隋九部樂佛曲的設置及其禮樂功用

Buddhist Music in the Nine Music Groups of the Sui Dynasty and Its Ritual Function

「無隔華夷」、天下一家是隋帝國採取的積極對外政策，在此政策下，作為國家禮樂外交之用的九部樂，其建制過程體現出極為開放的姿態，一個突出之點就是廣納四夷之樂，主動吸收西涼、龜茲、天竺地區的代表性佛曲。…諸如禮讚佛教神祇「摩尼神王」的〈善善摩尼〉；演繹佛教諸小天人的舞曲〈小天〉；歌頌于闐國天王信仰的〈于闐佛曲〉；表現勃伽夷城娛佛情景的解曲〈婆伽兒〉；演述遠離礓石瓦礫穢土世界的〈沙石疆〉；以及稱頌大眾部始祖摩訶提婆的〈天曲〉。九部樂諸佛曲以歌舞形式對佛教人物、教義進行宣傳，蘊含了隋王朝深刻的政教用意。一方面是將域外經典佛曲納入傳統的華夏禮樂體系，以佛教音樂藝術為媒介來建立共同的政治文化認同；一方面則是在思想上著意將隋代君王附會為佛教中的「轉輪王」，以此強調其在各國的宗主國地位。

“No distinction between Hua (Chinese) and yi (non-Sinitic peoples)”無隔華夷largely characterizes the foreign policy of the Sui dynasty, which further invoked:“Treat all under heaven as belonging to the same family”天下一家. Under such policy, the establishment of the nine music groups九部樂, oriented for official diplomatic purposes, shows acute cultural openness, with one significant point being the active incorporation of foreign music (namely the four yi music forms四夷之樂), especially Buddhist music from the Western Liang Kingdom in present-day western Gansu, Kucha in Xinjiang, and Tianzhu (India), into the official music groups. Examples include“Shanshan Moni”善善摩尼(“Virtuous Mani”) which lauds the Buddhist deity“King of Maṇi”摩尼神王;“Xiao tian”小天(lit.“Little Heaven”) which depicts the celestials;“Yutian Fo qu”于闐佛曲(“Kingdom of Khotan Buddhist Tune”) which extols the Khotan’s worship of Heavenly King Vaiśramaṇa;“Po jia’er”婆伽兒which represents the Buddhist festival at Bojiayi City in Xinjiang;“Shashi jiang”沙石疆(lit.“Realm of Sand and Stone”) which portrays the ideal world distant from the corrupt physical universe; and“Tianqu”天曲(“Heavenly Tune”) which is dedicated to Mahādeva, the founder of the Mahāsanghika. The incorporation of Buddhist music into the nine music groups promoted Buddhist figures and doctrines through music and dance, connoting profound religious and political motives. With the inclusion of foreign Buddhist music, the system of traditional Chinese ritual music strove to build a shared political and cultural identity through the media of Buddhist music, while in the meantime linking the Sui emperor to the Cākravartirāja, thereby emphasizing the Empire’s rule over its tributaries.