A Sense of Community for the Chinese Nation Embodied in the Musical Dance Art of Early Dunhuang Grottoes

The musical dance art recorded in early Dunhuang Grottoes,though supposed to be created by ancient northern ethnic groups such as the Hun and Xianbei,gives expression to a strong thought of"Chinafication"and a sense of community for the Chinese nation.By analyzing the essence and content of the musical dance art in the Dunhuang Grottoes created during the Northern Liang(A.D.397-460),Northern Wei(A.D.386-534),Western Wei(A.D.535-556)and Northern Zhou(A.D.557-581)Dynasties,and by exploring the contribution of ancient ethnic groups such as the Hun and Xianbei in the formation and development of Chinese nation,this study reveals that the musical dance art in early Dunhuang Grottoes faithfully reflects the community pattern of the Chinese nation featured by"unity in diversity"developed since ancient times,and hopes that the future research and creation may expand their horizon by incorporating the musical dance art of early Dunhuang Grottoes into the system of contemporary Dunhuang dance.

敦煌莫高窟五百强盗成佛故事画再研究

五百强盗成佛图是敦煌石窟中有名的佛教故事画题材之一,又被称为“得眼林”,共存有两幅,分别位于莫高窟西魏第285窟南壁和北周第296窟南壁,具有很高的史料和艺术价值。第285窟位于洞窟崖面南区中段第二层,规模中等,坐西向东,主室呈方形,覆斗形顶,是莫高窟最早有纪年的洞窟。五百强盗成佛图位于南壁偏上部分,从东向西,依次排开,画面恢宏,情节紧凑,是莫高窟西魏时期最大的一幅故事画,也是莫高窟最早的因缘故事画。