敦煌石窟长袖舞图像流变考  

A Study on the Image Development of Long Sleeve Dances in Dunhuang Cave Murals

作　　者：汪雪 朱建军 WANG Xue;ZHU Jianjun(Archaeological Institute,Dunhuang Academy,Dunhuang 736200,Gansu;Institute of Dunhuang Studies,Lanzhou University,Lanzhou 730020,Gansu;Gansu Bamboo Slips Museum,Lanzhou 730030,Gansu)

机构地区：[1]敦煌研究院考古研究所,甘肃敦煌736200 [2]兰州大学敦煌学研究所,甘肃兰州730020 [3]甘肃简牍博物馆,甘肃兰州730030

出　　处：《敦煌研究》2023年第6期12-20,共9页Dunhuang Research

基　　金：国家社科基金重大项目“敦煌石窟文献释录与图文互证研究”(21&ZD218);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”(22YJC760094)。

摘　　要：长袖舞是我国历史最为悠久的舞蹈种类之一,其特征是不执舞具,“以舞袖为容”。敦煌石窟壁画中的长袖舞图像最早出现于中唐时期,其舞服、舞姿及宗教意涵皆体现出吐蕃文化渊源。中唐至宋代的两百余年间,敦煌壁画中的长袖舞者涵盖了成人、童子、迦陵频伽、共命鸟等,并先后出现了翻领、圆领、袒右肩等舞服服制。长袖舞在敦煌的传承与留居敦煌的吐蕃遗民密切相关,其图像演变依托于各类壁画题材图像模式的发展,集中展现了汉藏文化在宗教思想、民族习俗等方面的深度融合。The long sleeve dance is one of the earliest styles of dance in Chinese history,and is characterized by dancers waving long cloth sleeves in elegant patterns through the air.Images of this dance first appeared in the murals in Dunhuang caves built during the Middle Tang dynasty,specifically the period of the Tibetan Occupation,and the costumes,postures,and religious connotations depicted were all closely connected with ancient Tibetan culture.Over the course of the two hundred years from the Middle Tang to the Song dynasty,images of long sleeve dancers included adults,children,Kalavinka(a semi-deity in Buddhism with the body of a bird and the head of a human)and Jivajivaka(a bird with two human heads);the costumes they wore were decorated with either lapel collars,round collars,or an opening to expose the right shoulder.The long sleeve dance was largely associated with the Tibetan people who lived at Dunhuang,and the path along which illustrations of the dance evolved embodied the deep integration of Han and Tibetan culture,religion and folk customs.

关 键 词：敦煌石窟 长袖舞 翻领 吐蕃 火宅喻 

分 类 号：K879.21[历史地理—考古学及博物馆学]