叙事与象征——音乐文献学视野下的“奏乐婆罗门”研究  

Narrative and Symbolism:A Study of"Brahmans Playing Music"from the Perspective of Chinese Musical Philology

作　　者：温和 Wen He

机构地区：[1]浙江音乐学院 [2]中国美术学院艺术人文学院

出　　处：《中国音乐》2024年第5期56-72,共17页Chinese Music

摘　　要：作为大型涅槃经变中常见的构图内容,传统美术图录中名为“奏乐婆罗门”或“外道奏乐图”的图像学母题,通常表现为数身婆罗门形象的世俗乐伎在释迦遗体周围以钹、鼓、琵琶、笛、拍板等乐器进行乐舞表演。然而因为这一图像学母题在早期佛教原典未能寻获相应的叙事文本,长期以来学界对这支世俗乐队的身份以及乐舞内容的性质存在较大分歧。本文通过音乐文献学视角的解读,指出“奏乐婆罗门”图像源自中古中国发展起来的一种仪式歌咏,并借助敦煌写本《佛母赞》的材料发见,揭露其本质为一种汉地佛教赞颂文本的视觉迻译,并在此基础上重新省察其图像学内涵,结合当时中国教坊音乐的比较,揭示这种图像叙事中所刻意表现的娱乐音乐特征。As a common compositional element in large-scale Nirvana Sutra illustrations,the iconographic motif traditionally named"Brahmans Playing Music"or"Non-Buddhist Musicians"in traditional art catalogues,typically depicts several Brahman figures performing music and dance around the remains of Shakyamuni with cymbals,drums,lutes,flutes,and clappers.However,due to the absence of corresponding narrative texts in the Chineseāgama sutras,there has long been considerable disagreement in academic circles regarding the identity of this secular band and the nature of their music and dance.This paper interprets the"Brahman Playing Music"motif from the perspective of Chinese musical philology,pointing out that the image originates from a ritual chant developed in medieval China.Utilizing material discovered in the Dunhuang manuscript Fo-mu Zan(Chant of the Māyā),it reveals that this motif is essentially a visual representation of a Chinese Buddhist devotional song.Based on this,the paper re-examines its iconographic implications,and in comparison with contemporary Chinese court music,uncovers the deliberate portrayal of entertainment music features within this iconographic narrative.

关 键 词：奏乐婆罗门 壁画榜题 柏孜克里克石窟 《佛母赞》 犍陀罗美术 

分 类 号：J60-05[艺术—音乐]