What are the classical elements of China and how to apply them to landscape design?

A lot, depending on how it is classified.

The most common plane elements in landscape are moire and water ripple. There are many landscape squares in China. There are also some animals, such as cranes and tigers.

Three-dimensional elements such as sundial, Shanghai Pudong erected a huge stainless steel sundial made by Dumas. There are also nodes of ancient wooden buildings that can also be used as landscapes. Have a good search, change the shape and enlarge it, and you can use it in the landscape.

Introduce some landscapes or public art books.

introduce

Classical dance is based on traditional folk dance, refined, sorted, processed and created by professional workers in past dynasties, and passed down through long-term artistic practice. It is considered to have certain demonstration significance and classical style characteristics. Generally speaking, classical dance has strict procedures, standardized movements and relatively superb skills. Many countries and nations in the world have their own unique styles of classical dance.

The origin of classical dance

The original dance was originally ballet, but later it was "processed" and modern dance appeared. The only difference between ballet and modern dance is that ballet is mainly elongated and feels upward, while modern dance is just the opposite, exaggerating the attraction of the earth and focusing on the downward direction; Then it is transformed into classical dance through "processing". The feeling of classical dance is similar to ballet, mainly elongated upward. The only difference is that ballet is a bit stiff, while classical dance advocates softness.

Artistic characteristics of classical dance

The classical dance of Han nationality in China, the dance movements handed down from generation to generation, are mostly preserved in the opera dance; In China's extremely rich grotto murals, sculptures, stone reliefs, brick reliefs and pottery figurines, as well as paintings and decorative dance images on various unearthed cultural relics, some dance postures and shapes are preserved; China's rich literature and history materials also contain a large number of detailed descriptions of past dance images. Since 1950s, China dancers have made great achievements in the research, arrangement, reproduction and development of China classical dance. They set up a set of China classical dance teaching materials, and created a large number of dance and drama works with China classical dance style, forming a delicate and mellow, rigid and flexible combination, scene and skill blending, essence, spirit, hands, eyes, body, method and steps.

Indian classical dance

Indian classical dance is composed of six traditional dance departments: balata, Kartak, Kadakali, Manipur, Odisi and Kuchipudi. Its main artistic features are clear rhythm and rhythm of dance movements, strong modeling, colorful dance sign language, delicate facial expressions and rich connotations.

European classical dance

European classical dance is generally called ballet. Ballet is a transliteration of French ballet. The classical dance dramas of European countries are collectively called ballet, which is a kind of dance variety with European classical dance as the main means of expression and integrating music, drama, stage art and other artistic forms. Because an important feature of its performance technique is that actresses have to wear special tiptoe shoes and dance on tiptoe, it is commonly known as "tiptoe dance". According to legend, ballet originated in Italy, formed in France, and was introduced to Russia in the18th century. At the end of18th century and the beginning of19th century, it became an independent and complete art form, created tiptoe dancing skills, developed various aerial jumping and spinning skills, and produced a whole set of training methods, gradually forming Italian school, French school and Russian school with different styles and characteristics. Modern ballet schools appeared after the 1920s, and many ballet schools were derived one after another, which became popular in Europe and America.

Java classical dance

classical dance of java

Classical dance popular in Central Java and West Java, Indonesia. It has a great influence on Indonesian dance culture. West Java classical dance originated in Bandung area, with the Sunda nationality as the center and its own genre. There are two schools of classical dance in Central Java: Yogyakarta and Thoreau. /kloc-Around the 0/0 century, most of the classical dances in Java simply imitated the shapes of animals and tended to be animism. So far, there are thick-covered hot cards and Yulin that imitate elephants, and Anluda that imitates vultures. In the12nd century, dances based on myths and legends appeared, such as the stories in Indian epics Ramayana and Mahabharata. Most of its dance movements and modeling originated from Wayang Opera (Indonesian Shadow Play), which has a certain procedure: legs are crouched, the head can't be tilted back and forth, and the eyes look down at a certain angle, showing that the eyes can only move with gestures during the war. There are many kinds of gestures, and each gesture has a certain meaning. Before 19 18, Java classical dance was only allowed to be performed in the court. After the ban was abolished, it spread among the people, and its form and content were further enriched.

China classical dance

Ballet art was introduced into China in the 1920s. But it was still limited to a few people at that time. Since 1950s, China dancers have been able to formally and systematically learn the excellent ballet art from all over the world, set up professional ballet companies, introduce the world's excellent ballet repertoire to China audiences, and create a number of ballet works with the theme of reflecting the life and struggle of our people in the form of ballet art. ..

