摘要
北魏百戏承袭汉晋传统,又融入拓跋鲜卑和其他少数民族风格,不断创新出新的表演形式和内容。从墓葬文物来看,北魏百戏最常见的当属都卢寻橦,且以额顶长橦为最,其次是踩高跷、柔术、跳丸掷剑等,表演场所从宫廷、寺庙、军营、贵族庭院到民间街头,每逢特殊节日、祭祀活动,百戏作为礼乐习俗出现其中,并受到统治者和不同阶层的喜爱。百戏图像从一个侧面折射出北魏汉化的过程。
The acrobatics of the Northern Wei dynasty inherited Han and Jin traditions,incorporated the style of Xianbei and other ethnic minorities,and constantly innovated new performing forms and contents.From the perspective of burial relics,the most common form was undoubtedly the Du Lu Xun Tong,with the forehead top long Tong being the most common,followed by stilts,jujitsu,jumping pills and throwing swords.And the performing venues ranged from the palace,temples,military camps,aristocratic courtyard to the street during special festivals and sacrificial activities,as a ritual and music customs,enjoyed by both the rulers and people of different social classes.The study of the images can reveal the process of Hanization of the Northern Wei dynasty.
作者
曹明明
CAO Ming-ming(School of Music,Shanxi Datong University,037009)
出处
《云冈研究》
2024年第1期54-62,共9页
Yungang Research
关键词
百戏形象
汉晋传统
都卢寻橦
the images of acrobatics
traditions of the Han and Jin
Du Lu Xun Tong
作者简介
曹明明(1982-),女,河北沧州人,硕士,副教授,研究方向:音乐学。
