云冈石窟力士舞浮雕探讨  

The Relief Sculpture ofWarrior Dance in Yungang Grottoes

作　　者：刘锐 孙武军[1] LIU Rui;SUN Wu-jun(School of Literature,Xi’an University of Architecture and Technology,Xi’an,Shaanxi 710311)

机构地区：[1]西安建筑科技大学文学院,陕西西安710311

出　　处：《云冈研究》2024年第4期17-28,共12页Yungang Research

摘　　要：力士舞的文献记载最早出现在《魏书·奚康生传》中,其为宫廷宴饮舞蹈,由奚康生酒后进行表演。力士舞的浮雕保留在云冈石窟第7、9和10窟,舞者为辫发索头、袒露上身、下身为裙的药叉形象。云冈石窟力士舞为双人舞,舞姿以托举为主,推测可能来自秦汉舞蹈、举鼎和角抵活动,呈现出古代人们“崇武尚力”的精神面貌。北魏以后力士舞的文献与浮雕或壁画逐渐消失,金刚舞取而代之。云冈石窟力士舞浮雕的研究,对于认识北魏平城、云冈石窟乃至丝绸之路舞蹈文化及其互动,具有重要价值。The earliest literary record of warrior dance appeared in the Biography of Xi Kangsheng in Wei Shu.It was a palace banquet dance performed by Xi Kangsheng after drinking alcohol.The reliefs depicting the warrior dance are preserved within Caves 7,9,and 10 of the Yungang Grottoes.The dancer is depicted as a Yasha,with braided hair,a bare upper torso and a flowing lower skirt.The dance is duet dance,with the main pose being lifting.It is presumed that it may have originated from the dancing,lifting cauldrons,and wrestling activities of the Qin and Han dynasties,showcasing the ancient Chinese spirit of valuing martial force.After the Northern Wei dynasty,the literature and reliefs or murals of the dance gradually disappeared,and the Vajra dance took its place.The research on it is vital for understanding the dance culture and interaction of Pingcheng,Yungang Grottoes and even the Silk Road in Northern Wei dynasty.

关 键 词：力士舞 奚康生 药叉 金刚舞 

分 类 号：K879.22[历史地理—考古学及博物馆学]