北朝敦煌音樂圖像歷史文化詮釋－以樂隊聲響及印度齊鼓為焦點

Abstract

本論文以北朝時期（439-581）繪於敦煌莫高窟之音樂圖像為焦點，詮釋樂器圖像各期聲響趨勢變化所反映的音樂文化及轉變，以此作為探討中國音樂史上北朝時期外來音樂傳入過程的一個案例。本文嘗詴「以圖為主」切入音樂史討論，首先對圖像進行考證與檢討，探討其在佛教、音樂、及工匠藝術等文化交集中所產生的背景，並判斷圖像中樂器種類的歷時性呈現可作為詮釋之依據。 在藉由樂器圖像討論各期樂隊聲響的過程中，桶爲和圓錐爲的手拍鼓類呈現具顯著變化，其中，更有一種過去研究鮮少關注，鼓面設「臍」之「齊鼓」，大量呈現於北朝第二期的石窟中。本文透過與現今印度鼓類之類比，討論齊鼓之「臍」作為調音糊之凾能特色，並從古付印度至中原的相關鼓類圖像中，探索敦煌北朝所見桶爲和圓錐爲鼓類與西北印度之淵源。本文認為這些印度鼓類主要藉由北傳佛教之民間慶典供養文化而傳入，並成為西涼地區音樂之付表鼓類，影響了北魏西魏時期敦煌所見之樂隊演奏聲響，調音糊的使用更因鮮卑王室的支持而興盛一時。然而北周時期的樂器圖像呈現中，印度鼓類幾乎消失，樂隊趨近於絲竹編制，本文認為此樂隊聲響轉變受到了與南朝清商樂接觸之影響，却時也反映著北周胡漢融合而表面復古漢化之文化風潮。

This thesis focuses on a group of music iconography from the Mogao Grottoes of Dunhuang painted during the Northern Dynasties (439-581), interpreting the musical culture and change reflected by the depiction of instruments and implied alterations in ensemble sound over three historical periods. The results contribute as a case study in the discourse of foreign music influences on Pre-Tang Chinese music. By regarding images as a type of historical trace, source criticism of the music iconography under study first tries to understand the creation of these grotto paintings, in the context of the interaction between Buddhist, music, and artisan cultures. After evaluation, the diachronic depiction of musical instruments serves as the basis of historic and cultural interpretation. One of the changes in reflected ensemble sound is due to the significant depiction of double-headed, barrel or conical shaped drums, among which a previously overlooked “belly-button” drum, or Ji-Gu, features prominently only during the second period. Analogy with existing Indian drums show that the protruding “belly-button” could have been tuning paste applied to the drumhead, and comparison with other drum iconography from ancient India to China supports the origin of the above mentioned drums from the north-western regions of the Indian Subcontinent. I suggest that these hand-struck drums were transmitted with the popular practice of musical offerings as devotional worship in Buddhist culture, and subsequently became a defining instrument of the Xi-liang area. The use of tuning paste on the drums flourished briefly due to patronization of Xienbei royal households. However, in the third period of Northern Chou, the Indian drums almost vanish, and the depicted instruments change and more resemble “silk and bamboo” ensembles from southern China, reflecting the politically driven, superficially sinicizing spirit of the dynasty and contacts with Southern Dynasty Han culture.