乐舞在敦煌壁画中的空间与表现

Space and Representation of Music and Dance in Dunhuang Frescoes

乐舞在印度佛教艺术中一直是一个不可分割的组成部分。在佛教传入中国后的敦煌壁画中同样得到重视,特别是将印度乾闼婆(娱乐神,全身散发香气,以各种舞姿供养诸神)和紧那罗(歌神)合二为一来表现,布置在佛国世界的上空飞翔并表现各种伎乐,成为中国佛教壁画中独特表现形式的"敦煌飞天"。到唐代,则出现了反映当时真实生活中的舞蹈和乐队,如"胡旋舞"和各种乐器大型演奏相伴的画面。在唐代晚期,又出现了"反弹琵琶"这种乐与舞同时由一人完成的艺术表现形式。是值得我们今天研究学习的珍贵资料。

Music and dance have always been an integral part of Indian Buddhist art.This was reflected in the Dunhuang Frescoes,created after the introduction of Buddhism to China,in particular manifested by the Indian Gandharva-the scented entertainment devas who devoted themselves to God by dancing-and Kinnara,who were renowned for their singing.They flew through the air and showed their superb musical skills,known as“Dunhuang Apsaras”in the Chinese Buddhist frescoes.During the Tang dynasty,several frescoes were painted relating to real dancers and musical ensembles,such as the Sogdian Whirl and large ensemble.By the time of the late Tang dynasty,a performer was depicted playing the pipa behind her back whilst dancing.This is valuable material for us to study today.