The origin, rhyme, aesthetics and curriculum characteristics of China classical dance.

China classical dance, as a kind of dance art in China, is a dance with certain demonstration significance and classical style, which is based on traditional folk dance, refined, sorted, processed and created by professional workers in past dynasties, and tested by long-term artistic practice. Classical dance was founded in 1950s and was once called "traditional opera dance" by some people. It is a mixture of drama and dance, that is to say, it has not completely evolved from drama, so it is called drama, which removes the most important singing and reading in drama; Say it is a dance, it still maintains the original state of the opera in quantity. The songs and dances in China's traditional operas serve this story. Even a martial arts drama that does not sing well is still a drama, and the subordinate relationship of its dance to the role industry is also very clear.

From its origin, classical dance is a revival of the traditions of classical dance, traditional opera dance and China dance for thousands of years. Obviously, its aesthetic principle is not a new invention, but the spread and continuation of China culture for thousands of years, strung together with a long line from ancient times to the present. These principles can be found not only in traditional Chinese opera, but also in music and dance in Tang and Song Dynasties, "dance drama" in Han and Wei Dynasties, and even rites and music in Shang and Zhou Dynasties. As far as its flow direction is concerned, it is a brand-new art category produced locally, a new dance category comparable to ballet and modern dance, and this exotic dance category is authentic from China.

China classical dance has not yet passed its childhood, but is still growing. However, with the emergence of body rhyme, its aesthetic core has been stable, its theoretical foundation has been relatively solid, and its action system has been formed. We have every reason to say that it has got rid of the prototype of China traditional opera and moved towards the category of real dance.

China classical dance "Body Rhyme" course came into being in the early 1980s. After more than ten years' practice, it has been gradually recognized by Chinese and foreign dance circles and academic circles. 1993 was rated as an excellent teaching achievement by the State Education Commission. Li Zhengyi and Tang Mancheng, the old professors of classical dance in Beijing Dance Academy, resolutely created the class of "Body Rhyme" of classical dance, which revived China classical dance and the cause of classical dance. Professor Li Zhengyi said when interpreting "classical dance": "It is called classical dance, not a copy of ancient dance, but a new classical dance that adapts to modern people's appreciation habits on the basis of profound traditional dance aesthetics. It takes the nation as the main body, based on the national aesthetic principles such as drama and martial arts, and absorbs the beneficial parts of foreign art such as ballet, making it an independent, national and contemporary dance species and system. "

The Body Rhyme and Aesthetics of Classical Dance

"Body rhyme" is the general term for "body method" and "rhythm". "Body" belongs to the external technique category, and "rhythm" belongs to the artistic connotation. Only by organically combining and infiltrating them can we truly embody the style and aesthetic essence of China classical dance. In other words, "body rhyme" means "having both form and spirit, integrating body and mind, and integrating inside and outside", which is an indispensable symbol of China classical dance and the artistic soul of China classical dance. Although the source of style of body rhyme is obvious, it can no longer be called "drama dance", and its transformation from drama to dance has been basically completed. It got rid of the ever-changing roles of opera and dance. However, no matter how it changes, it is the same. This "one" and this "change" are both rare figures in art and the essence of artistic aesthetics.

A mature national dancer's action on the stage has aesthetic value and artistic charm, because it embodies the high integration of "form, spirit, strength and rhyme" and is an important expression of the body rhyme of China classical dance. "Form, spirit, strength and rhyme", as the basic action elements of body rhyme, highly summarizes all the connotations of body rhyme. Form, that is, external action, includes the movement line connected by posture and its action. God, that is, charm and mind, is the dominant part. Strength is strength, which includes the artistic treatment of the relationship between priority, strength and softness. Law, that is, the movement law of the action itself. The relationship between these four elements of action is to achieve unity of form and spirit through force and law. Its law is "harmony between heart and heart, harmony between heart and qi, harmony between qi and force, harmony between force and form". These are incisive generalizations and refinements. These words and basic movements are highly unified and harmonious, which constitutes a dance aesthetic theory with China characteristics.

1, shape

Form refers to actions beyond form. It is manifested in various postures, ever-changing movements and their connections. All visible forms and processes can be called "shapes". Form is the most basic feature of image art, the attachment of classical dance charm and the media of classical dance beauty.

