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| 隋唐琵琶源流考 - 以石窟寺所見琵琶圖像為中心=A Study on the Origin of the Pipa in the Sui and Tang Dynasties - Focusing on the Images of Pipa in Cave Temples | ||
| 作者 | 周楊 (著)=Zhou, Yang (au.) |
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| 出處題名 | 敦煌研究=Dunhuang Research |
| 卷期 | n.4 (總號=n.182) |
| 出版日期 | 2020 |
| 頁次 | 64 - 73 |
| 出版者 | 敦煌研究編輯部 |
| 出版者網址 | http://www.dha.ac.cn/ |
| 出版地 | 蘭州, 中國 [Lanzhou, China] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 中文=Chinese |
| 附註項 | 作者單位：廈門大學人文學院歷史系 |
| 關鍵詞 | 琵琶圖像=images of pipa; 敦煌莫高窟=Dunhuang Mogao Grottoes；; 龜茲石窟=Qiuci Grottoes; 隋唐=Sui and Tang dynasties |
| 摘要 | 琵琶是中國中古時期的重要樂器,但是其形制演變與時空傳播長期存在雜亂混淆。隋唐時期是中國古代琵琶發展的關鍵階段,對於考察琵琶發展和傳播的源流具有重要意義。本文以佛教石窟寺中的琵琶圖像為中心,利用考古類型學方法,系統梳理敦煌莫高窟和新疆地區石窟寺中所見琵琶圖像的發展演變;在此基礎上,進一步指出一件樂器的變化背後往往蘊含著文化的交融,展現著時代的開放。 The pipa was an important musical instrument in medieval China, and also one of the cultural ties that connected various regions along the Silk Road, but the development of its shape and its dissemination through China and the regions connected to the Silk Road has been a source of confusion for a long time. The Sui and Tang dynasties were a crucial period for the development of the pipa in ancient China and are of great significance for studying the historical and cultural development of this instrument. Focusing on the images of pipa in Buddhist cave temples, and by using Archaeological typology, this paper discusses the development of these images in the Mogao Grottoes at Dunhuang and in the cave temples of Xinjiang. On the basis of this research, it is emphasized that the historical changes of musical instruments is ultimately reflective of the cultural openness and blending of the time. |
| 目次 | 一 形制與分期 65 （一）敦煌莫高窟所見琵琶圖像的型式與分期 65 1. 型式分析 65 2. 分期研究 66 （二）新疆地區石窟壁畫所見琵琶圖像的型式與分期 67 1. 型式分析 67 2. 分期研究 68 （三）與琵琶相關的其他彈撥樂器 69 1. 阮咸 69 2. 三弦彈撥樂器 69 3. 其他多弦彈撥樂器 70 二 琵琶在中國的傳播及相關問題 70 三 結語 73 |
| ISSN | 10004106 (P) |
| 點閱次數 | 34 |
| 建檔日期 | 2020.11.13 |
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