麦积山石窟乐舞图像中的乐伎、乐器、乐队及文化信息解析  

Analysis of Musicians,Musical Instruments,Musical Bands,and Cultural Information in Music and Dance Images of Maijishan Grottoes

作　　者：曾杰 Zeng Jie(School of Music and Dance,Tianshui Normal University,Tianshui Gansu 741001,China)

机构地区：[1]天水师范学院音乐舞蹈学院,甘肃天水741001

出　　处：《天水师范学院学报》2024年第1期126-132,共7页Journal of Tianshui Normal University

基　　金：2021年教育部人文社会科学研究项目“麦积山石窟北朝时期乐舞图像研究”(21YJA76003)阶段性成果。

摘　　要：麦积山石窟的乐舞图像多为北朝时期的文物遗迹。在北魏早期,乐伎形象具有西域少数民族风格,之后逐渐向中原汉族风格演变。麦积山石窟的乐器图像多注重写实,胡乐在乐器图像中占有一定比例,绘制细腻,有着较高的史料价值。在127窟的一铺经变画中,出现了我国较早的经变画乐队,乐队具备一定规模,这与同一时期流行的西凉乐有着密切关系。整体来看,麦积山石窟乐舞图像的中原传统文化特征较突出,同时体现出西域、鲜卑、南朝等乐舞风格并存的多元化特征。The music and dance images of Maijishan Grottoes are mostly cultural relics from the Northern Dynasties period.In the early Northern Wei Dynasty,the image of music performers had the style of ethnic minorities in the Western Regions,and gradually evolved towards the Han style in the Central Plains.The musical instrument images in the Maijishan Grottoes focus more on realism,with Hu music accounting for a certain proportion of the instrument images.The depiction is delicate and has high historical value.In Cave 127,an earlier Jingbian painting band in China appeared,with a certain scale,which is closely related to the popular Xiliang music of the same period.Overall,the traditional cultural characteristics of the Central Plains are prominent in the music and dance images of the Maijishan Grottoes,while also reflecting the di-verse characteristics of music and dance styles coexisting in the Western Regions,Xianbei,Southern Dynas-ties,and other regions.

关 键 词：麦积山石窟 乐舞图像 北朝 乐伎 西凉乐 

分 类 号：J639[艺术—音乐]