北魏樂(lè)舞百戲形象研究
發(fā)布時(shí)間：2019-02-12 13:04
【摘要】：本文研究的北魏時(shí)間從拓跋璉稱魏始,至北魏分裂為東、西魏止,即公元386—534年。文章通過(guò)對(duì)北魏時(shí)期不同地區(qū)墓葬出土的樂(lè)舞百戲形象的對(duì)比,得出數(shù)據(jù),來(lái)探討北魏時(shí)期的樂(lè)舞百戲形象,進(jìn)而探討文化交融在藝術(shù)方面的影響。本文在寫(xiě)作的過(guò)程中,主要運(yùn)用北魏墓葬出土的樂(lè)舞百戲形象的材料,即：樂(lè)舞百戲俑、壁畫(huà)所見(jiàn)樂(lè)舞百戲形象、棺槨柱礎(chǔ)所見(jiàn)樂(lè)舞百戲形象,主要運(yùn)用考古類型學(xué)、歷史學(xué)、民族學(xué)、音樂(lè)史學(xué)、舞蹈學(xué)等多學(xué)科的研究方法、成果,研究墓葬樂(lè)舞百戲的情況。文章由五個(gè)部分組成：第一部分為緒論。首先介紹了北魏時(shí)期所處的歷史背景,然后對(duì)俑、樂(lè)舞俑、百戲作了簡(jiǎn)單的定義界定,然后介紹了當(dāng)前學(xué)界對(duì)該選題的研究現(xiàn)狀、選題意義和研究方法。第二部分為北魏時(shí)期各地區(qū)墓葬的樂(lè)舞百戲俑的出土情況及其類型學(xué)分析。主要介紹了北魏時(shí)期河套及平城地區(qū)、洛陽(yáng)地區(qū)、關(guān)中地區(qū)、山東地區(qū)和華北平原、遼寧地區(qū)的墓葬樂(lè)舞百戲俑出土的情況,并對(duì)出土的樂(lè)舞百戲俑進(jìn)行考古類型學(xué)的研究。第三部分為北魏墓葬壁畫(huà)、棺槨等所見(jiàn)樂(lè)舞百戲形象的研究。首先梳理介紹了北魏早、中、晚三期墓葬出土壁畫(huà)等所見(jiàn)樂(lè)舞百戲形象,然后對(duì)這些形象進(jìn)行了類型學(xué)分類,進(jìn)而探討墓葬壁畫(huà)等所見(jiàn)樂(lè)舞百戲形象體現(xiàn)的社會(huì)價(jià)值和意義。第四部分為北魏時(shí)期云岡石窟樂(lè)伎形象的研究。主要運(yùn)用考古類型學(xué)和音樂(lè)學(xué)的方法對(duì)云岡石窟第一、第二、第三期的樂(lè)伎形象進(jìn)行了數(shù)據(jù)統(tǒng)計(jì)、分析,最后得出相關(guān)結(jié)論。第五部分為結(jié)語(yǔ)。魏晉南北朝是我國(guó)古代文化的轉(zhuǎn)型期,尤其在北魏時(shí)期,社會(huì)狀況呈現(xiàn)出多民族聚居、多種文化交融的特征。音樂(lè)、舞蹈和百戲是隨著社會(huì)文化轉(zhuǎn)型而變換多樣的,研究樂(lè)舞、百戲的變化是研究當(dāng)時(shí)社會(huì)變化和思想變化的重要方面。北魏樂(lè)舞、百戲的轉(zhuǎn)變開(kāi)啟了隋唐文化空前繁榮發(fā)展的大門。
[Abstract]:The time of the Northern Wei Dynasty studied in this paper is from the beginning of Tuolian's trudging to the division of the Northern Wei Dynasty into the east and the west Wei Dynasty, that is, 386-534 AD. By comparing the images of music and dance hundred operas unearthed from different tombs in the Northern Wei Dynasty, the paper draws the data to discuss the music and dance hundred operas in the Northern Wei Dynasty, and then discusses the influence of cultural blending on art. In the process of writing, this paper mainly uses the materials of the music and dance hundred operas unearthed from the tomb of the Northern Wei Dynasty, that is, the music and dance hundred opera figures, the music and dance hundred opera images seen in the murals, and the music and dance hundred opera images seen on the basis of coffins, mainly using archaeological typology and history. Ethnology, music history, dance and other multidisciplinary research methods, achievements, the study of music and dance tombs. The article consists of five parts: the first part is the introduction. First introduced the historical background of the Northern Wei period, then made a simple definition of the figurines, music and dance figurines, hundred operas, and then introduced the current academic research on this topic, the significance and research methods. The second part is the unearthed situation and typological analysis of the music and dance hundred opera figurines in the Northern Wei Dynasty. This paper mainly introduces the unearthed tombs of the hundred opera figures in Hetao and Pingcheng, Luoyang, Guanzhong, Shandong, North China Plain and Liaoning during the Northern Wei Dynasty, and studies the archaeological typologies of the hundred operas unearthed. The third part is the Northern Wei Dynasty tombs murals, coffins and so on see music and dance hundred drama image research. This paper first introduces the images of music and dance hundred operas unearthed in the early, middle and late three periods of the Northern Wei Dynasty, and then classifies these images, and then discusses the social value and significance of the music and dance hundred operas which are seen in the tomb murals. The fourth part is the study of the image of Yuejiki in Yungang Grottoes in the Northern Wei Dynasty. This paper mainly uses the methods of archaeological typology and musicology to make statistics on the images of Yuegang Grottoes in the first, second and third periods. The fifth part is the conclusion. Wei, Jin, Southern and Northern dynasties was the transition period of ancient Chinese culture, especially in the Northern Wei Dynasty, the social situation showed the characteristics of multi-nationality and multi-culture blending. Music, dance and hundred operas are changing with the transformation of social culture. The study of music and dance and the change of hundred operas is an important aspect of the study of social and ideological changes at that time. Music and dance in the Northern Wei Dynasty, the transformation of the hundred operas opened the door of unprecedented prosperity and development of the Sui and Tang dynasties culture.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：K879
