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一幅珍貴的唐長安夜間樂舞圖 -- 以莫高窟第220窟藥師經變樂舞圖中燈為中心的解讀=A Valuable Picture of an Evening Music and Dancing Scene in Chang’an -- An Interpretation Focusing on the Lamps in the Music and Dancing Scene of the Bhaisajyaguru Sutra Illustration in Mogao Cave 220 |
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| Author |
沙武田 (著)=Sha, Wu-tien (au.)
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| Source |
敦煌研究=Dunhuang Research
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| Volume | n.5 (總號=n.153) |
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| Date | 2015.10 |
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| Pages | 34 - 44 |
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| Publisher | 敦煌研究編輯部 |
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| Publisher Url |
http://www.dha.ac.cn/
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| Location | 蘭州, 中國 [Lanzhou, China] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者单位：陜西師范大學歷史文化學院 |
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| Keyword | 莫高窟第220窟=Mogao cave 220; 樂舞圖=music and dancing scene; 唐長安城=Chang’an city in the Tang dynasty; 燈=lamp |
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| Abstract | 敦煌壁畫是形象的歷史,其作為圖像資料,成為我們今天解讀中古歷史的第一手考古資料。敦煌莫高窟第220窟藥師七佛變中的大型樂舞場景,雖然表現的是佛國凈土世界情景,但是剔除其中佛教虛幻和藝術化的成分,緊密聯系藝術的社會生活源頭,可以發現其中三處大型豪華的燈飾,正是有唐一代長安城上元夜燃燈的再現,也可以認為是包括皇帝會群臣的大型晚宴,官僚士大夫家中舉辦的各式夜宴,唐長安、洛陽兩京地區各類大型夜間樂舞場景的描繪,有重要的歷史研究價值。
Dunhuang wall paintings exhibit a history of images. As image documents, Dunhuang caves have been first-hand material for interpreting medieval history. The large-scaled music and dancing scene in the Bhaisajyaguru sutra illustration in Mogao Cave 220 depicts a scene of Buddhist paradise. However, a close association between the art source and social life, without considering Buddhist illusory and artistic elements,suggests that one of the three luxurious lamps is an exact representation of the Chinese lunar lantern festival in Chang ’ an in the Tang dynasty, and can also be regarded as a large-scale dinner party showing the emperor meeting his ministers, the banquets held by noble or official families, or the various night music and dancing scenes in Chang ’ an or Luoyang in the Tang dynasty. These wall paintings are of important value for historical research. |
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| ISSN | 10004106 (P) |
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| Hits | 390 |
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| Created date | 2016.06.13 |
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| Modified date | 2018.05.29 |
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