从敦煌壁画的弯琴形象看凤首箜篌的文化内涵  

Exploring the Cultural Connotation of the Phoenix-headed Konghou from the Dunhuang Murals

作　　者：温和 Wen He

机构地区：[1]浙江音乐学院音乐学系,杭州310024

出　　处：《音乐文化研究》2022年第3期7-16,M0002,共11页Music Culture Studies

基　　金：国家社科基金艺术学重大项目“中国器乐表演艺术研究”(项目编号:20ZD16)阶段性研究成果。

摘　　要：一种兼具竖琴与琵琶乐器特征的梨形、弯颈抱弹乐器形象在不同时代的敦煌壁画中有相似的呈现,就乐学特征的辨别而言,这种乐器形象并非现实世界的真实,尽管其原型在中国典籍中曾以“凤首箜篌”的名称得以记载,但由于缺乏历史实物的比对,其图像学材料在东亚多被学者批评为“形态、奏法俱不真实”的想象创造,如日本学者林谦三,以至于在河西走廊及中原的历史图像中罕见其原貌。文从敦煌壁画的这种乐器形象创造出发,还原它在丝绸之路文化传播过程中的超越性内涵,并以此为基础追溯它的乐器原型及图像变异。The image of a pear-shaped,bent-necked plucked instrument,similar to a harp and a pipa,can be widely seen in the Dunhuang murals from different eras.Although it has been frequently documented as a“phoenix-headed konghou”in Chinese Classics,this instrument is criticized as being imaginary by Japanese scholar KenzōHayashi,due to the lack of a comparative study with historical objects.It is rarely seen in historical images in the Hexi Corridor and the Central Plains.This article aims to trace its transmission process along the Silk Road to explore its prototype and variations.

关 键 词：琉璃琴 乾闼婆 骠国乐 婆罗浮屠 柏孜克里克48窟 

分 类 号：J609.2[艺术—音乐]