本文編號(hào)：2420462
[Abstract]:The time of the Northern Wei Dynasty studied in this paper is from the beginning of Tuolian's trudging to the division of the Northern Wei Dynasty into the east and the west Wei Dynasty, that is, 386-534 AD. By comparing the images of music and dance hundred operas unearthed from different tombs in the Northern Wei Dynasty, the paper draws the data to discuss the music and dance hundred operas in the Northern Wei Dynasty, and then discusses the influence of cultural blending on art. In the process of writing, this paper mainly uses the materials of the music and dance hundred operas unearthed from the tomb of the Northern Wei Dynasty, that is, the music and dance hundred opera figures, the music and dance hundred opera images seen in the murals, and the music and dance hundred opera images seen on the basis of coffins, mainly using archaeological typology and history. Ethnology, music history, dance and other multidisciplinary research methods, achievements, the study of music and dance tombs. The article consists of five parts: the first part is the introduction. First introduced the historical background of the Northern Wei period, then made a simple definition of the figurines, music and dance figurines, hundred operas, and then introduced the current academic research on this topic, the significance and research methods. The second part is the unearthed situation and typological analysis of the music and dance hundred opera figurines in the Northern Wei Dynasty. This paper mainly introduces the unearthed tombs of the hundred opera figures in Hetao and Pingcheng, Luoyang, Guanzhong, Shandong, North China Plain and Liaoning during the Northern Wei Dynasty, and studies the archaeological typologies of the hundred operas unearthed. The third part is the Northern Wei Dynasty tombs murals, coffins and so on see music and dance hundred drama image research. This paper first introduces the images of music and dance hundred operas unearthed in the early, middle and late three periods of the Northern Wei Dynasty, and then classifies these images, and then discusses the social value and significance of the music and dance hundred operas which are seen in the tomb murals. The fourth part is the study of the image of Yuejiki in Yungang Grottoes in the Northern Wei Dynasty. This paper mainly uses the methods of archaeological typology and musicology to make statistics on the images of Yuegang Grottoes in the first, second and third periods. The fifth part is the conclusion. Wei, Jin, Southern and Northern dynasties was the transition period of ancient Chinese culture, especially in the Northern Wei Dynasty, the social situation showed the characteristics of multi-nationality and multi-culture blending. Music, dance and hundred operas are changing with the transformation of social culture. The study of music and dance and the change of hundred operas is an important aspect of the study of social and ideological changes at that time. Music and dance in the Northern Wei Dynasty, the transformation of the hundred operas opened the door of unprecedented prosperity and development of the Sui and Tang dynasties culture.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：K879
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 劉俊喜,高峰;大同智家堡北魏墓棺板畫(huà)[J];文物;2004年12期
，本文編號(hào)：2420462
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