雲岡石窟是目前保留北魏原跡最完整的石窟寺群，在《妙法蓮華經》的影響下，石窟寺中可見「三世佛」、「二佛並坐」與「千佛」等佛造像的特色，其中部分的伎樂雕像反映出《妙法蓮華經》的典故，而在這些反映《妙法蓮華經》典故的伎樂雕像中可見「琵琶伎與笛伎」對列作為伎樂供養以表法的圖像，然在北魏之前的音樂史料及圖像中卻幾乎未見「琵琶伎與笛伎」對列的情況。今本文特就雲岡石窟中「琵琶伎與笛伎」對列的伎樂雕像來加以考察，發現其中仍清晰可辨識者至少有41組，實非偶然，這些「琵琶伎與笛伎」對列的伎樂雕像來源為何？本文結合史書及唐詩的記載、同時期其他石窟寺及墓寺壁畫的圖像，以及印度阿瑪拉瓦蒂（Amaravati）的浮雕圖像與其他犍陀羅（Gandhāra）地區遺址中有「琵琶與笛」對列的音樂圖像加以比對，而發現雲岡石窟中「琵琶伎與笛伎」對列的音樂圖像有可能是受西域胡樂與印度佛教圖像東漸的影響而來。

The Yungang Grottoes are the most gorgeous and complete remains of the original site of the Northern-Wei dynasty Buddhist Grottoes. The sculpted murals include “trailokya buddham, Prabhūta-ratna and Shakyamuni Buddha sitting together,” along with the “thousand Buddhas” , which were inspired by the records of the Buddhist Lotus Sutra in the Yungang grottos. This paper aims to examine the sculpted murals in the Yungang grottos showing celestial musical performers playing pi’pa and flute, to see how the people during Northern-Wei dynasty absorbed and expressed the doctrines of Buddhism through these artistic productions, and how the murals provide evidence for the understanding of the Buddhist services of worship following the secularization of Buddhism. In addition, the author also sorts and identifies all the musical instruments depicted in the sculpted murals of the celestial musical pi’pa and flute performers, which shows how they merged the music of the Han people, Xianbei, and Western Regions into a whole, reflecting the musical culture of the Northern-Wei dynasty. Finally, the paper also discusses the Western origin of the ensemble of pi’pa and flute, and considers the celestial musical performers in the Yungang grottos through the perspective of musical icons.