从桃花山唐墓出土的青瓷俑看唐初的服饰和音乐制度

Early Tang Dressing and Musical System Revealed by Celadon Figurines from Tombs at Taohuashan

本文通过对湖南桃花山唐墓出土的 54 件青瓷俑的分析,结合已有考古发掘成果与历史文献相互印证,反映了唐代初年在民族大融合的前提下,各种文化兼收并蓄,社会习俗发生了急剧变化,服饰和音乐制度亦在承袭前代基础上得到空前发展,形成了唐初特有的开放浪漫风格:衣着开放,胡服盛行,女着男装,并出现汉胡服饰相互结合的新的服饰款式—窄袖短襦下束宽大博广的长裙,衣服上开始以钮扣装饰;汉胡乐器在乐队中同时出现,且数量上相互抗衡。墓中出土的伎乐俑是一支演奏“龟兹乐”的官府乐队俑,属坐部伎范畴,是唐代初年“燕乐”发展与繁荣的实物见证。

Based on study of 54 celadon figurines excavated from Tang tombs at Taohuashan, pre- vious archaeological finds and classical texts, this paper proposes that in a situation of national reunion, various cultures actively interacted with each other and social customs changed tremendously at the ear- ly Tang dynasty. Dressing and musical system developed rapidly and formed its unique style of open- ness and romance. For example, people had full freedoms in dressing; Hu costume was popular among Chinese, and woman dressed like a man. Additionally, a new hybrid style, the combination of Han and Hu costume appeared, which was featured by narrow sleeves, short coat, fat and long skirt, and orna- mental buttons. Furthermore, Han and Hu musical instruments were played side by side in a band. The celadon figurines, a kind of official band playing Kucha music, are material evidence of the flourish of banquet music at the early Tang dynasty.