“反弹琵琶”源出男性胡舞新证  

New Evidence of “Playing the Pipa behind the Back” Originating from Male Hu Dance

作　　者：汪雪 WANG Xue(Archaeological Research Institute,Dunhuang Academy,Dunhuang 736200,China)

机构地区：[1]敦煌研究院考古研究所,敦煌736200

出　　处：《北京舞蹈学院学报》2024年第4期24-32,共9页Journal of Beijing Dance Academy

基　　金：国家社会科学基金重大项目“敦煌石窟文献释录与图文互证研究”(项目编号21&ZD218)阶段性成果。

摘　　要：敦煌莫高窟中唐第158窟以及日本正仓院藏唐代织锦中“反弹琵琶”图像的新发现,对“反弹琵琶”文化渊源的研究具有重要价值,不仅可佐证“反弹琵琶”在古代乐器演奏中的真实性,更以其完整的文化语境为探析“反弹琵琶”在唐代乐舞体系中的属性以及舞者的性别、族属提供新视角。研究发现,“反弹琵琶”曾被用于唐代优戏“弄婆罗门”的表演之中,而擅“弄婆罗门”者多为粟特人。参校文献记载及中外相关图像,可以推知“反弹琵琶”源出男性胡舞。这一乐舞技艺的传播可追溯至中亚粟特地区,其乐舞组合形式受到龟兹乐的影响。传入中国之后,“反弹琵琶”进一步与吐蕃乐舞融合,成为中国本土独特的乐舞形态。The new findings of the “playing the Pipa behind the back” images in Cave 158 in Dunhuang Mogao Grottoes of the middle Tang Dynasty and in the brocades of the Tang Dynasty stored in the Shosoin of Japan are of great value for the research on the cultural origin of “playing the Pipa behind the back”.They can not only prove its authenticity in ancient musical instrument performances,but also provide a complete cultural context for exploring its attributes within the music and dance system of the Tang Dynasty,as well as the gender and ethnic group of dancers with its complete cultural context.The research finds that “playing the Pipa behind the back” was once used in the performance of the Tang Dynasty's role-play “dressing up as the Brahmin”,predominantly performed by Sogdians.Referring to literature records and relevant images at home and abroad,it can be inferred that “playing the Pipa behind the back” originated from the male Hu dance.The spread of this music and dance technique can be traced back to the Sogdian region of Central Asia.The combination of music and dance was influenced by the Kucha music.After being introduced to China,“playing the Pipa behind the back” was further integrated with Tibetan music and dance and became a unique local music and dance form.

关 键 词：“反弹琵琶” 狮子奏乐纹锦 吐蕃银壶 弄婆罗门 龟兹乐 

分 类 号：J709[艺术—舞蹈]