摘要
克孜尔石窟壁画中的五弦琵琶是丝绸之路上中西音乐文化交流的重要实证。基于图像学与文献学视角,梳理五弦琵琶的源流、文献遗存及其在克孜尔石窟中的形态特征,研究表明,五弦琵琶起源于印度阿马拉瓦蒂艺术,经龟兹地区传入中原,其梨形共鸣箱与曲颈形制在克孜尔石窟壁画中呈现高度写实性,早于敦煌壁画且造型多样,印证了龟兹作为佛教东传枢纽的地位。典籍文献与石窟图像互证显示,五弦琵琶在唐代十部乐中成为跨地域融合的枢纽乐器。克孜尔石窟中五弦琵琶的形态演变揭示了其改良轨迹,其与日本正仓院藏唐琵琶的形制对应,进一步佐证了丝路乐器传播的历时性特征。
The five-stringed pipa depicted in the murals of Kizil Grottoes serves as a crucial piece of evidence of the musical and cultural exchanges between China and the West along the Silk Road.From the perspectives of iconography and philology,this paper examines the origin,historical documents,and morphological characteristics of the five-stringed pipa in Kizil Grottoes.The research reveals that the five-stringed pipa originated from the Amaravati art of India,was introduced to the Central Plains via the Kucha region,and exhibits a highly realistic representation in Kizil murals—particularly in its pear-shaped resonance box and curved neck design.These features,which predate those found in Dunhuang murals and display diverse forms,corroborate Kucha's pivotal role as a hub for the eastward spread of Buddhism.Cross-referencing historical texts and grotto imagery demonstrates that the five-stringed pipa evolved into the trans-regional instrument integral to the“Ten Musical Divisions”(Shi Bu Yue)of the Tang Dynasty.The morphological evolution of the pipa in Kizil Grottoes reveals its trajectory of refinement.Furthermore,its structural correspondence with the Tang-era pipa preserved in Japan's Shosoin in Repository provides additional evidence for the diachronic dissemination of musical instruments along the Silk Road.
作者
魏芳
王安潮
Wei Fang;Wang Anchao(School of Music and Dance,Kashi University,Kashi 844000;Xi'an Conservatory of Music,Xi'an 710061)
出处
《西部学刊》
2025年第23期63-67,共5页
Journal of Western
关键词
克孜尔石窟
五弦琵琶
丝绸之路
乐器传播
Kizil Grottoes
five-stringed pipa
Silk Road
instrument dissemination
