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作 者:林素坊 LIN Sufang(Fujian Education College,Fuzhou 350001,Fujian)
机构地区:[1]福建教育学院,福建福州350001
出 处:《敦煌研究》2025年第1期107-114,共8页Dunhuang Research
基 金:国家社科基金重大招标项目“敦煌佛教文学艺术思想综合研究(多卷本)”(19ZDA254)。
摘 要:可考的敦煌舞谱八种,其中小号谱字仅见于BD10691与S.5643。除“一”“二”“三”外,BD10691在字组右上另见小号谱字“左”“右”。通过日本存唐乐谱《掌中要录》之横向对比,“一”“二”“三”应当表示谱句段,“左”“右”为脚步提示词。小号谱字相对集中完整出现于BD10691,其原因在于舞谱自身之特殊性,即BD10691歌舞酒令的字组不是按照传统十六字诀排序,故特以“一”“二”“三”加以划分谱段。同时,BD10691当为仪式备览文书,书手出于酒令主持的需要,抄录文书求新求详,故有较多小号谱字。There are eight verifiable Dunhuang documents that contain dance notation,among which only manuscripts BD10691 and S.5643 contain notes written in small-scale characters.In addition to the characters for"one,""two,"and"three"in BD10691,this document also has two small characters for"left"and"right"on the upper right of a notation segment.This use of notation is remarkably similar to the Tang musical piece Zhangzhong Yaolu掌中要录in which the numbers"one,""two"and"three"can be identified as representing the segments of notation,while"left"and"right"are cue words for dance steps.Small-scale characters appear relatively frequently and in more complete segments in manuscript BD10691 as a result of the presence of accompanying notation for dance steps.Furthermore,the characters for music and dancing in BD10691 are not arranged according to the traditional sixteen-character formula,but rather based on segments numbered"one,""two"and"three."Based on the above research,it can be inferred that manuscript BD10691 was likely prepared in order to hold a ceremony,and that the person who copied the document wished for its contents to appear both novel and more detailed,to which purpose they added additional instruction using small-scale characters.
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