礼乐文化视角下北魏王朝的华夏化——以墓葬中具有音乐内容的文物为中心  

The Sinicized Northern-Wei Dynasty Viewed from The Culture of Ritual Music:Focusing on The Burial Music-Themed Objects and Images

作　　者：周杨 Zhou Yang

机构地区：[1]厦门大学历史系

出　　处：《故宫博物院院刊》2022年第9期28-42,131,共16页Palace Museum Journal

基　　金：国家社科基金青年项目“汉唐时期丝绸之路音乐文物综合研究”(项目编号:20CKG026)的阶段性成果。

摘　　要：北魏王朝自建国后,伴随着对外的军事征服,其礼乐建设亦逐步提上日程,这在该时期墓葬出土含有音乐内容的文物中有所体现。其音乐内容主要呈现在壁画、葬具图像、陶俑及器物四种形式中,按照内容属性可以归纳为“鼓吹乐组合”“燕乐组合”与“百戏组合”三类。三类组合在表现形式和音乐组合上,经历了平城时代前期、平城时代后期与洛阳时代三个阶段,分别呈现出“戎华兼采”“胡汉并流”“整合重建”三种阶段性特点,既展示出北魏时期礼乐文化的发展脉络,也为我们勾勒出北魏王朝华夏化的历史发展线索,揭示出其华夏化历程的阶段性与复杂性。The Northern-Wei Dynasty got down to the construction of ritual music culture along with the military expedition outward right after it was founded,which is evidenced by the music-themed objects and images unearthed in the tombs of that period such as murals,illustrated funeral equipments,pottery figurine and other forms of burial items.The programmed performance typed into’Wing and Drum music’’Yan music(banquet music)’Acrobatic music’by content and theme went through the stages of’Early Pingcheng Times’,’Later Pingcheng Times’and"Luoyang Times’in representation and music orchestration,with’Rong-Hua Mutual Blending and Adopting’,’Hu-Han Developing and Merging Together’,’Integration and Reconstruction’as the style of each successively.The musical themes of the three stages represent the changing context of the ritual and musical culture as well as the historical process of the Northern-Wei Dynasty along with the complexity of stages in the course of the development.

关 键 词：北魏 礼乐文化 华夏化 音乐文物 墓葬 

分 类 号：K878.8[历史地理—考古学及博物馆学] J609.2[历史地理—历史学] K239.21[艺术—音乐]