"Dance" and "Music" as the motifs that produced the image of the Amitabha's Pure Land--Reproduction of the Chinese sound and the nomadic sound painted the ritual space--

阿弥陀佛所讲经的净土的风景，在阿弥陀佛净土的视觉方面表现出来。这些都是在6世纪中期在中国创建的，并扩展到东亚和中亚。在那个时代，中国人用许多图案来制作阿弥陀佛净土的形象。以公元6世纪至公元10世纪的阿弥陀佛净土形象为中心，我们澄清了它们混合了源自中国或外国，特别是西方的不同图案。每个调查者都做了如下的研究。KATSUKI分析了敦煌壁画《阿弥陀佛净土》在视觉方面所表现的中国人的音乐形象和佛教中的双头鸟。KATSUKI研究了中亚和东南亚的有翼人物，比如起源于印度的Gandharva， Kinara和Garuda。宫下分析，西亚的音乐肖像和有翼人物，通过对出土物品的调查，向西寻找净土的根源。TAKAKUWA通过音乐史方法中对音乐形象和乐器的考察，分析了中国和外国的不同特征。

The landscape of the Pure Land in which Amitabha preaches had been represented in the visual aspects of Amitabha's Pure Land. These were created in China, in the middle of 6^<th> century, and were extend to the eastern and central Asia. In those days, the Chinese people used many motifs to produce the image of Amitabha's Pure Land. Focusing on the image of Amitabha's Pure land from 6^<th> to 10^<th> centuries, we clarified they mixed the different motifs that originated either in China or in the foreign countries, especially in the west. Every investigator researched as follows.KATSUKI analyzed the musical iconography and jivajiva (double figure-headed bird in Buddhism) the Chinese people represented in the visual aspects of Amitabh's Pure Land, in the mural painting of Dunhuang. And KATSUKI researched the winged figures in the central and east-southern Asia, such as Gandharva, Kinara, and Garuda that originated in India.MIYASHITA analyzed, the musical iconography and winged figures in the western Asia, though the investigation of unearthed objects, to search the roots of Pure Land to the west.TAKAKUWA analyzed the different characteristics that originated either in China or in the foreign countries, through the investigation of musical iconography and musical instruments in the music historical methods.