A study on the stage image of rebound lute behind the back in Dunhuang, China

다국어 초록 (Multilingual Abstract)

Mogao Grottoes in Dunhuang, China is one of the world cultural heritage, is the largest ancient grottoes art group in the world, and is a natural and cultural place with outstanding universal value for mankind all over the world. Dunhuang music and dance derived from the murals of Mogao Grottoes is an artistic representation of its thousand-year-old glorious history and an indispensable historical material for research. As one of the iconic images of Dunhuang music and dance, the rebound lute behind the back dance posture has unique charm value both in the original mural composition and the stage image. This paper analyzes the characters holding pipa in Dunhuang murals by case analysis, comparative research and other relevant research methods, then studies the stage image and posture of rebound lute behind the back, and finally analyzes the stage works of rebound lute behind the back. It is concluded that the dance image of rebound lute behind the back is a dynamic stage art work gradually formed by artists from the static Dunhuang murals through refining, developing, processing and transforming. This is to revive the image of Dunhuang music and dance murals, to provide reference and reference for the inheritance and development of Dunhuang culture, and then to enhance and enrich the artistic value of excellent traditional Chinese culture and world cultural heritage.

목차 (Table of Contents)

• Abstract
• 1. Introduction
• 1.1 Research background and purpose
• 1.2 Literature review
• 2. The historical evidence of the dance image of the &quat;rebound lute behind the back&quat;.
• 2.1 Relevant supports in history
• 3. The change of the stage image of &quat;rebound lute behind the back&quat;
• 3.1 Discussion of the works of the dance image of the &quat;rebound lute behind the back&quat;.
• 3.2 Analysis of distinctions and similarities
• 4. The ways to realize the artistic expression of dance image
• 4.1 Posture for implication
• 4.2 Emotions for aesthetic sensibilities
• 5. Summary
• REFERENCES