摘要
苏幕遮是龟兹乐的一种,是西域乐舞中兼具乐舞、戏剧因素的艺术表现形式。其作为丝绸之路文化交融的产物传入中原,不仅在多种典籍文献中记载,还通过舍利盒图像、石窟寺壁画图像等资料得以考证,其艺术特质在相关乐种的乐器配置、乐曲结构中均有留存,在胡乐引入我国的过程中产生了深远的影响。然而,在苏幕遮来源与艺术种类等问题上,学术界仍有争议。通过对文物、文化、文献三个方向进行考证,从苏幕遮与泼寒胡戏间的关系、文化内涵的区别、表演形式的异同等方面,对其予以新的辨析。结果表明,苏幕遮源自古龟兹国,在唐代宫廷广为流传、受人喜爱,被大量诗词记诵。通过研究,推进了苏幕遮将西域文化融入中原的新认识,也为新时代语境下的艺术活态传承与复现提供理论参考。
"Su Mu Zhe"is a form of Qiuci music,an artistic expression in the musical and dance traditions of the Western Regions that incorporates elements of both music,dance,and drama.As a product of cultural exchange along the Silk Road,it was introduced to Central China and is not only documented in various classical texts but also verified through archeological evidence such as reliquary images and murals in cave temples.Its legacy persists in musical instruments and compositions,exerting a profound influence during the incorporation of foreign music into China.However,academic debates persist regarding the origins and artistic classification of Su Mu Zhe.Through an investigation of cultural relics,cultural contexts,and historical texts,this study offers a new analysis by examining the relationship between Su Mu Zhe and the"Pohan-Huxi"(A Winter Water-splashing Play),distinctions in cultural connotations,and similarities and differences in performance styles.The findings indicate that Su Mu Zhe originated in the ancient Qiuci Kingdom,gained widespread popularity in the Tang court,and was frequently celebrated in poetry.This research advances a new understanding of how Su Mu Zhe integrated Western Regions culture into the Central China and provides theoretical insights for the dynamic preservation and revival of traditional arts in the context of the new era.
作者
王安潮
韩雨
Wang Anchao;Han Yu
出处
《乐府新声(沈阳音乐学院学报)》
2025年第3期5-11,共7页
The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)
基金
新疆维吾尔自治区文艺扶持项目“龟兹乐研究”。
