龟兹石窟壁画乐舞图像的形态分析

The Morphological Analysis of the Murals Music and Dance Images in QIUCI Grottoes

龟兹石窟是佛教最早传入中国的重要遗址,先后由十余处石窟寺群落共同组成,分布于丝绸之路的大动脉天山南麓的龟兹,即现今新疆拜城、库车、新和县境内。其中拜城县的克孜尔石窟规模最大、保存的壁画最多;库车县的库木吐喇石窟风格清晰。石窟中所保留的大量伎乐图像透射出的信息为我们研究历史中的龟兹乐舞、佛教文化在我国的历史嬗变、中西乐舞文化交流等提供了重要的、不可替代的资料。石窟伎乐图像载体基本集中于石窟壁画,此外还有个别浮雕残片以及乐舞舍利盒等,以往相关研究多属于对音乐或舞蹈的个案研究,如乐器,舞蹈姿势等,本文将从乐队组合的分析、舞蹈形象的分析、乐舞排列的分析等入手,对石窟寺群落伎乐分布规律和伎乐形态规律做整体性关照的尝试。

The QIUCI grottoes,an important site where Buddhism first came to China,are composed of more than 10 grottoes and temples distributed along the main artery of the Silk Road,the southern foothills of Tianshan Mountains in Baicheng,Kuche and Xinhe counties.The Kizil Grottoes in Baicheng County have the largest scale and the most preserved frescoes,and the Kumutula Grottoes in Kuqa County have a clear style.The abundant images of the artists in the grottoes provide important and irreplaceable value for us to study the history of Qiuci Music and dance,the evolution of Buddhism culture in our country and the cultural exchange between China and the west.The image carrier of the artists in the grottoes mainly concentrates on the frescoes、Besides,there are some fragments of reliefs,as well as music and dance relic boxes.In the past,most of the related studies are the case studies of music or dance,such as musical instruments,dance postures,etc.this paper tries to make a holistic approach to the distribution and morphology of the artists in the grottoes temple community.