structural:scholar_edition, structural:summarization
Cultural legacy

The influence of the Liao dynasty on subsequent culture includes a large legacy of statuary art works, with important surviving examples in painted wood, metal, and three-color glazed sancai ceramics. The music and songs of the Liao dynasty are also known to have indirectly or directly influenced Mongol, Jurchen, and Chinese musical traditions.

The rhythmic and tonal pattern of the ci (詞) form of poetry, an important part of Song dynasty poetry, uses a set of poetic meters and is based upon certain definitive musical song tunes. The specific origin of these various original tunes and musical modes is not known, but the influence of Liao dynasty lyrics both directly and indirectly through the music and lyrics of the Jurchen Jin dynasty appears likely. At least one Han Chinese source considered the Liao (and Jurchen) music to be the vigorous and powerful music of horse-mounted warriors, diffused through border warfare.

Another influence of the Liao cultural tradition is seen in the Yuan dynasty 's zaju (雜劇) theater, its associated orchestration, and the qu (曲) and sanqu (散曲) forms of Classical Chinese poetry. One documented way in which this influence occurred was through the incorporation of Khitan officers and men into the service of the Mongol forces during the first Mongol invasion of 1211 to 1215. This northern route of cultural transmission of the legacy of Liao culture was then returned to China during the Yuan dynasty.

Khita is the finest country in the world in respect of cultivation, for there is no place in its whole extent which is uncultivated. The inhabitants or their neighbours are responsible for paying the land tax. Orchards, villages and cultivated fields are ranged on both sides of the river from the city of Khansa to the city of Khan Baliq, which is sixty-four days' travel.