Yungang Grottoes Musician Images

Southern and Northern Dynasties is the fusion era that northern Central Plains grassland nomaded Han Cultural, and the Northern Wei period, finished reforming and set off a tide of national integration. Musical culture of the Northern Wei has also rapidly developed with HU Han-integration process, the Northern Wei Dynasty Buddhist rulers built the Yungang Grottoes in Pingcheng (today's Datong, Shanxi), and it is also one of the three largest Grottoes in China, in which there is a large number of carved images of Yue ji. This paper mainly studies for carved Yueji images in the Yungang Grottoes, examining the basic development of music in the Northern Wei Dynasty during the integration of all ethnic groups. The main contents of this paper is as follows:First, Excavated caves a phased basis, can be carved on the caves in the Yue Ji phased study. the Northern Wei Dynasty Chinese and Western music and cultural exchanges and Buddhism dependent characteristics of imperial power, according to study Buddhist scriptures in the Yungang Grottoes carved Leji form and classification, which is divided into the performance of Buddhist community or secular community specialized Kuregaku sculpture and decorative patterns on the Caves of Kuregaku ornamented with carving.The Yungang Grottoes in the Yue Ji and Buddhist sculpture manifestation of the characteristics of music combine to explore the caves in the form of Leji the formation of the reasons for and significance.Instrument classification in accordance with the caves in the instrument is divided into string musical instruments, blowing musical instruments, film (body) Ming musical instruments and full sort of musical instrument sources to careful study and analyze various types of musical instruments of national property, especially for blowing, Yi zui Flute and the "Alien Flute" on the main study, analyze the characteristics of Xi Liang Music traditional musical instruments, and the causes and significance The musical instruments and the Central Plains appear in the Yungang Grottoes tegether Yungang Grottoes was carved a variety of different aesthetic characteristics of dance styles, it can be divided into "decorative dance style" and "realistic style of dance." They have different historical backgrounds and different ethnic music and dance culture of the region differences in the exchange of mutual influence, and even styles of dance, The dance sculpture has been carved on the same caisson, metaphors of national unity, cultural integration, a total of Young Buddhist thought. Otherwise this Yungang Grottoes in Xinjiang Uygur and Uzbek ethnic folk dance of the snap of the fingers, Bian, and blowing refers to dancer sculpture, they are combined with the band, rendering the atmosphere.The Cave of No.38 in Yungang Grottoes is the performance of buildings down Kuregaku vulgar scenes carved circles, it is Baixi acrobatic show in one of the project activities, climbing pole. Baixi plays since the Han dynasty has been considerable development, and the newly added acrobatics were carved during the Northern Wei Dynasty in the Yungang Grottoes. The Cave of existing 2 Baixi images, one for Yue ji prone summit in rod-shaped, pole next to the pyramid-style carving three-band accompaniment, music holders Yizuidi, pan, and pipa; First Kabuki pole Jen-Yang Yu Dian for rotation of the posture, pole next to wicker horn, drum, pan the Leji accompaniment. Accordingly, the Northern Wei Dynasty Baixi to explore the musical elements of opera, dance form, The Baixi carved scene of great significance to its far-reaching impact upon the theatrical arts.Northern Wei's music culture is the localization context of the reform, in the Hu-Han culture and diminishing supply, the process of interacting with each other to establish and formed and developed. Yungang Grottoes in the music and dance sculpture will be a clear record of integration of various national music scene. Emperor Xiaowen's determination and efforts to implement localization through the ages sufficient to Radiance, Speaking of measures on the Xian Bei and northern feudalism the minority role in promoting the annals of Wei, Jin and Northern and Southern Dynasties period of large-scale national integration have been summarized, in order to open the creation of the Sui and Tang Sheng conditions. Speaking of Emperor Xiaowen policy of promoting national integration, to strengthen national capacity, Lessons of various ethnic music culture nutrients, the Wei, Jin, Central Plains since the traditional music and external music culture so as to form flower buds, waiting for the Sui and Tang when they bloom!The Northern Wei Dynasty not only inherited the extensive and profound culture of the Han people in the Central Plains culture, traditional music, but also the east-west integration of the various minority cultures, so that musical culture in ancient China from a move towards a widely appealing, and all-round development of the new upsurge. Fundamentally speaking, from the Northern Wei Dynasty to the Sui and Tang, music, prosperity and development of the North the integration of all ethnic groups are closely related to the historical background; Northern Wei nation-building and unity of all ethnic groups is to promote music as a melting furnace of the direct driving force. Han, Tang Taizong Li Shimin of the country since the Gagaku Ampang and the denial of the concept of ethnic minorities and to build an inclusive music policy.Marks the beginning of Chinese music from the shackles of ritual indoctrination toward the return of its own artistic nature, no doubt with the Northern Wei Dynasty the integration of various ethnic music has a close relationship.