【作者】 贺志凌；

【导师】 王子初； 刘绪；

【作者基本信息】 中国艺术研究院 ， 中国古代音乐史， 2005， 博士

【摘要】 在考古发现箜篌的实物标本之前,有关这种外来古乐器的研究主要建立在文献和图像等资料的基础上,所以存在的问题较多。本文以1996年在中国新疆且末扎滚鲁克地区出土的箜篌(公元前5世纪左右)和2003年在新疆鄯善洋海墓地出土的箜篌(公元前7世纪前后)为主要研究对象,运用音乐考古学的方法对这两次较为重要的考古发现进行分析和研究。 中国文献关于箜篌的记载,最早出现于汉代(前206——公元25);而中国一些佛教洞窟壁画中的图像资料则是公元4世纪才有的产物。新疆出土的6件实物标本,将箜篌进入中国的时间由原来的汉提前了将近500年。其直观的型制构造和所体现的清晰的文化内涵,为中国音乐史和中国乐器史的研究提供了广阔的空间。 与美索不达米亚、亚述、伊朗壁画及阿尔泰地区出土的巴泽雷克竖琴相比较,新疆出土的箜篌在型制和风格上既存在相当的共性,也具有鲜明的个性。这些共性和个性,体现了它在完成异文化演变为自文化的过程中的多元文化属性。这种文化的多元性使箜篌成为中西音乐文化、音乐审美的重合体,为研究中国音乐文化史提供了一个全新的角度和视野。 本文的研究,力图结合箜篌跨跃2000年的中国古代文献和遍布中国各地的近200幅图像遗迹,对这种古老乐器的传入、发展及消隐的历程,作一完整的阐述。更多还原

【Abstract】 The research on the konghou,an exotic ancient musical instrument,was mainly based on some second hand data like literal and pictorial materials before the archaeological discovery. Therefore, there were a lot of different viewpoints. In this article, the author would take the konghous as the main research objects, some of which (made in about 5 century B.C) were unearthed at the Qiemozagunluke area of Xinjiang, China in 1996 and the others of which (made in about 7 century B.C) were unearthed at the Yanghai graveyard of Shanshan County of Xinjiang, China in 2003, analysis and research these two more important archaeological discoveries using musical archaeological methods.In Chinese ancient literature, the recordation of konghou early appeared in the Han Dynasty (206 B.C-A.D. 25) while the pictorial materials in some fresco of Buddhism cavern in China did not appear until A.D. 4 century. These six precious cultural relics indicate that in fact the konghou appeared 500 years earlier than the time which had been confirmed before. Their intuitionistic patterns and structures as well as its clearly cultural connotation also provide a broader space for studying Chinese musical history and the history of Chinese musical instruments.Compared with the harps in Mesopotamia, Assyria, Iran mural and Pazyryk, these harps have certain general character in their patterns and structures and also have their individual character. These similarities and differences manifest the characteristics of multiculture produced in the process of foreign cultural evolution. This made the konghou become a duality of Chinese and western music culture and music esthetics. And it provides a new angle of view to the research of Chinese musical history.Through combining the Chinese ancient literature during 2000 years about the konghou with nearly 200 old pictures, the author would attempt to fully explain the courses of introduction, development and disappearance of the ancient instrument.更多还原