道教图像中的乐舞服饰与世俗生活——以《朝元仙仗图》“仙乐龟兹部”为例  

Music and Dance Costumes and Secular Life in Taoist Images: Take “Xian Yue Kucha Division” of Chaoyuan Celestial Cane as an Example

作　　者：王惠莹 WANG Hui-ying(School of Art Design and Costume,Zhejiang University of Science and Technology,Hangzhou 310023,China)

机构地区：[1]浙江科技学院艺术设计与服装学院,杭州310023

出　　处：《北京舞蹈学院学报》2022年第2期46-56,共11页Journal of Beijing Dance Academy

摘　　要：近年道教图像研究获得较多关注,但是图像中涉及的乐舞与服饰材料、图像与世俗社会生活的互动关系等问题则较少有学者挖掘和探讨。道教题材画作《朝元仙仗图》中“仙乐龟兹部”保留了较多唐宋道教乐舞与服饰信息。文章从乐队配置、乐器细节以及仙乐发饰、着装入手,探讨道教图像与唐宋世俗社会生活的逻辑关系,并结合文学作品探究霓裳羽衣曲(舞)与“仙乐龟兹部”的内在联系。In recent years, the studies on Taoist images have received more attention, but few scholars have explored the issues of music and dance, clothing materials involved in the images, and the interaction between images and secular social life. The “Xian Yue Kucha Division” in the Taoist painting Chaoyuan Celestial Cane, retains more information about Taoist music, dance and costumes in the Tang and Song Dynasties. From the aspects of band configuration, the details of musical instruments, the hair accessories and costumes of female fairies, the paper discusses the logical relationship between Taoist images and the secular social life in the Tang and Song Dynasties, and explores the inner connection between Nichang Yuyi Song(Dance) and “Xian Yue Kucha Division” in combination with literary works.

关 键 词：道教 图像 乐舞 服饰 《朝元仙仗图》 

分 类 号：J7O9[艺术—舞蹈]