Discussing Buddhistic Dance-Tsam

This article attempts to study the Tibetan Buddhistic dance—Tsam and its spread in the Inner Mongolia Autonomous Region. Being a special phenomenon of religious culture, Tsam contains deep and sophisticated religious philosophy and thought. As a result of the long-term Cultural Communication of Mongolian and Tibetan people, it also contains abundant historic and cultural information. This article tends to study Tsam's presenting way, style, content, and its influence on Mongolian music and culture, bringing to light how to spread in Mongolian areas and form a particular religious art. On the other hand, it discusses the traditional Mongolian religious cultures'impact on its spread in the Mongolian region. It is not only useful for prompting the study of religion in Tibetan and Mongolian customs and cultures, but also meaningful for further studying the change history of Mongolian musical culture.This article consists of introduction, five chapters and conclusion. The introduction mainly summarises the subject, purpose, meaning and studying ways of Tham; research stituation and result and collected materials; The frist chapter discusses the historic origin of Tham's spread in Mongolian areas and the formation of Mongolian religious culture; The second chapter summarizes Tham's origin, the environmental features and the causes of Tham's spread. The third chapter probes into masks, costumes and musical instruments, band and their function in Tham. The fourth chapter is the core of the article, mainly discussing the presenting way of Tham and its cultural connotation; The fifth chapter discusses the interaction of Tham and Mongolian dance. The conclusion poses, as a religious ceremonial behavior, the influence of Tham on Mongolian cultural and arts in the spread and the important evolving course of forming the particular Buddhistic arts.