唐代长安乐舞图像编年与研究

发布时间：2018-01-10 17:06

本文关键词：唐代长安乐舞图像编年与研究　出处：《西安美术学院》2012年博士论文　论文类型：学位论文

【摘要】：长安(今西安地区)是唐代都城，也是唐代文物最为集中的地区，在今西安及其周围分布着大量的唐代墓葬、遗址，出土文物数量众多，在很多文物资料中含有乐舞图像。这些乐舞图像是乐舞艺术与绘画艺术相结合之典范，是研究中国古代社会、文化、绘画艺术和乐舞艺术以及对外文化交流中极重要之实物资料。但是迄今为止，还没有进行系统化整理和研究。有鉴于此，本文以唐代长安遗存的乐舞图像为研究对象，进行资料的收集、整理，按照年代编写，并在此基础上进行研究。本文主体部分由四章组成，第一部分简述了含有乐舞图像文物的九座典型唐代墓葬遗址、三个佛教遗址及南郊何家村窖藏文物遗址进行资料收集整理，包括墓室壁画、像碑石刻、金银玉杂器等多种文物中含有的大量乐舞图像，这十三个遗址极具代表性。第二部分则将这些出土文物依照墓志纪年以及发掘报告分别按年代分类整理，主要分为墓室壁画、陶俑、金银器等几类，另外与佛教相关的一些文物则单列一类。对每一种类的相关文物以时间为序，将其中的乐舞图像资料收集、整理，再从纵向和横向来探讨更深层次的问题：寻求唐代乐舞随着时代推进而出现的发展变化以及究竟有哪些因素导致了变化的发生。第三部分为个案研究，从箜篌这一频繁出现在唐代乐舞图像中的外来乐器入手，，探讨其源流并且进而窥探中国和异质文化之间的交流。源于西亚两河流域的竖箜篌经中亚、印度等地辗转流传到中土，到唐代已经成为广泛使用的常见乐器。器物的起源、传播看似平常之事，其实关涉甚广，作为一件乐器流传意味着音乐艺术的传播，而艺术的传播则意味着文化的交流，人类文明正是在这种交流当中不断向前演进。第四部分将目光集中于乐舞图像本身，以大量的图像资料为支撑来探寻乐舞艺术的发展规律，从其萌蘖、演变、成熟的过程，到题材、形式、内容的逐步完备，便不可避免进入一种程式化发展模式中，这种程式化特点正是唐代乐舞艺术令人瞩目的关键所在。文中通过对大量图像的研究表明：唐代乐舞取得的重大成就，是继承自汉魏以来中国艺术传统，在融合异质文化基础上进行的变革和创新，最终从杂糅到熔铸。
[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.

【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J209.2;K879.4

【引证文献】