 in Edward Allworth (ed.), Central Asia: A Century of Russian Rule, pp. 434–484 (1967), detailed information on Turkistani music, with emphasis on the court tradition, including excellent illustrations and charts. (Music of the Turkic nomads, Mongolia, and Siberia): Ernst Emsheimer et al., The Music of the Mongols (1943, reprinted 1971), the classic work; Mark Slobin, Kirgiz Instrumental Music (1969), detailed study of one Central Asian tradition. (Music of the Himalayan peoples): P. Crossley-Holland, “Tibetan Music,” Grove's Dictionary of Music and Musicians, vol. 8, pp. 456–464, a thorough basic survey; Luther G. Jerstad, Mani-rimdu: Sherpa Dance-Drama (1969), a thorough account of a specific Himalayan tradition.Dance and theatreMircea Eliade, Le Chamanisme et les techniques archaïques de l'extase (1951; 2nd ed., 1968; Eng. trans., Shamanism: Archaic Techniques of Ecstasy, rev. ed., 1964), a classic study of the rituals, costumes, and symbolisms of shamanic performances; Luther G. Jerstad (op. cit.), an analytical and descriptive study of 'cham as performed in the Tengpoche monastery of northern Nepal. Materials and translations of some morality plays have been published by Marion H. Duncan in his Harvest Festival Dramas of Tibet (1955) and More Harvest Festival Dramas of Tibet (1967); and a study of the “Moon-cuckoo” play of the Mongols has been published in Japanese by Hidehiro Okada. Information on the performing arts may be found scattered in various other publications, but it is usually descriptive in nature and deals with only one genre. As yet no scholar has carried out a comprehensive analytical study of the origins and interrelations of dance and theatre in Central Asian regions.Visual artsAleksandr Belenitsky, Central Asia (Eng. trans. 1969), a short general survey of the area and its art; M.P. Griaznov and A.P. Bulgakov, L'Art ancien de l'Altai (1958), a helpful introduction to the subject (in Russian and French); Basil Gray, Buddhist Cave Paintings at Tun-huang (1959), a scholarly study; René Grousset, L'Empire des steppes: Attila, Gengis-Khan, Tamerlan, 4th ed. (1960; Eng. trans., The Empire of the Steppes: A History of Central Asia, 1970), and De la Grèce á la Chine (1948), especially useful historical surveys; Ormonde M. Dalton, The Treasure of the Oxus, 3rd ed. (1964), a specialized and authoritative survey of this collection of objects; Richard N. Frye, The Heritage of Persia (1962), a helpful widely embracing survey of the Persian culture; Bruno Dagens, Marc Le Berre, and Daniel Schlumberger, Monuments préislamiques d'Afghanistan (1964), an aid to understanding Kushān art; Karl Jettmar, Die frühen Steppenvölker (1964; Eng. trans., Art of the Steppes, 1967), a useful survey of nomadic animal art; Albert Von Le Coq, Auf Hellas Spuren in Oltturkistan (1926; Eng. trans., Buried Treasures of Chinese Turkestan, 1928), of great importance for the work in this area; Sergei Rudenko, Frozen Tombs of Siberia: The Pazyryk Burials of Iron Age Horsemen (1970; orig. pub. in Russian, 1953), indispensable to the student of Altaic nomads; Tamara Talbot Rice, The Ancient Arts of Central Asia (1965), a useful introduction to the subject; W.W. Tarn, The Greeks in Bactria and India (1938),still an indispensable work; David L. Snellgrove and Hugh E. Richardson, A Cultural History of Tibet (1968), a general work that helps to place the various expressions of Tibetan art in an historical context—the index may be consulted for carving, metalwork, painting, and carpets; Giuseppe Tucci, Tibetan Painted Scrolls, 3 vol. (1949), the classic work on Tibetan religious painting; and Indo-Tibetica, 4 vol. (1932–41), a basic work (in Italian) for anyone seriously interested in Tibetan art, consisting largely of photographic plates, unobtainable elsewhere, and records of Tucci's early researches into Tibetan art history. George Roerich, Tibetan Paintings (1925), a useful introductory work containing 17 plates and detailed description; Walter Eugene Clark (ed.), Two Lamaistic Pantheons, 2 vol. (1937, reprinted in 1 vol., 1965), a detailed