竖琴女音乐家 - 美国大都会艺术博物馆展品查阅

品名（中）	竖琴女音乐家
品名（英）	Female musician with harp
入馆年号	1923年，23.180.7
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 667 - 公元 699
创作地区
分类	墓葬陶器（Tomb Pottery）
尺寸	高 5 7/8 英寸 (14.9 厘米); 宽 3 1/2 英寸 (8.9 厘米); 深 3 1/8 英寸 (7.9 厘米)
介绍（中）	以女性音乐家为特色的合奏团经常充当精英和流行文化之间的音乐桥梁。作为专业的音乐家，他们往往是音乐创新者。这里展示了一个小型合奏（23.180.4-.7），拍手并演奏琵琶，tongbo（小铜钹）和konghou（竖琴）。琵琶在其原始位置演奏，就像阿拉伯琵琶一样;它的丝绳用三角形拨片拨动。其结构和演奏风格类似于琵琶，琵琶是一种源自琵琶的日本琵琶。今天，琵琶仍然使用三角拨片，西亚拨片护罩，以及在这里音乐家演奏的乐器以及本案中的玉带上看到的C形音孔。中国的演奏风格在混乱的后唐时期（921-36）发生了变化，当时拨片被丢弃了。汉末引进的棱角孔后竖琴，此时已衰落，到唐末已经完全不复使用。唐朝宫廷中评分最高的音乐家坐着表演，而低级的音乐家则站着演奏，在其他方面也受到较差的待遇。
介绍（英）	Ensembles featuring female musicians often served as a musical bridge between elite and popular culture. As expert musicians, they were often musical innovators. Here, a small ensemble is shown (23.180.4–.7), clapping and playing the pipa, tongbo (small copper cymbals), and konghou (harp). The pipa is played in its original position, like an Arabic lute; its silk strings are plucked with a triangular plectrum. The construction and playing style resemble those of the biwa, a Japanese lute derived from the pipa. Today, the biwa maintains the use of a triangular plectrum, the West Asian plectrum guard, and the C-shaped sound holes seen on the instrument played by the musician here as well as on the jade belt featured in this case. The Chinese playing style changed during the chaotic Later Tang period (921–36), when the plectrum was discarded. The angular konghou harp, introduced at the end of the Han dynasty, was in decline at this time and had gone completely out of use by the end of the Tang. The highest-rated musicians at the Tang court performed seated, while the lower ranks played standing and were also treated less well in other respects.