本文關(guān)鍵詞：唐代長(zhǎng)安樂(lè)舞圖像編年與研究　出處：《西安美術(shù)學(xué)院》2012年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 唐代長(zhǎng)安 出土文物 樂(lè)舞圖像 箜篌溯源 程式化

【摘要】：長(zhǎng)安(今西安地區(qū))是唐代都城，也是唐代文物最為集中的地區(qū)，在今西安及其周?chē)植贾罅康奶拼乖帷⑦z址，出土文物數(shù)量眾多，在很多文物資料中含有樂(lè)舞圖像。這些樂(lè)舞圖像是樂(lè)舞藝術(shù)與繪畫(huà)藝術(shù)相結(jié)合之典范，是研究中國(guó)古代社會(huì)、文化、繪畫(huà)藝術(shù)和樂(lè)舞藝術(shù)以及對(duì)外文化交流中極重要之實(shí)物資料。但是迄今為止，還沒(méi)有進(jìn)行系統(tǒng)化整理和研究。有鑒于此，本文以唐代長(zhǎng)安遺存的樂(lè)舞圖像為研究對(duì)象，進(jìn)行資料的收集、整理，按照年代編寫(xiě)，并在此基礎(chǔ)上進(jìn)行研究。 本文主體部分由四章組成，第一部分簡(jiǎn)述了含有樂(lè)舞圖像文物的九座典型唐代墓葬遺址、三個(gè)佛教遺址及南郊何家村窖藏文物遺址進(jìn)行資料收集整理，包括墓室壁畫(huà)、像碑石刻、金銀玉雜器等多種文物中含有的大量樂(lè)舞圖像，這十三個(gè)遺址極具代表性。 第二部分則將這些出土文物依照墓志紀(jì)年以及發(fā)掘報(bào)告分別按年代分類整理，主要分為墓室壁畫(huà)、陶俑、金銀器等幾類，另外與佛教相關(guān)的一些文物則單列一類。對(duì)每一種類的相關(guān)文物以時(shí)間為序，將其中的樂(lè)舞圖像資料收集、整理，再?gòu)目v向和橫向來(lái)探討更深層次的問(wèn)題：尋求唐代樂(lè)舞隨著時(shí)代推進(jìn)而出現(xiàn)的發(fā)展變化以及究竟有哪些因素導(dǎo)致了變化的發(fā)生。 第三部分為個(gè)案研究，從箜篌這一頻繁出現(xiàn)在唐代樂(lè)舞圖像中的外來(lái)樂(lè)器入手，，探討其源流并且進(jìn)而窺探中國(guó)和異質(zhì)文化之間的交流。源于西亞兩河流域的豎箜篌經(jīng)中亞、印度等地輾轉(zhuǎn)流傳到中土，到唐代已經(jīng)成為廣泛使用的常見(jiàn)樂(lè)器。器物的起源、傳播看似平常之事，其實(shí)關(guān)涉甚廣，作為一件樂(lè)器流傳意味著音樂(lè)藝術(shù)的傳播，而藝術(shù)的傳播則意味著文化的交流，人類文明正是在這種交流當(dāng)中不斷向前演進(jìn)。 第四部分將目光集中于樂(lè)舞圖像本身，以大量的圖像資料為支撐來(lái)探尋樂(lè)舞藝術(shù)的發(fā)展規(guī)律，從其萌蘗、演變、成熟的過(guò)程，到題材、形式、內(nèi)容的逐步完備，便不可避免進(jìn)入一種程式化發(fā)展模式中，這種程式化特點(diǎn)正是唐代樂(lè)舞藝術(shù)令人矚目的關(guān)鍵所在。文中通過(guò)對(duì)大量圖像的研究表明：唐代樂(lè)舞取得的重大成就，是繼承自漢魏以來(lái)中國(guó)藝術(shù)傳統(tǒng)，在融合異質(zhì)文化基礎(chǔ)上進(jìn)行的變革和創(chuàng)新，最終從雜糅到熔鑄。
[Abstract]:Changan (now Xi'an) is the capital of the Tang Dynasty, is the most concentrated area of relics of the Tang Dynasty, the Tang Dynasty tombs, a large number of distribution in Xi'an and its surrounding ruins, unearthed cultural relics are numerous, containing music image in many cultural relics. The music image is a model of the combination of music and dance art painting art, research China ancient society, culture, material very important painting art and dance art and foreign cultural exchanges. But so far, there is no systematic collation and research. In view of this, this article in the Tang Dynasty music image of Changan remains as the research object, data collection, collation, chronological writing, and on this basis to study.
The main part of this paper consists of four chapters, the first part describes the music image of cultural relics containing nine typical tombs of Tang Dynasty ruins, three Buddhist ruins and relics of the southern suburbs of the village cellar data collected, including the tomb murals, like a stone monument, containing gold and silver jade miscellaneous device etc. as a large number of cultural relics and the image. Thirteen sites are representative.
The second part will be in accordance with the epitaph chronology and these unearthed cultural relics excavation report respectively in chronological classification, mainly divided into the tomb murals, pottery, gold and silver and other categories, some other cultural relics related to Buddhism is a separate category. For each category of cultural relics related to the time order, the data which collect music image then, from the vertical and horizontal consolidation, to explore the deeper problem: the change and development of music and dance in the Tang Dynasty appeared with the times for promoting and what are the factors contributing to the change.
The third part is case study, starting from the konghou appeared frequently in the Tang Dynasty music image in foreign musical instruments, to explore its origin and then explores and cultural exchange between Chinese. From Mesopotamia west of the vertical harp through Central Asia, India and other places, was spread to the earth, to the Tang Dynasty has become a common instrument used widely the objects. The origin, spread seemingly ordinary things, in fact more widely, as a musical instrument spread means the dissemination of music art, and art communication means cultural exchanges, human civilization is in the exchanges continue to evolve.
The fourth part is focused on the music image itself, to explore the law of development of the art of music and dance to support a large number of image data, from its sprouting, development, mature process, to the theme, form, content gradually complete, will inevitably enter a stylized development mode, this stylized feature is the key the great Tang Dynasty dance art. This paper shows that the large image of great achievements in music and dance in the Tang Dynasty made, is inherited from the Han and Wei dynasties China artistic tradition, change and innovation in the integration of heterogeneous culture on the basis of the final from blending to casting.

【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：J209.2;K879.4

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前2條

1 袁禾;論中國(guó)宮廷舞蹈[D];中國(guó)藝術(shù)研究院;2000年

2 劉洋;唐代宮廷樂(lè)器組合研究[D];中國(guó)藝術(shù)研究院;2008年

相關(guān)碩士學(xué)位論文 前1條

1 王蕙;大理白族佛教樂(lè)舞形態(tài)及本土化[D];云南藝術(shù)學(xué)院;2014年

本文編號(hào)：1406070