晋东南地区石刻文物的音乐图像研究

发布时间：2018-04-27 18:50

本文选题：晋东南 + 石刻　；参考：《山西大学》2010年硕士论文

【摘要】： 北魏平城到洛阳的迁都,使文化遍布了整个迁都路程,石刻雕刻的流动迁徙,为晋东南地区留下了一笔丰富的文物宝藏。石刻中的音乐图像,反映出许多音乐现象,让我们看到了当朝佛教的用乐系统,乐器的交流融合。本文从三个方面对晋东南地区的音乐图像进行阐述研究。对于晋东南地区的石刻音乐图像,首先是对图像所在地进行阐述。本文第一部分,是本篇文章的基础内容,对所含音乐内容的石刻的遗址进行解释,以及对其考古价值进行阐述。只有了解这些存有石刻音乐文物的地方,才可以更好的对图像进行解释。本文的第二部分,是本篇文章的主要内容。对每一个地方的音乐图像进行音乐内容分析,南涅水、高庙山石窟中的飞天伎乐,南涅水、潞城辛安源起寺的伎乐人经幢,平顺七宝塔、晋城青莲寺慧峰和尚塔的塔身伎乐图,高平高庙山的伎乐线刻图,和晋城府城关帝庙中的佛教百戏图。这些图像所反映出的最大共同点是,都与佛教有关。由于音乐图像中,包含有大量的乐器,所以在本文第二部分还主要阐述了图中乐器的用途,并依据文献记载对乐器进行了系统的整理研究。第三部分,是本篇文章的核心内容。对晋东南石刻音乐图像中所反映出的问题进行思考阐述。为什么在这个地区会出现如此多的石刻文物?在所有的音乐图像中反映出的佛教传播问题,在图像中涵盖了佛教中礼佛仪式的世俗化问题；在图像的乐器图中,对所有的乐器按照体鸣乐器、弦鸣乐器、气鸣乐器、膜鸣乐器进行了分类整合,可以看出有大量来自西域的东西与中原音乐相融合的场面；佛教信仰中也夹杂了老百姓的民间信仰的东西。最大的一个特色,就是迁都的过程中,为晋东南地区的石刻音乐图像中,留下了中原音乐文化、草原音乐文化和西域音乐文化的“三化合一”的大融合现象。
[Abstract]:The relocation of the capital from Pingcheng to Luoyang in the Northern Wei Dynasty made culture spread all over the distance of moving the capital, and the mobile migration of stone carvings left a rich treasure of cultural relics in the southeast of Shanxi. The music images in stone carvings reflect a lot of musical phenomena, and let us see the communication and fusion of music system and musical instruments in Dangchao Buddhism. This paper studies the music images of Southeast Shanxi from three aspects. For the stone-engraved music image of southeast Shanxi, the first is the location of the image. The first part of this article is the basic content of this article, including the music content of the stone remains of the interpretation, as well as its archaeological value. Only by knowing where there are stone-engraved musical artifacts can the images be better interpreted. The second part of this article is the main content of this article. Analysis of the music content of each place, Nanneshui, Feitian Gile in Gaomiao Mountain Grottoes, Nannieshui, Jiyue people of Xinanyuan Temple in Lucheng, Pingshun Seven Pagoda, Towers of Huifeng Monk Pagoda of Qinglian Temple in Jincheng, Gao Ping Gaomiao Mountain Gile line engraved, and Jincheng Fucheng Guan Di Temple Buddhist 100-drama picture. The greatest common denominator of these images is that they are all related to Buddhism. Because there are a large number of musical instruments in the music images, the second part of this paper also mainly describes the use of musical instruments in the picture, and according to the literature records of the musical instruments are systematically studied. The third part is the core content of this article. This paper discusses the problems reflected in the music images of stone carvings in Southeast Shanxi. Why are there so many stone relics in this area? The problem of Buddhist communication reflected in all musical images, which covers the secularization of Buddhist rites in Buddhism; in the picture of musical instruments, all instruments are made according to body, string, and qi. The classification and integration of the musical instruments showed that a large number of things from the Western region and the Central Plains music fusion scene; Buddhist belief also mixed with the folk beliefs of the people things. One of the biggest features is that in the process of moving the capital, the music images of stone carvings in the southeast of Shanxi Province have left behind the phenomenon of the "integration of three changes" between the music culture of the Central Plains, the music culture of the grassland and the music culture of the Western region.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：K877.4

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