承唐启宋的五代燕乐——以冯晖墓乐舞图像为例

The Court Banquet Music of Five Dynasty as Linkage of Tang and Song Dynasty: Taking the Music and Dance Frescos Unearthed in Fenghui Tomb as Example

以胡乐为主的唐代燕乐,自中晚唐后,逐渐发展成为以汉乐为主导的新的中国化燕乐,即定型于宋代的燕乐。这一转变过程,在陕西出土的五代冯晖墓乐舞图像中有着清晰反映,它既是"承唐启宋"的活标本,也是社会变革的真实反映,更是乐舞艺术宛转分流时的瞬间再现,具有十分重要的史学价值和艺术研究价值。

The court banquet music of Tang Dynasty, focusing on Hu Music, gradually developed to become the new sinicized court banquet music, also known as the court banquet music finalized in Song Dynasty, focusing on Han Music since middle and late Tang Dynasty. This process of transition can be clearly reflected on the music and dance frescos unearthed in Fenghui Tomb of the Five Dynasties in Shaanxi. The court banquet mu- sic , not only the ＂living sample＂ of the connecting link between Tang Dynasty and Song Dynasty, but also the real reflection of the social reforms and the representation of the tortuous progression of music dance art, has important historical and artistic value.