Dance Scenes in Buddhist Wall Paintings in Mogao Caves

Despite big amount of research on Dunhuang Art, little is known about depiction of dance Dunhuang. Main purpose of this research is to explore the peculiarities and tendencies of dance scenes depiction in Dunhuang. Structure of this study was determined by the research’s aim. Study consists of introduction, three chapters and a conclusion. Introduction defines the research’s aim and methods. The first chapter examines history of Dunhuang complex, second – role of dance culture in medieval China, and the third – dance styles depicted in Dunhuang and dance compositions. Conclusion provides the summary of the research’s findings. Formal and iconographical analysis as well social history method were used in carrying out this research. The general intention of this research is to define the peculiarities and tendencies of dance depiction in the Dunhuang murals. Main targets of this study include: (1) research of the main dance styles depicted in the Dunhuang murals; (2) description and analysis of certain dance scenes in the Dunhuang complex; (3) analysis of dance compositions in the Dunhuang complex; (4)analysis of the meaning and specific placement of these dance scenes in the Dunhuang complex. Objects of this study include murals of Dunhuang complex with scenes depicting dance. The time frame of this research will include time from the creation of Dunhuang in the Sixteen kingdoms period (304—439) to the Yuan dynasty period (1227-1368) when development of Dunhuang murals came to its end. Despite vast amount of research on both the Dunhuang Art and the Chinese dance culture little is known about a depiction of dance in Dunhuang murals which, in my view, is the ultimate intersection point of these two spheres. Development of “the Dunhuang dance style” in 1980s proves that this phenomenon continues to develop and attract popularity in modern China. It shows that this unique topic seeks analysis and deeper understanding from contemporary researchers.