丝路交融_梨园戏手姿与敦煌手姿渊源考.pdf

丝路交融:梨园戏手姿与敦煌手姿渊源考 2020年第1 期（总第213期） 丝路交融:梨园戏手姿与敦煌手姿渊源考 王晓茹 内容摘要：泉腔梨园戏深居东南一隅福建泉州，敦煌莫高窟位于大西北甘肃敦煌，两者相 隔万里为何其手姿密切关联。这一问题涉及泉腔梨园戏剧种的历史源流，还涉及古代陆丝 文化与海丝文化的交汇融合。从造型方式、表现手段与文化内涵三层面比照，探明梨园戏 手姿与隋唐时期敦煌尊像画人物的手姿蕴有亲密的“血缘关系"。考证唐代中原传入泉州 的歌舞戏“戏弄”的“下南”一派和宋代南外宗正司传入泉州的乐伎家班的“小梨园” 一派， 探明在丝路交融中唐宋时期歌舞艺术的共同始源是两者渊薮关系的成因，将梨园戏肇基期 往前推至隋唐时期，联通“古南戏活化石”梨园戏与“墙壁上的图书馆"敦煌壁画，为中华民 族戏曲文化研究开辟新渠道。 关 键 词 ：梨园戏 手 姿 敦 煌 手 姿 历 史 渊 源 唐 歌 舞 戏 翰 林 院 会 馆 中图分类号：J80 文献标i只码： A 文章编号： 0257 -943X(2020)01 -0049 -1 7 Title ：Blended with the Silk Road: Textual Research on the Historical Connections Between the Hand Posture of Liyuan Xi and that of Dunhuang Frescoes Author: WANG Xiaoru Abstract ：Liyuan Xi originated in Quanzhou, Fujian province of southeastern China, while the Mogao Grottoes of Dunhuang is in Gansu province of northwestern China. Why are the hand postures of them closely related despite the great distance? This question is not only concerned with the historical origins of Liyuan Xi, but also with the integration between the culture of the ancient Silk Road and that of the ancient maritime Silk Road. In light of this, this essay has a comparison between them in the ways of modeling, means of expression, and cultural connotation, finding that the hand postures of Liyuan Xi and that in Dunhuang Frescoes are closely related. This essay concentrates on tracking down the “ Xianan” style (a kind of singing and dancing introduced into Quanzhou from the Central Plains during the Tang dynasty) as well as the MXiaoliyuanM style (a kind of Xiqu introduced into Quanzhou by the lineage of Nanwai during the Song