唐代歌舞戏面具与涂面化妆考释

Textual Research on Masks and Coated Makeups of Song and Dance Drama in Tang Dynasty

唐代是中国历史上封建王朝发展的鼎盛时期,不但经济、政治、军事强大,在文化艺术方面也取得了令人瞩目的成就。唐代歌舞戏丰富多彩,唐王朝非常重视其发展,设立了教坊、梨园等国家艺术机构,并以中宫为教坊使专管歌舞百戏。文章用文献资料、出土文物、敦煌壁画、遗存演出相互印证的方法,考释了《兰陵王入阵曲》《泼胡乞寒戏》《鸟歌万岁乐》的面具形态和"参军戏""合生戏"以及《踏摇娘》的涂面化妆样式,向我们展示了唐代歌舞戏面具和涂面化妆的基本面貌。唐代歌舞戏化妆之所以丰富多彩,对后世产生了深远影响,是因为其既根植于中国传统,又兼纳了域外歌舞戏化妆艺术精华的结果。

The Tang Dynasty was the heyday of development in Chinese history.It was not only powerful on economy,politic,and military,but also was the heyday of the culture and artistic development of the Chinese feudal dynasty.The Tang dynasty attached great importance to the development of song and dance drama,as a result,it established the Jiaofang and Liyuan National Art Institutions in Chang’an,and asked the empress as the administrator of Musical House,specializing in song and dance drama.This article uses the methodology of mutual verification among documents,unearthed cultural relics,Dunhuang murals,and relics to explain the mask form of"The King of Lanling","Blessing by Splashing Water in Winter Drama"and"Long Live Birds Song";the painted makeup style of"Join the Army Drama","The Lady Who is Shaking Legs and Body"and"Western Comedy",which showed the basic appearance of makeups in the Tang Dynasty song and dance drama.The rich and colorful make-up of the song and dance drama in the Tang Dynasty has a profound impact on the later generations,because it is rooted in China’s tradition and has also taken the essence of the makeup art of the overseas song and dance drama.