敦煌壁画中所见鼗鼓与鸡娄鼓兼奏图论考

Images of the Rattle Drum and Jilou Drum in Dunhuang Murals

鼗鼓本中原之器,鸡娄鼓源出西域。在莫高窟中,鼗鼓的绘制始出于北周石窟,鸡娄鼓始出于初唐石窟,二鼓本不兼奏。随着初唐九部乐、十部乐的设置以及大量西域胡乐的进献,左手播鼗,左臂腕托鸡娄鼓,右手拍击或持杖而击的兼奏形式在敦煌初唐窟以来得到了大量的表现,其出现的背后有一定的历史原因。二鼓在莫高窟中的兼奏始于初唐,兴于盛唐,盛于中唐,终于晚唐,共绘制五十余幅,使莫高窟成为保存有全国乃至全世界鼗鼓与鸡娄鼓兼奏最多的地方。本文以图证史,对莫高窟中出现的鼗鼓与鸡娄鼓兼奏图,从其演奏形态、莫高窟各时期的表现情况、龟兹乐的影响,以及与克孜尔石窟兼奏情形的比较出发,溯源探流、明本释末,并结合相关文献进行考论。

Taogu(rattle drum)originates from the Central Plain while jilougu(jilou drum)is from the Western Regions of China.In the Mogao Caves,the earliest paintings of taogu are to be found in the caves of the North Zhou Dynasty whilst paintings of jilougu first appear in the caves of the early Tang Dynasty.These two drums were not designed to be played together.Jiu-bu yue(nine kinds of music),shi-bu yue(ten kinds of music),and music from the land west of the Great Wall were presented to the early Tang court.In the Dunhuang Murals of the early Tang Dynasty,images are frequently seen of taogu being played with the left hand and jilougu being held with the left arm while the right hand beats the drum.These combined performances date from the early Tang dynasty,developed during the High Tang Dynasty,thrived in the Mid Tang Dynasty and ended in the Late Tang Dynasty.Mogao Caves contain more than fifty paintings and thus forms the largest collection of images of taogu and jilougu in the world.Based on the images preserved in the Mogao Caves and related literature,this paper will investigate performance styles and the influence of Kucha music,and then compare these with images found in the Kizil caves,in order to investigate the origin and development history of these two drums.