敦煌歌辞中的声音景观书写  

The Sound Landscape Writing in Dunhuang Songs

作　　者：许柳泓 XU Liu-hong(School of Literature,Nankai University,Tianjin 300071,China)

机构地区：[1]南开大学文学院,天津300071

出　　处：《内蒙古大学学报（哲学社会科学版）》2023年第4期90-97,共8页Journal of Inner Mongolia University(Philosophy and Social Sciences)

基　　金：2020年度教育部哲学社会科学研究重大课题攻关项目(项目批准号:20JZD047)。

摘　　要：敦煌歌辞中的声音景观书写丰富多彩,其声各异,其情不一。莺啼燕语之声与调琴捣衣之音多为传递女性的相思离别之情,这与唐代征兵制度是分不开的。征战时的马嘶声、刀枪声与胜利后的欢歌声展现了纷乱时代的悲壮豪情;止戈为武之时的大殿欢舞之声与寻常人家的酒宴笙歌之音则尽显愉悦柔意。当边地军民作为欣赏者走进歌辞中的声音景观时,愈发能与其中的听觉主体产生共鸣,声音景观的空间性也就从文本内部延伸至欣赏者的感受空间,欣赏者也赋予歌辞以情感上的认同。歌辞中的佛家音声景观以其“清”之特点独树一帜,含蓄地传达着佛教空义,呈现出中原文化与佛教文化的碰撞、交融。The sound landscape in Dunhuang Songs is rich and colorful,with different sounds and feelings.The sound of warblers and swallows singing,the sound of fiddling and the dressing are mostly to convey women's feelings of love-sickness and parting,which is inseparable from the conscription system of the Tang Dynasty.The neighing of horses,the sound of swords and spears during the battle and the joyful songs after the victory show the tragic and heroic emotions of the turbulent era.The sound of joyful dances in the main hall and the sound of singing and drinking in ordinary people's houses are all pleasing and soft.When the border soldiers and civilians enter the sound landscape in the lyrics as viewers,they can more and more resonate with the auditory subject.The spatial nature of the sound landscape extends from the interior of the text to the viewer's perception space,and the audience also endows the songs with emotional identification.The Buddhist sound landscape in the lyrics is unique because of its"limpid"characteristics,which implicitly conveys the empty meaning of Buddhism and presents the collision and blending of Central Plains Culture and Buddhist Culture.

关 键 词：敦煌歌辞 声音景观 空间性 文化性 

分 类 号：I206.2[文学—中国文学]