从平城地区乐舞形象看北魏前期的西乐东传  

The Transmission ofWestern Music to the East in the Early NorthernWei Dynasty Based on the Image of Music and Dance in Pingcheng

作　　者：田瑾 吴桂兵 TIAN Jin;WU Gui-bing(School of History,Nanjing University,Nanjing,Jiangsu 210023)

机构地区：[1]南京大学历史学院,江苏南京210023

出　　处：《云冈研究》2024年第4期29-38,共10页Yungang Research

摘　　要：十六国北朝时期是中外音乐文化交流的一个高峰期,而在北魏前期,平城及周边地区与西域在音乐文化上就已经进行着频繁互动。从云冈石窟第6窟雕饰的乐舞形象可见当时平城在佛教题材中对音乐的使用情况,即中原传统乐器与外来乐器并存,外来乐器在数量和种类上都远远超出传统乐器,且乐队配置中重视吹奏乐器与弹拨乐器的组合。云冈石窟第6窟中与司马金龙墓中所见乐舞形象在乐器形制、乐队组合等方面都极为接近。可见,这一时期云冈石窟佛教题材中包含的音乐艺术与世俗流行的音乐艺术联系密切。The Northern dynasties were the peak of musical and cultural exchanges between China and foreign countries.Actually,in the early Northern Wei dynasty,Pingcheng had already had frequent interactions with the western regions in terms of musical culture.By examining Cave 6 of the Yungang Grottoes in Pingcheng,the use of music in the Buddhist theme in Pingcheng at that time is obtained,that is,the coexistence of traditional instruments in the Central Plains and foreign instruments,and the orchestra configuration attaches importance to the combination of wind instruments and plucked instruments.Then,by comparing the images of music and dance in this cave with those in the tomb of Sima Jinlong,it is found that they are extremely similar in terms of the shape of musical instruments and the composition of the band.It can be seen that during this period,the musical art in the Buddhist themes of Yungang Grottoes was closely related to the popular secular musical art.

关 键 词：平城 乐舞形象 西乐东传 

分 类 号：K239.21[历史地理—历史学]