北魏時期留存至今的雲岡石窟寺中的「伎樂」雕像是瞭解佛教「伎樂供養」的重要物證。而「伎樂」雕像之所以產生，實得自佛經中「伎樂供養」之記載的啟發，自早期佛教的《長阿含經》中即已可見，爾後，散見於漢魏時期的諸佛經者，意義並不盡相同。今本論文旨在先從漢魏時期的漢傳佛經中有關伎樂的記載加以梳理，考察其中「伎樂供養」在佛經中所呈現的多重意義；進而落實於北魏佛教石窟寺來看，特以雲岡石窟第6窟的「天宮伎樂」為例，考察這批環繞窟頂與四壁交接的「伎樂」，所持的樂器及其排列成樂隊形式的情況，由此來看北魏時期「伎樂供養」的意義與實踐。

The stone sculptures showing celestial musical performers in the Buddhist Yungang grottos during North-Wei Dynasty, which are still preserved, depict several figures holding a varied array of musical instruments; these materials are evidence for the understanding of Buddhist services of worship. These sculpted murals were carved in poses which were inspired by the records of Buddhist services of worship contained in Buddhist sutras. Buddhist services of worship date back to the earliest known Buddhist sutra, “Long Discourses.” Later, these musical descriptions can be found in many Buddhist sutras from the Han Dynasty to Wei, Jin, and Northern and Southern Dynasties. However, the meanings of Buddhist services of worship scattered in these Buddhist sutras vary from one another.
The paper aims to sort the numerous Buddhist texts in regards to the celestial musical performers from the Han to Wei, Jin, and Northern and Southern Dynasties, to figure out the various meanings of Buddhist services of worship via the celestial musical performers. Moreover, the author takes the sculpted murals of the celestial musical performers situated in Buddhist grottos during the Northern Wei dynasty as examples, situated in Buddhist grottos with a particular focus on the celestial musical performers of the Heavenly Palace in the sixth of the Yungang Grottoes. The author examined the arrangement of the musical instruments within the band that goes around the joints connecting the four walls and the ceiling. The author will reveal the significance and practice of Buddhist musical services of worship during Northern Wei Dynasty.