文化融合视野下的敦煌藏传佛教壁画舞姿研究  

Dance Images of Tibetan Buddhism in Dunhuang Murals from the Perspective of Cultural Integration

作　　者：靳昊[1] 汪雪 JIN Hao;WANG Xue(Northwest Normal University,Lanzhou 730071;Dunhuang Academy,Dunhuang 736200,China)

机构地区：[1]西北师范大学,兰州730071 [2]敦煌研究院,敦煌736200

出　　处：《北京舞蹈学院学报》2023年第2期71-80,共10页Journal of Beijing Dance Academy

基　　金：教育部人文社会科学研究项目“敦煌莫高窟壁画乐舞图式研究”(项目编号22YJC760094)阶段性成果。

摘　　要：敦煌壁画中的藏传佛教图像是古印度波罗艺术、藏传佛教仪轨与汉地美学思想相融合的产物。藏传佛教壁画舞姿以“开胯式”的腿姿与夸张的“三屈式”身姿为显要特征,其核心要素在8世纪以降的波罗艺术中业已成型,并在卫藏地区有所强化。敦煌壁画中舞者的身色身姿、空间布局、思想理论与实证修习的结合等方面承继了藏传佛教的造像传统,并在乐器类、供器类、法器类舞具的使用方面取得了长足发展,为研究西夏至元代敦煌与周边地区的宗教乐舞、相关礼仪及文化交流提供了重要的图像史料。The images of Tibetan Buddhism in Dunhuang Murals are the product of the fusion of ancient Indian Pala art,Tibetan Buddhist rituals,and Chinese aesthetics.The dancing postures of Tibetan Buddhism are characterized by the leg posture of “hip-opening” and the exaggerated posture of “Tribhanga”,whose core elements have been shaped in the Pala art since the eighty century,and further developed in China's Tibet.Dunhuang Murals have inherited the statue-making tradition of Tibetan Buddhism in terms of dancers' appearances and postures,spatial layout,as well as the integration of ideological theory and empirical practice,and have made great progress in the use of dancing props of musical instruments,sacrificial instruments,and religious instruments,providing important historical records for the study of religious music and dance,related rituals,and cultural exchanges between Dunhuang and surrounding areas from the Western Xia Dynasty to the Yuan Dynasty.

关 键 词：敦煌石窟 波罗艺术 刚舞 哈他瑜伽 敦煌舞 

分 类 号：J709[艺术—舞蹈]