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，進而落實於北魏的佛教石窟寺來看，特以雲岡石窟第六窟的「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 sculpted murals showing celestial musical performers in the Buddhist Yungang grottos during Northern-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, and Buddhist services of worship that 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 Southern and Northern Dynasties. However, the meanings of Buddhist services of worship scattered in these Buddhist sutras vary from one another. The paper aims to examine the numerous Buddhist texts relating to the celestial musical performers from the Han to Wei, Jin, and Southern and Northern Dynasties, and to interpret the various meanings of Buddhist services of worship by studying the celestial musical performers. The author focuses on the arrangement of the musical instruments within the band on the joints connecting the four walls and the ceiling. The author wants to reveal the significance and practice of Buddhist musical services of worship during Northern-Wei Dynasty.