About Author

Bai Youxin is a teacher at the Sichuan Conservatory of Music, a member of the Sichuan Music and Literature Society, and a master's student, majoring in art education, interdisciplinary studies, and ethnic arts. 2014, she attended a study visit to the University of Grendel, the Royal College of Music, and Cardiff University. She has also participated in several summits hosted by the Ministry of Education. She has led a number of projects, specialising in classical dance and folk dance. Majoring in the fields of directing, choreography, and ethnic arts. 白又心，四川音乐学院任课教师，四川音乐文学学会委员，硕士研究生，主研艺术教育、跨学科研究、民族艺术等领域。2014年赴英国格林多大学、皇家音乐学院、卡迪夫大学参加访学。并多次参加教育部主办的高峰论坛。主持多项课题，擅长古典舞、民族舞等方向。主研导演、编导、以及民族艺术等领域。

Book Description

Art is from but beyond life. Art is based on substantial evidences. The entire dance drama named The Silk Road Strewn With Flowers is derived from the murals in Dunhuang Mogao Grottoes, the local culture in Dunhuang, Buddhist culture, and the silk road culture, which may be called a research result on the stage, enjoying a self-evident value. Although the story in The Silk Road Strewn is polished by artists, the historical truth and national culture contained in the dance drama are not affected. “艺术来源于生活，而高于生活”。《丝路花雨》整部舞剧来源于敦煌莫高窟洞窟中的壁画、敦煌文化、佛教文化、丝绸之路文化。可谓是一件发生在舞台上的研究成果，其价值不言而喻。虽然《丝路花雨》中的故事情节均为艺术家加工润色而成，但这并不影响其中所包含的历史真实与民族文化。

This paper has formed the results after a year of literature arrangement, data collection and on-the-spot investigation. In this paper, the writer thinks that there are similarities between the dance drama and the literary concept of motif, so this paper mentions that the soul of dance drama is the folktale, so it is very necessary to associate the concept of motif in the folk literature with the dance drama, explain phenomena with theories, and interpret the cultural factors behind the dance drama with the concept of motif. This paper holds that the research on the interdisciplinary interaction between dance and literature is inevitable so that the dance drama can not only have the artistic features of dynamic and intuitive natures, but also have the literary features of ideology and imagery, which is a new direction and perspective of dance research as well as an undeveloped field of dance and literature, forming a new paradigm of interdisciplinary research. 本文经过一年的文献整理、资料搜集和实地考察已形成了论文成果。在本文的论述中笔者认为舞剧与叙事学概念母题二者有相似之处，因此本文论述中谈到：“舞剧的灵魂就是民间故事，用叙事学概念母题，来将母题与舞剧相联系，运用理论来阐述现象，用母题的概念来解读舞剧背后的文化因素是非常必要。本文认为舞蹈学与途事学的跨学科式的互动研究是必然的，舞剧它不仅具有动态性和直观性的艺术特征，同时也兼备思想性与意象性的文学特征。这是舞蹈研究的新方向与新视角，也是舞蹈与文学界一个尚未开发的领域，形成了跨学科研究的新范式。

This thesis begins with the Dunhuang Culture is looking for the concept of Silk Road, Flower Rain of Dunhuang Culture, which will be traced the root of the culture factors.The chapter Two is the characteristic section, which is discussed deeply on the creation of concept or root of the Silk Road, Flower Rain and so on.The writer summed up the motif in the drama as three motifs, namely, gratitude, death, and causality. Through these three motifs, the dance drama gives a perfect interpretation of its historic significance and romantic atmosphere, reflecting the prosperous culture of the Tang Dynasty as well as the profound friendship between countries. The chapter three is that the author who expound the concept of Silk Road, Flower Rain on the side of the narrative learning and use the structuralism to analysis the concept of dance drama possibility.This last chapter mainly depict that we do the analysis of dance drama beauty appreciation to express the historical and educational significance. This thesis deeply analyses the connectivity between dance drama and concept by above 4 parts and prove both two are interdependent. 本文第一章从敦煌文化入手寻找《丝路花雨》母题在敦煌文化中的借鉴，寻找该剧中最根源的文化因素。第二章为本论文的特色章节，深刻的讨论《丝路花雨》中的母题的创作依据，剧中母题溯源等问题。笔者将其中的母题归纳整理为报恩、死亡、因果这三个母题。通过这三个母题，舞剧完美的诠释了他的历史性与浪漫主义气息，反映了唐朝的繁荣文化与各国之间的深厚友谊。第三章笔者站在叙事学的角度对《丝路花雨》中的母题进行更深层次的探索，利用结构主义说明母题在舞剧研究中的可行性问题。最后一章主要通过对舞剧的审美来深化讨论舞剧所反映出的历史意义以及审美教育意义。本文通过以上这四个方面来深刻的剖析舞剧与母题的关联性问题，希望能够有力的证明二者之间是互通的相互依存的。