本文關(guān)鍵詞：敦煌莫高窟壁畫中的箜篌圖像解析　出處：《西安音樂學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 敦煌莫高窟壁畫 箜篌圖像 箜篌樂伎 形制 演奏姿態(tài)

【摘要】：敦煌莫高窟壁畫是現(xiàn)存最大的佛教石窟壁畫,其歷史悠久,內(nèi)容豐富,具有極高的藝術(shù)價(jià)值。幾千年來壁畫內(nèi)容保存比較完整,其內(nèi)容涵蓋了音樂、舞蹈、雕塑、繪畫等各個(gè)領(lǐng)域,體現(xiàn)了當(dāng)時(shí)人們對(duì)于佛教的崇拜與信仰。在莫高窟壁畫中保存了大量的樂器圖像資料,其種類豐富,數(shù)量繁多,既有中原固有的樂器,也有來自西域的胡樂器。這些圖像見證了西域與中原地區(qū)的音樂文化交流,也為樂器研究提供了珍貴的圖像史料。箜篌是莫高窟壁畫當(dāng)中常見的彈撥類樂器之一,其圖像最早見于莫高窟北涼時(shí)期的第275窟,南北朝時(shí)期圖像逐漸增多;隋唐時(shí)期圖像數(shù)量最多,為其發(fā)展的鼎盛階段;五代西夏時(shí)期圖像數(shù)量減少,逐漸走向衰落;到元代僅剩一幅。壁畫中出現(xiàn)的箜篌一般繪制在洞窟四壁、人字披、窟頂覆斗、龕楣周圍和藻井四周等位置,所繪種類以豎箜篌和鳳首箜篌為主。自北涼洞窟出現(xiàn)箜篌圖像之后,箜篌的形制在不同時(shí)期有著不同的變化,從南北朝時(shí)期的小箜篌到隋唐時(shí)期小箜篌與大箜篌的并存,說明箜篌的形制在逐漸發(fā)展和創(chuàng)新。彈奏箜篌的樂伎分為箜篌伎樂人和箜篌伎樂天兩種,箜篌伎樂人包括供養(yǎng)人樂伎、出行圖樂伎和宴飲圖樂伎;箜篌伎樂天則包括天宮樂伎、飛天樂伎、藥叉樂伎和經(jīng)變畫樂伎。壁畫中箜篌伎樂人的性別特征以男性居多,女性箜篌伎樂人較為少見,箜篌伎樂天的性別特征可分為完全男性化、男身女相和完全女性化三個(gè)演變階段。箜篌樂伎的服飾早期簡單質(zhì)樸,顏色單一,發(fā)展到隋唐至五代時(shí)期,其服飾變得色彩亮麗,雍容華貴,珠寶佩飾也十分華麗。壁畫中箜篌樂伎的持琴方式分為三種:站持、坐持和飛天空中持琴彈奏,置琴位置主要為夾于臂下和置于地面兩種。在壁畫中還有一種特殊的藝術(shù)演奏方式為“不鼓自鳴”,即樂器飄揚(yáng)在空中,仿佛演奏著美妙的音樂。箜篌圖像的畫面鋪排方式及所在樂隊(duì)的樂器組合形式,都與箜篌的樂器地位息息相關(guān),同時(shí)也與當(dāng)時(shí)的音樂生活有著密切的聯(lián)系。
[Abstract]:The Mogao Grottoes murals in Dunhuang are the largest extant Buddhist grottoes murals, with a long history, rich content and high artistic value. For thousands of years, the preservation of frescoes is relatively complete, covering music, dance, sculpture, painting and other fields, reflecting the worship and belief of Buddhism at that time. In the Mogao Grottoes murals, a large number of musical instruments have been preserved. They are rich in variety, with a wide variety of instruments, both inherent in the Central Plains, and also from the western regions. These images have witnessed the exchange of music and culture between the western and Central Plains, and also provide valuable historical data for the study of musical instruments. This is the Mogao Grottoes murals of the common plucked instruments, the image was first seen in Mogao Grottoes during the cold north cave 275th, northern and Southern Dynasties of Sui and Tang Dynasties image gradually increased; the largest number of images, for the prosperous stage; the five generation of Xixia period to reduce the number of images, the decline in Yuan Dynasty; only a picture. The mural appeared in the harp in the general drawing cave walls, herringbone, cave top cover and around the caisson bucket, niche lintel around the location, painted type vertical harp and phoenix head harp. Since the north cold caves appear harp images, this form is different in different periods, from the southern and Northern Dynasties to the Sui and Tang Dynasties little harp and Harp coexist small harp, harp that forms in the gradual development and innovation. Play the harp harp Yueji divided into Jiyue and Lotte two Kabuki harp, harp musicians including support Le Ji, travel map and map feast Le Ji Le Ji Ji Temple including Lotte harp; Le Ji, flying Le Ji, Yaocha Yue Ji and Sutra painting Le ji. The gender characteristics of musicians in the murals of mostly male, female harp musicians are rare, gender characteristics can be divided into Kabuki harp Lotte completely masculine, male female and female complete three stages of evolution. This early Yueji clothing simple, single color, development to the Tang Dynasty to the Five Dynasties, the dress becomes bright colors, elegant, jewelry accessories is also very gorgeous. In the murals of Yue Ji Qin to harp is divided into three types: to sit, to hold air and flying piano playing, the piano is clamped under the arm position and ground two. There is a special kind of art style of playing "drums ringing" in the mural, the instrument flying in the air, as if playing beautiful music. This image arrangement and band instrument combination form, and is closely related to this instrument status, also with the music of life are closely linked.
【學(xué)位授予單位】：西安音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：K879.41

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