Study On The Image Of Waist Drum In Dunhuang Murals

Dunhuang music and dance murals are a combination of ancient music and Buddhism,graphically recording the development of Chinese music from the Beiliang to the Yuan Dynasty.Therefore,a large number of musical instrument images on the murals have become a vital basis for the study of ancient musical instruments.Among them,the image of waist drum with the characteristic of thin waist runs through almost all stages of the development of the Dunhuang Grottoes.Its' quantity not only ranks first in the number of drum instruments,but also it has different characteristics in the development of ages in the shape,performance,and functional applications.And abundant waist drum images faithfully demonstrate the evolution and development of waist drums in history,and fill the gap in the study of music history.Herein,waist drum images in Dunhuang murals are taken as the research object,and then the names of waist drum instruments in history and draws waist drum images in murals are reviewed by the research methods such as music history,archeology,imaging,and philology.The basic situation and the shape and structure of waist drum in murals are explored in-depth,so as to clarify the evolution process of the Hus' drum instrument in the Chinese history and the law of Chinization,and reveal the profound long-standing cultural connotation in our country.In the first chapter,the meaning and change process of the historical name "waist drum" were mainly proved from the perspective of literature,and then the related archeological remains were teased from the perspective of archeological excavation.Through analysis and comparison of shape and propagation path,it is inferred that the waist drum in the mural is a Hu musical instrument originating from India.Since the thin-waisted drums in the murals accorded with the historical definition of "waist drums" in terms of shape characteristics and time,it could be determined that these images were waist drum images.After further compared with the literature,the waist drums in the murals could be confirmed that it was real and kept pace with historical development,which not only reflected the development and evolution of waist drums with two-hand slaps,but also might show the real feature of "two stick drums" characterized by stick performances in the Tang Dynasty and "Hanzhen Second Drums".In the second chapter,the drawing of waist drum images in murals were mainly organized via the collection and research of historical records,and given in the tableswhere 12 dynasties,120 caves,and 288 images from Beiliang to Xixia were covered.Based on the chart information,the characteristics of the caves and the distribution of the waist drum were combed,and the shape characteristics of the waist drum were studied from the perspective of music imaging studies based on the collected 203 images,so as to divide waist drum images into 57 types according to the different shapes.In the third chapter,the evolution of the waist drum shape in murals was mainly combed based on the division of waist drum types,and it is put into the actual performance process.From the perspective of historical development,the evolution rules of each component of the waist drum were analyzed.In the end,the historical facts of the Chinization of the waist-drum in the mural " Spreading to the Central Plains from Western Regions " and " Inheriting from Central Plains " are summarized.In the fourth chapter,combining the use of waist drums in murals and the attributes of "music" and "dance" manifested as musical instruments and dancers,it was analyzed that the historical reasons for the prosperity and decline of musical instruments after their introduction into the Central Plains and the different functions assumed by people from different classes in their lives from the perspective of social and cultural development,and the profound cultural connotations of the waist-drums in the "waist-drum dance" that still exists in ethnic minority areas such as Yao,Korean,and Zhuang were discussed.