唐代墓葬乐舞图分期研究  

Study on the Staging of Tang Dynasty Tomb Image of Dance Accompanied by Music

作　　者：李孟雅 Li Mengya

机构地区：[1]四川大学考古文博学院

出　　处：《四川文物》2024年第4期69-79,共11页Sichuan Cultural Relics

摘　　要：唐代墓葬乐舞图可分为初唐、盛唐和中晚唐三期。初唐以汉地女乐为特色,这是新生的唐王朝对汉魏旧乐的刻意选择,目的是彰显政权的正统性与合法性。盛唐时男性和胡人伎乐出现,原因是墓葬装饰整体发生变化,唐玄宗的用人政策和个人喜好提高了胡人和胡乐的地位,此时乐舞内容多为大曲。前两期都有新型的乐队出现,也可看出长安与敦煌的文化交流。中晚唐新出现散乐,乐舞图整体呈现出过渡性特征。唐代墓葬乐舞图受礼乐制度、统治者喜好、国家政策、社会流行等因素的综合影响,具有承上启下的重要意义。The tomb image of dance accompanied by music of the Tang Dynasty can be divided into three periods.In the early Tang period,it was featured with music and dance performed by Han women.It was the deliberate choice of the traditional music from Han-Wei Dynasties by the newly established Tang Dynasty,as propaganda of the legitimacy of the new regime.Male and foreign musicians and dancers appeared in the flourishing period of Tang Dynasty,as tomb images changed as a whole,which was caused by the enhancement of status of foreigners and foreign music out of Emperor Xuanzong's preference.At this time,most of the content was Daqu(大曲).New types of band appeared in the first two periods,reflecting the cultural exchanges between Chang'an and Dunhuang.Sanyue(散乐) appeared in the middle and late Tang Dynasty,and the tomb image of dance accompanied by music in this period presented transitional characteristics.The tomb image of dance accompanied by music in Tang Dynasty was jointly influenced by the rites and music system,the preference of rulers,national policy and social tendency,which formed a significant link connecting the preceding and the following.

关 键 词：唐墓 乐舞图 汉魏旧乐 胡乐 散乐 

分 类 号：K242[历史地理—历史学] K879.4[历史地理—中国史] J709.2[艺术—舞蹈] J609.2