A Study Of Music And Dance Murals In Cave 61 Of Mogao Grottoes

Mogao Grottoes Cave 61 was built by Cao Yuanzhong,the fourth Guiyi Army of Dunhuang,and was built in the 12th year of Han Tianfu after the fifth generation to the first year of Zhou Guangshun(947-951).The development of Buddhist culture and art forms a stable and prosperous scene.At this time,the Jiedao government bureau not only set up tricks and painting schools,but also folks set up painting lines.The cave art basically followed the shape of the former dynasty,but it was even larger and more spectacular than the Tang Dynasty.Mogao Grottoes Cave 61 in the south,north,and east has a total of 11 shops of warp paintings and images of musical instruments.Among them,there are 30 shops of warp paintings that contain non-drum self-sounding instruments.The first shop of Jingbian Painting is "Huayan Classical Changes";the seventh shop of Jingbian Paintings containing Jingbian Musical Music and Dance,and only the second shop of Musician Yuewu Dance Musical Paintings are "Strict and Strict Classics" and "Siyi Brahma" "Ask the Scriptures in Heaven";the three-storey paintings of the Scriptures with worldly music and dance are "Fahua Scriptures","Lenga Scriptures" and "Vimalayan Scriptures".There are 33 Buddhist story paintings on the south,north,and west walls of the cave,including one on each of the north and south walls containing music and dance images,and six on the west wall.There are eight fans and 56 instruments.The research found that the percussion instrument accounted for a larger proportion of the Tang Shijing Bian Music and Dance Band,and the five generations changed.In the 61st Mogao Caves Jing Bian Band,the emphasis on the wind instruments,whether it is a single shop The non-drum and self-sounding instruments in the paintings or the compilation of the instruments in the music and dance,as well as the statistics of the entire cave,found that the use of wind instruments has increased.In the middle of music and dance,there is usually a drummer holding a waist drum.The shape of the waist drum is slightly changed.The waist drum dance in the mid-Tang Dynasty is generally larger.After comparing the authors with the Chinese and Western clubs in the literature,it is found that the instrument arrangement is similar to that of Xiliang and Gaochang.The stylized mural music and dance of the five generations all reflected the reference,absorption and integration of Western Region music and instruments under the background of the culture of tolerance and openness in the Tang Dynasty.Dunhuang not only absorbs foreign music culture from the Western Regions,and inherits the traditional music culture of the Central Plains.During the fifth generation,Dunhuang also had music camps in the local area,which not only served the local music and dance activities,but also provided the factual basis for Dunhuang murals and dances.Cultural dissemination is not only one-way,but also two-way.The special geographical location of Dunhuang makes its murals and dances show the evidence that preserves the fusion of multi-ethnic music and culture.