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研究乐舞唐代长安乐舞图像编年与

发布时间: 2010-3-5


预读: these cultural repcs into tomb wall painting,pottery figurine, household utensils, and Buddhist images. According to the time sequence,this section introduces and discusses these images to lay the foundation for further study.After observing these figures carefully, this section discusses deeper is研究乐舞唐代长安乐舞图像编年与
论文中文摘要: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,是探讨中国古代社会、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探讨。有鉴于此,本论文以唐代长安遗存的乐舞图像为探讨对象,进行资料的收集、整理,按照年代编写,并在此基础上进行探讨。本论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,再以纵向和横向来探讨更深层次的不足:寻求唐代乐舞随着时代推进而出现的进展变化以及究竟有哪些因素导致了变化的发生。第三部分为个案探讨,以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利用的常见乐器。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进展规律,以其萌蘖、演变、成熟的历程,到题材、形式、内容的逐步完备,便不可避开进入一种程式化进展方式中,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探讨表明: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革新,最终以杂糅到熔铸。

【English Abstract】 As the capital of Tang Dynasty, Changan is an area full of cultural repcs. Around the cityof Xi’an, there are a large number of ancient tombs and repcs, in which there are a lot ofimages concerning with dancing with music. However, no study makes an effort to concernthese images. Based on this, this paper targets these images of Tang Dynasty.There are four sections in this paper. The first section elaborates the nine tombs of TangDynasty from which images of dance with the music, including wall painting and potteryfigurine are excavated. The paper psts the three Buddhist repcs which contain inscriptions ona tablet, stonecutting, wall painting, household utensils etc. In addition, this paper alsointroduces the repc excavated from He Jiacun village in the southern part of Xi’an. There aremany images of dance with music in these13important ruins.The second section begins to categorize these cultural repcs into tomb wall painting,pottery figurine, household utensils, and Buddhist images. According to the time sequence,this section introduces and discusses these images to lay the foundation for further study.After observing these figures carefully, this section discusses deeper issues behind theseimages: to find out the development of dance with music in Tang Dynasty and to locatefactors for this changes.The third section is a case study, which focuses on Konghou, an ancient plucked stringedinstrument, which appears frequently to explore the intercultural exchange during TangDynasty. Originated from Tigris and Euphrates in west Asia, Konghou came to Changanthrough middle Asia, India etc. and became an often used music instrument in Tang Dynasty.From the originapty and spread of Konghou, people can find that the spread of music, whichfurther shadows the spread of culture, which further puts forward the exchange of differentcultures.Focusing images themselves, the fourth section explores the regularity for thedevelopment of this art based on large number of images. From the first appearance,development and maturity to the gradual perfection of topics, styles and content, scholar canfind that there is a developing pattern, which is the key for the art to achieve such anaccomppshment. It is not sure that this development digresses from the right cause. Thissection proves with many images that the change in the art is a development of traditional Chinese art and that it is a development acquiring other cultural.

【关键词】 唐代长安; 出土文物; 乐舞图像; 箜篌溯源; 程式化;
【Key words】 Changan in Tang Dynasty; excavated repcs; image of dance with music; originapty of Konghou; formulaic;
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