The content of music and dance in early murals includes Tiangong music, Feitian music and offering music.

The content of music and dance in Dunhuang murals is introduced as follows:

From the perspectives of traditional aesthetics, performance theory and perceptual cognitive science, the author explains the music and dance in Dunhuang murals as a kind of music and dance that is attached to time, space and poetry. How the sexual performance art form embodies and constructs the "Chinese landscape" through the two elements of recognition and interaction between dancers and dancers in the process of flowing and performing performances, thereby achieving traditional Chinese aesthetics The realm of "image outside the image" and "poem and scene together" advocated in the book.

The author of Dunhuang Mural Music and Dance is introduced as follows:

Kuang Lanlan, Ph.D. in Folklore and Musical Anthropology from Indiana University, Bloomington, USA, Director of the Sino-US National Cultural Exchange and Cooperation Research Initiative, Distinguished researcher at the National Folk Literature and Art Development Center of the Ministry of Culture of China, and teaches at the Department of Philosophy, Florida State University of Central, USA.

The introduction to strokes is as follows:

Murals refer to paintings painted on the wall. In primitive society, humans carved various graphics on cave walls to record events and expressions. This is the earliest mural. According to historical records, Emperor Wu of the Han Dynasty painted statues of gods in Ganquan Palace, and Emperor Xuan painted statues of heroes in Qilin Pavilion. They were also murals. From the Wei and Jin Dynasties to the Tang and Song Dynasties, Buddhism and Taoism were prevalent, and many temples and Taoist temples had murals. Dunhuang murals preserve a large number of outstanding artistic works of that time.

Scrolls were popular in the Ming and Qing Dynasties, while murals gradually declined. Tang Luo Binwang's poem "Inscription on the Seventh Level on April 8th": "The inscriptions are not from the Jin Dynasty, but the murals are from the Liang Dynasty." Tang Duan Chengshi and Zhang Xifu's "Visiting Chang'an Temple Couplets·Various Painting Couples": "It's a pity that the murals have not been destroyed. "What are the new paintings of later generations?" Volume 2 of Song Luyou's "Notes of Laoxue'an": "There are murals on the west wing of Jiangdu Temple." Guo Moruo's "Li Bai and Du Fu·Du Fu's Religious Religion": "There are walls in Taiwei Palace. It is the work of the famous painter Wu Daozi."