Various studies have been undertaken about Ryouou. Some, who focus on mask, argue that Ryouou was originated India. However, the existing view of its introduction from China is found to be more compelling when examining Kyoukunshou(敎訓抄) and other literature records. Meanwhile, performance records in Bugakuyouroku(舞楽要錄) was analyzed to study the image of Ryouou. Among the five main events recorded in Bugakuryoroku including the grand Buddhist meeting, Hakkou(八講), Tyoukingyoukou(朝覲行幸), Onga(御賀), and Sumaisechie(相撲節), it was found that Ryouou was performed most frequently in the first four events excluding Sumaisechie. In addition, it was found that Ryouou was most frequently performed followed by other music pieces such as Manzairaku(万歲楽), Sanju(散手), Daiheiraku(太平楽), Sokou(蘇合香) and Shunnoten(春鶯囀) followed Ryouou in performance frequency. What is noteworthy is that these music commonly praised, prayed and celebrated the exemplary rule of the emperor or the king and symbolically expressed the authority and dignity of the imperial family. Then, how was Ryouou perceived in Japan? Ryouou was not so different from the aforementioned music. As the motif of a hero in an turbulent era was added with the image of a dragon, it is concluded that Ryouou was perceived in Japan as a music that represent a combination of the dignity the congratulatory message, prayer for the imperial family, and the peaceful regime of the king.

This study examines Komagaku , one of the pieces of Japanese court music and dance, focusing its origin. Uniquely in , the dancer wears a costume with rat patterns. The examination of the relationship between the Korean Peninsula and focusing on the rat on the costume of , shows that the country showing the most records of rats as spiritual beings is Silla. Thus, in order to find any relationship between the Korean Peninsula and using the image of rat, it may be more efficient to examine Silla than Goguryeo or Baekje. In addition, uses Imha(臨河), Imga(林歌), or Imga(林哥) for its mark. Among them, Imha(臨河) has the same Chinese characters as ‘Imhasa(臨河寺)’ of Silla. Buddhism utilizes music and dance to serve Bul(佛), Beop(法), and Seung(僧) and promulgate Buddhist doctrines. Here, 『Taigenshou(体源抄)』 has records showing the relationship between and Buddhism. In addition, rats are not irrelevant to Buddhism, also appearing in 『Jataka(本生譚)』. If is closely related with Buddhism, then its relationship with Imhasa can be meaningful, as they use the same marks. Looking at the remains of Imhasa such as brick pagodas, its origin traces back to Silla Dynasty. Considering the relationship between and Imhasa, it is highly possible that originates from Silla among the three countries of the Korean Peninsula.

This article investigates the documentary recorda of Kyoukunshou (教訓抄, a musical book of gagaku) focusing on Batou (抜頭, one of the dances to belong of the Togaku). The record of Batou in Kyoukunshou has three following characteristics. First, it describes the history of Bugaku (舞楽, Japanese court dance) in such a manner that a comprehensive understanding of Batou from the its origin to its transfer and acceptance to Japan, actual performance, and transmission is possible. Second, it enables the grasping of theory, practice, and handing down situations of performances at a glance, and particularly in regard to the handing down of the performance, very detailed records have remained such that you can view the handing down chart of the tradition. Third, Japan's unique records, such as new motifs different from those found in Chinese records, are also found. This can be said to represent the process of transformation that has occurred while Tougaku (唐楽, style of gagaku based on Tang-era Chinese music and ancient Asia song and dance) from China has been settled down as Tougaku of Japan. Grasping the aspect of literature records in Kyoukunshou is like building a foundation for researching arts books written later. This study is significant in that it provided a clue for the study of Japanese Art books.