A Study Of Music And Dance Murals In Cave 156 Of Mogao Grottoes

Dunhuang,since Han Dynasty,has enjoyed the reputation of "one city will be the same as the other".As a throat fortress on the Silk Road,it is not only the trade center between the east and the west,but also the place where culture spread to the east at first.Since Zhang Yichao was appointed as the first Hexi Special Envoy,the regime of Guiyi Army with Dunhuang as the center was established,which spanned three historical periods: the late Tang Dynasty,the Five Dynasties and the third day of Song Dynasty,and maintained the social stability of Dunhuang for nearly two hundred years without being destroyed by war.At the same time,Dunhuang Buddhism flourished and its culture flourished,and Mogao Grottoes ushered in a new climax of cave building.As a merit cave in Zhang Yichao,Cave 156 of Mogao Grottoes is one of the most representative grottoes in the late Tang Dynasty.No matter from the scale of the grottoes,the exquisite murals in the grottoes and their various presentation methods,it can be called a beautiful work in the history of Mogao Grottoes,which may reflect some real conditions of Dunhuang local music and cultural development in the late Tang Dynasty.In this paper,the data of music and dance murals in a single cave in Cave 156 are taken as the research subject,and combined with the military history of Guiyi and the historical and cultural background of the late Tang Dynasty,the image data of music and dance murals attached to the cave in Cave 156 are deeply analyzed and comprehensively discussed from several aspects,such as site selection,distribution of mural music and dance data,concrete description and analysis of music and dance images,and analysis of artistic value.Through research,it is found that there are seven types of music and dance themes in the picture data of murals in Cave 156 of Mogao Grottoes,with about 158 musical instruments of different shapes and sizes.Among them,music and dance have the largest proportion,with a total of 89 musical instruments in six shops and 10 musical instruments in three shops of Li Buddha band;Secular music and dance followed,with a total of 5 shops and 31 musical instruments;There are 14 bodies and 7 musical instruments in Tuen Mun Music Shop;No drums,one shop,six musical instruments;There are 5 shops and 5 musical instruments in Feitian Jile 3;There are 15 bird music and dance shops with a total of 5 musical instruments;Bodhisattva’s geisha music shop has two bodies and two musical instruments.Based on the comparative study of music department of Sui and Tang Dynasties and local traditional music culture,this paper finds that,as far as the use of musical instruments is concerned,the use of musical instruments in the image data of mural music and dance in Cave 156 is more focused on the allocation and use of percussion instruments,followed by playing instruments,while plucking instruments are relatively few.It can be seen from the compilation of the band that its music style is based on the main body of Xiliang Music,combined with Western Qiuci Music and Central Plains Qing Shang Music,which has not changed much from the proportion of musical instruments used in the mural music and dance image data of Mogao Grottoes before the late Tang Dynasty,and is more consistent with the historical records of the development of Dunhuang traditional music in the middle and late Tang Dynasty.By studying the image data of the mural music and dance in Cave 156,this paper provides material support for the comprehensive study of the single cave in Cave156 of Mogao Grottoes,and provides a strong research basis for the study of the traditional music culture in Dunhuang local area in the late Tang Dynasty.