乐神乎?——敦煌石窟飞天尊格考释  

The God of Music?:The Interpretation of the Flying Apsaras in Dunhuang Caves

作　　者：汪雪 Wang Xue

机构地区：[1]敦煌研究院,敦煌736299 [2]兰州大学

出　　处：《音乐文化研究》2024年第4期18-26,共9页Music Culture Studies

基　　金：2021年度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)的阶段性研究成果。

摘　　要：“飞天是乐神”的观点自20世纪初被提出之后,长期以来成为敦煌乐舞研究界的共识。敦煌壁画中飞行者的类型较为庞杂,对其尊格的辨识应结合形象特征、壁画题材及图式渊源进行审慎的辨析:飞行的天人是敦煌壁画中飞天的主体,其中既有菩萨装天人、僧装天人、天童子,又有飞行的星宿、天神等;壁画中飞行的夜叉与人不属于飞天;飞行的化生是介于飞天与化生之间的中间形态。整体来看,古印度巽伽王朝时期菩提树、窣堵波等象征物的上方对称雕刻乐神乾闼婆或紧那罗的图像模式,是敦煌壁画中说法图两侧绘制飞天的图式原型,故而此类飞天的尊格最为接近乐神,而其他壁画题材中的飞天是否为乐神,尚缺乏确证。The view that the Flying Apsaras is in charge of music and dance has been widely accepted within the Dunhuang music and dance research community since the early 20th century.Given the complexity of the Flying Apsaras,their identity should be carefully examined based on their image characteristics,mural themes,and schematic origins.As a central feature of Flying Apsaras in Dunhuang Murals,the flying devas include figures resembling bodhisattvas and monks,divine boys,constellations and gods.However,the flying Yaksha and humans depicted in the mural painting are not considered part of this group.The concept of"birth by transformation in flying"is an intermediate form between the Flying Apsaras and apparitional birth.The symmetrical imagery of Gandharvas or Kinnaras.carved onto symbols such as Bodhi trees or stupas during the Shunga dynasty in ancient India,is seen as a prototype for the Flying Apsaras on either side of the preaching scenes in Dunhuang murals.This form of the Flying Apsaras is most closely associated with the god of music.However,there is insufficient evidence to conclude that the Flying Apsaras in other murals plays the same role.

关 键 词：飞天 乐神 天人 沸星 夜叉 化生 敦煌石窟 

分 类 号：J609.1[艺术—音乐]