“敦煌舞谱”的热情,对20世纪40年代已初步探索的“敦煌舞”研究领域有了进一步的追寻。诚然,“敦煌舞”研究是“敦煌学”研究的一部分,但其作为研究对象的独有特性和有机关联更是这一领域研究不断拓展、不断持续的内驱力所在。In Basic Training of Dunhuang Dance,Gao Jinrong clearly defines “Dunhuang dance” as “Dunhuang mural dance”, which belongs to the category of classical dance. Therefore, the study of “Dunhuang dance” necessarily involves the study of “Dunhuang mural dance”, especially the study of music and dance images such as the skill and music in heavenly palace, flying Apsaras, and Apsara. As an important part of the “Tang Dynasty Dance”, researcher has focused on the origins of “Dunhuang dance”, tracing back to the ancient Tianzhu(India) dance, exploring the dance of the ancient Qiuci in the western region, and following Japan’s ceaseless “Tang dance map” dance. At the same time, the researchers renewed their enthusiasm for studying “Dunhuang dance notations” and further pursued the research field of Dunhuang dance, which has been preliminarily explored in the 1940 s. Admittedly the research of “Dunhuang dance” is a part of the “Dunhuang studies”, but its unique characteristics and organic connection, seen as the research target, are driving force for the continuous expansion of the research.

关 键 词：敦煌舞 敦煌壁画舞蹈 飞天 《丝路花雨》 敦煌舞蹈的基本训练 敦煌舞谱 

分 类 号：J7099[艺术—舞蹈]