Stop cashing in on Dunhuang-style light shows!

After seeing "Dunhuang Wonderland" at the Zhijiang Cultural Center, I can only say that even the discounted price of 78 is too high! If you're only interested in Dunhuang cultural and creative products, flavored milk tea, and stamps, there's no need to rush. The exhibition content is neither extensive nor deep, with the biggest attraction being the recreation of Cave 220, where you can take silhouette photos of "lantern exploration." There's also a popular caisson light show, which is great for taking photos. Every hour, there's a three-minute dance performance featuring waist drums and pipa, as well as an animation of the donor Zhai Tongxiu's family cave, which uses new painting styles from Chang'an. Zhai Tongxiu was selected through the imperial examination and awarded the official position of "Chaoyi Lang" (朝议郎) of the sixth rank. He served as the "Dunhuang County Doctor," responsible for imparting knowledge and preserving documents, making him the most learned person in Dunhuang at the time. Building family caves to record the prosperity of the era was the best way to convey a message of peace. Through the Dunhuang music and dance depicted in the murals of Cave 220, one can dream of Chang'an and uncover a glimpse of the Tang Dynasty's prosperity, which is actually a great entry point. The "Dunhuang Music Score" is a set of pipa scores discovered in the Library Cave of the Mogao Caves in Dunhuang, transcribed from the late Tang to the Five Dynasties, containing 25 pieces in total. The Hu Xuan Dance originated from the Western Regions' Kang and Shi countries (now the Uzbekistan region in Central Asia). Its most notable feature is dancers performing on a small round carpet, spinning left and right at a rapid pace like the wind. The Hu Xuan Dance entered the Central Plains during the Northern Zhou Dynasty and was officially incorporated into the court music system as "Kang Guo (Ji)" during the Tang Dynasty. When the Tang court hosted important envoys, ten musical performances were staged in succession, with Hu Xuan dancers appearing in the "Kang Guo Music." The Hu Ji (胡姬) in taverns were skilled in singing and dancing, and most of the Hu Xuan dancers from Central Asian countries were incorporated into the court music institutions. During the Lantern Festival, when the court held public performances, the common people could also witness the elegance of the court's Hu Xuan dancers. The music and dance ensemble in the "Medicine Master Sutra Transformation" on the north wall of Cave 220 features the most popular musical instruments of the Tang Dynasty. The band extensively uses percussion instruments, with a total of 13 pieces of 8 types. During the Warring States period, the zheng was already popular in Qin, later known as the Qin Zheng. The Tang Dynasty saw the widespread use of the clapper, which by the Five Dynasties had begun to show some conducting functions. The bili originated from ancient Kucha (now Kuqa, Xinjiang) and was introduced to China via the Silk Road during the Han Dynasty, later spreading to Korea and Japan. The vertical konghou was introduced from Persia via the Western Regions during the Eastern Han Dynasty. It was improved during the Tang Dynasty and continued to be popular during the Song and Yuan Dynasties, eventually being shortened to "konghou."