从新疆地区壁画看唐代琵琶的孤柱现象

The Separate Fret on the Pipain the Tang Dynasty:A Perspective of Cave Paintings in Xinjiang Region

五弦琵琶曾是丝绸之路上非常重要的一件弹拨乐器,也是隋唐时期宫廷音乐活动中最活跃的乐器之一。然而由于这件乐器唐代以后突然消失在音乐史的舞台,后人对它的认识日渐贫乏,倚赖宋代郭茂倩《乐府诗集》中注引的来自五代陈游《乐苑》的一条文献,人们将文献中提到的"孤柱"视为五弦琵琶最重要的柱制特征,并将其视为区别于其他琵琶类乐器的标识。由于《乐苑》一书的佚失,《乐府诗集》转引的寥寥数句并不能使我们十分清楚此条文献的源出与时代,而从出自新疆地区的几种壁画图像以及考古实物可以发现,"孤柱"并非五弦琵琶所特有,其内涵也远较传统的认知更复杂。本文通过对这些材料的揭示与解读,结合与其他历史文献的比较,提出"孤柱"并非五弦琵琶的特有而是见诸唐代琵琶类乐器的一种普遍性柱制设施的观点。

The five-stringed pipa was once an important plucked string instrument on the Silk Road and one of the most popular instruments in court music during the Sui and Tang dynasties.However,it disappeared from the music stage after the Tang Dynasty and has become an increasingly rare instrument.According to Chen You’s Book Yue Yuan(乐苑)in the Five Dynasties,which was cited in Yuefu Poetry(乐府诗集)by Guo Maoqian in the Song dynasty,many scholars believed that the separate fret was the typical characteristic of the five-stringed pipa,and distinguished it from other lute instruments.Although the book Yue Yuanis missing today,and Yuefu Poetrylacks detail,by investigating cave paintings and archaeological objects in Xinjiang,this paper proposes that the separate fret is not unique to the fivestringed pipabut is a universal feature that can be found in Tang Dynasty lute instruments.