"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--

弥陀净土的景观在弥陀净土的视觉方面得到了表现。这些都是在中国，在6^世纪中期<th>，并扩大到东亚和中亚。在那个年代，中国人用很多图案来塑造阿弥陀佛的净土形象。本文以六世纪至十世纪的阿弥陀佛净土意象为研究<th><th>对象，阐明了它们融合了源于中国和外国特别是西方的不同母题。各研究者的研究内容如下：片木分析了敦煌壁画《阿弥陀佛净土》中的音乐图像和中国人在视觉方面所表现的吉瓦吉瓦（佛教双头鸟）。胜木研究了中亚和东南亚地区的翼人，如起源于印度的乾达婆、木那拉、迦楼罗等;宫下通过对出土文物的调查，分析了西亚地区的音乐图像和翼人，以向西寻根净土;高田分析了起源于中国和外国的不同特征，通过音乐图像学和乐器音乐史的方法进行考察。

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.