佛乐俗变对唐代新题乐府诗的影响——以梵曲《摩多楼子》为例

The Impact of Secularized Buddhist Music on Yuefu Poems with New Topics in the Tang Dynasty——A Case Study of the Buddhist Music—Mo Duo Lou Zi

《摩多楼子》本为西域传入佛曲,为"梵竺四曲"之一。李白与李贺分别作有乐府诗《摩多楼子》,均为边塞题材,内容与佛法无涉,与题名完全不符,这是一个值得研究的奇特现象。《摩多楼子》由佛教乐曲演变为极富时代特色的边塞诗,与佛教乐曲的世俗化演变以及唐代燕乐的形成有着不可分割的联系。佛教乐曲《摩多楼子》成为边塞诗的演变过程呈现出如下脉络:在唐代文化环境、尚武精神的浸润和影响下,为了迎合新的审美需要,逐渐摈弃了原先的佛教因素,与胡乐新声、道教乐曲和燕乐等逐步融合,融入世俗社会,装入新的内容,娱乐功能突出,时代印记鲜明。

A piece of music introduced from India, Mo Duo Lou Zi is one of the four renowned pieces of music from India, about which Li Bai and Li He had written their respective poem-- Mo Duo Lou Zi--both were on the frontier subject but the contents had no link with the This is a unique case worthy of study, for the change poem with its distinctive epochal traits is indispensab Buddhist doctrine, entirely distinct from the title of the poem. of Mo Duo Lou Zi from a piece of Buddhist music to a frontier le from the secularization of Buddhist music and the formation of Yan music in the Tang Dynasty. The change of Mo Duo Lou Zi from a Buddhist music piece to a poem on the frontier roughly follows such a route： under the impact of the cultural situation and militarism in the Tang Dynasty and for catering to new aesthetic needs, Mo Duo Lou Zi gradually cast off its original Buddhist factors and came to combine with Non-Han music, Taoist music and Yan music, thus having infused itself with the secular society and taken in new contents characterized by its highlighted recreational functions and distinctive epochal traits.