The Archaeological Observation About Music And Dance Frescos In LIAO Burials

In recent years, with the further advancement of Archaeological works in LIAO Dynasty, some music and dance frescos about LIAO have been exposed in LIAO burials, which provokes the scholars'wide attentions. They began to make some investigations about the music and dance frescos in different angles. But at present, the research remains at the summary of materials and the systematic research were very weak. The purpose of the thesis is to carry on some archaeological research about the music and dance frescos and hope to make a thorough inquiry in the space-time architecture during the music and dance frescos about LIAO, and we wish to understand the laws of development of music and dance in LIAO Dynasty. At the some time, we can make some research about the social estate of the rite and music in LIAO Dynasty.Through the observing about the music and dance frescos, the naming for some kinds of music instruments was very chaos. There were some different devices of the same name or the same device of the different names. The first cause is the similar shape for some music instruments which we can't discriminate, for example the Flute, the Wicker Horn and the Long Hsiao. They have the same shape. The second is that the name for music instruments has taken place some variation, for example the Flute in the early time is the Long Hsiao today, the Hsiao in early day is the Panpipe etc. The third is the confusion because of the fuzzy image and the lacking of careful analysis. The focal point of the thesis is to discriminate the shapes and performance pattern of waist drum, staff drum, quake drum, clap drum, pipa, long hsiao, panpipe, fife and wicker horn etc in archaeological typology approaches, and correct the fault instruments'name into right ones.Through some research, we can find out that the formation arraying for the music and dance frescos have some law. The different formation arraying reflect the different function of music and dance. The thesis classify the music and dance frescos into there types and eight formations according to the pattern of composition. Each formation has its own distribution. Overall, the distribution of music and dance in LIAO Dynasty mainly focus in five regions: from Datong to Beijing, The southern capital and The western capital in LIAO Dynasty; the surrounding areas of Chaoyang, the east of Inner Mongolia Chifeng; the surrounding areas of Balinzuoqi, the Liaoshangjing; Liaoyang areas, The eastern capital, especially focusing on the areas of the Liaoyang.There are single and double dancing in the music and dance frescos, the double dancing is main the staff drum. No matter what is the single or the double dancing, the posture of dancers has their own feature. From comprehensive analysising, we can distinguish A, B, C, D, E, F, G, H and so on. Each posture may be the deputy posture for one suit of dance. They ought to be on behalf of eight sorts of prevalent dances in LIAO Dynasty. From the attribution area of the types of dancing, A is prevalent at Tongliao, Zemeng. B, C, G, F are prevalent at Zhangjiakou, Datong. D is prevalent at Xuanhua, Zhangjiakou. E, H are prevalent at Shuozhou, Zhuolu, Hebei.According to the year of tombs, combining with the analyze of distribution and style for the distribution of music and dance, there are obvious differences in times about these frescos. We can summarize into five stages:The first stage: about the Taizong period; the second: between the Jing and the sheng period, before the Taiping in sheng period; the third: between the Taiping in sheng period and the Dakang in Dao period; the fourth: between the Da-an and Shouchang in Dao period; the fifth: Tianzuo period.The division for the music and the dance is the key point. The main purpose is to find out the law of the development about the music and dance in Liao Dynasty. Through some textual research about the time and the identity of tombs, summarize them into five issues. From the first and second, we can learn that the music and dance culture in Tang, Jin have make great influence in LIAO. For example , the enumerating distribution in figures, lacking of clear perspective relationship, sitting and standing, the applying of two parts skill etc. During the development, it absorbs some elements from Song Dynasty, for example the staff drum in THE THREE SUNG DYNASTY TOMBS AT PAI-SHA. The distribution in M7 in XUANHUA is similar with the SONG DYNASTY TOMBS AT JIANGJIAGOU, PINGDING, SHANXI, which reflect the influence between the SONG and LIAO.From the function of music and dance formation, they can be used in different places. One is for urging; two is for preparing dinners; three is for traveling; four is for the heaven; five is for Buddhism; six is for military; seven is for enjoying oneself. But at some times, the music and dance for traveling can replace the one for preparing dinners.The nature of the music and dance is the hot spot in some researchers'attention. According to the composition of music instruments, comparing with the literatures, we find that the JIA Formation is for the big banquet, the YI Formation is partly for the SAN-LE banquet, one or two for the worship, military. The later of LIAO Dynasty, coming into a new art modality—THE SAN-XIAN performance art.The sexuality and status for the music and dancer is one issue for us. Some researchers bring out the question that the female performers dressed in male clothes in some tombs in Da-an period in XUANHUA LIAO Dynasty TOMBS, but the performers in ZHANGXIQIN TOMB were change into males. The author think that it has something with the LIAO Dynasty's domination rules. In addition, the rules of applying music in LIAO Dynasty, THE LIAO SHI is very brief, for example the officials played flutes, panpipe. Above the forth grade, everyone had their own expanding and loss. But the detailed circumstances we can't understand. Moreover, these music and dance frescos were unearthed from some nobles or officials'tombs, which can be used to understand the music rules in LIAO Dynasty. Through the analyze for the music and dance in LIAO Dynasty, the relational rules in music come into inkling. The rank in LIAO tombs express in the number for the performers, which can be divided into five ranks, 2—12 and so on. It demonstrates that the LIAO Dynasty has its own strict music rules. At the same time, we also know that the rules can be carried on in early time and central region of LIAO, but the situation is contrary in later and the other places. Of course, the rank distinction about the music and dance frescos has some difference with the real life, it merely reflect the rank of applying music in tombs. Regarding the character of the music and dance, most of them are for the urging and preparing dinners, the performances for the heaven, Buddhism, military etc are very finite. At the same time, the article gives the explanation that the female performers are less than the male in the music and dance characters, which are influenced by the the Confucianists and the Buddhism.