As we all know, through the analysis of the aesthetic characteristics of traditional art and various typical dances, it is concluded that the curvaceous beauty of "twisting, warping, roundness and curvature" and the temperamental beauty of "vigorous, implicit and flexible" must be solved first in "shape". China's dance emphasizes "twisting, slanting, roundness and bending", the curvaceous beauty of upturning, slanting, turning and warping, and the inherent temperament of "vigorous, straight, implicit and flexible". From the unearthed tomb figures and Dunhuang murals, it is not difficult to see that this point has been in the same strain since ancient times and has been constantly developing and evolving. For example, the figures in dance benches in Qin and Han Dynasties, Sandaowan in Tang Dynasty, meridian, yin and yang, twist twist, the rolling, twisting and toughening of Jiaozhou Yangko, a Chinese folk dance, and the stopping, exploring, twisting and waving of ocean Yangko. Mastering the curvaceous beauty of posture and modeling also requires corresponding qualities and abilities. Therefore, it is also a technology, and the "twisting, oblique, round and curved" of the human body is the overall image. Locally speaking, "head, neck, chest, waist, buttocks", "shoulders, elbows, wrists, arms, palms" and "knees, ankles, feet and steps" all have their specific requirements.

2. God

Here refers to the connotation, spirit, rhythm and temperament. Any art without charm can be said to have no soul. Charm is an extremely important concept in China's literary criticism. Whether we talk about poetry, painting, music and calligraphy, we can't do without the word verve. In the movement of human body in classical dance, verve can be recognized and felt. Moreover, only by grasping the "god" can "form" have vitality.

In the concept of mind, body rhyme emphasizes the connotation of Yun Qi, breath and idea. Emphasize verve and inner feelings. In the relationship between form and god, god is put in the first place, and it is this concept and emotion of "leading form with god and conveying spirit with form" that creates the rhyme of body rhyme. It can be said that without rhyme, there would be no China classical dance. Without the stimulation and drive of inner feelings, the most important brilliance of China classical dance will be lost.

"Heart and mind, mind and qi, qi and force, force and shape". The so-called "heart, mind and spirit" is the embodiment of "verve". People often say that the eyes are the windows of the soul and vivid tools, but the "gathering, releasing, condensing, closing and closing" of the eyes does not refer to the movement of the eyeball itself, but the result expressed by the connotation and psychological rhythm, which just shows that verve dominates everything. "The shape has not moved, God leads first, the shape has stopped, and God has not stopped." This formula vividly and accurately explains the connection and relationship between form and god.

For a long time, people have been puzzled by the inherent rhythm of China classical dance. Although the word "circle" has long been recognized by people, it is a long-term puzzle for people engaged in classical dance. The founders of Tiyun put forward the theory of "three-circle movement". They thought that the body movement process of China classical dance was along three circles. This is the vertical circle, the horizontal circle and the figure-eight circle. Surprisingly, this long-standing problem is so easy to be solved. And it is so accurate and concise. It immediately reminds people of Laban's theory of "spherical motion". They have very similar ideas and explain their own laws. The original reason is very simple. Science has gone through the process of "from shallow to deep" to "from simple to simple". The simple truth is the result of hard exploration, long-term accumulation and accidental acquisition.

3. Strength

"Strength" is an internal rhythm given to external actions and a distinct and contrasting strength treatment. For example, "the point in the line" or "the line in the point" in motion (that is, the movement in stillness) are all properly expressed by "strength". The running rhythm of China classical dance is often different from the conventional 2/4, 3/4 and 4/4 musical rhythms. More often, it is carried out at a regular "elastic" rhythm, loose but not slow, tight but not chaotic, static in motion, free in static, and moving in motion. "Body rhyme" means that the strength of training dancers is not uniform, but there should be contrast and difference between lightness, urgency, length, frustration, symbolic point, segmentation and extension. These rhythm symbols are all expressed by human actions, which is the application of truly mastering and understanding "strength". "Strength" not only runs through the process of action, but also is very important at the end of the action. No matter China traditional opera, ballet or martial arts routines, they all attach great importance to the instantaneous rhythm before the end of the action, and China classical dance is no exception. It has the following typical appearance strength: "inch strength"-posture, angle and orientation are all ready, and the strength between one inch is used to "make the finishing point". "Contrast"-give a strong reaction to the posture modeling that is coming to an end, so as to strengthen and contrast the final modeling. "God's power"-everything has been completed, and the sense of extension of eyes and limbs makes it "the shape has stopped but God has not stopped". In addition, there are strength differences such as "softness in rigidity", "brittleness in toughness" and "slowness in urgency".

4. Law

The word "law" contains two meanings: the rhythm of oneself in action and the law followed in movement. Generally speaking, after the action, it must be "smooth", which is the "positive law" in the law, and the action seems to have a feeling of flowing through "smooth". Anti-French is also a very important factor in the rhythm of classical dance, such as "double waving". When the arm swings to the left, the body must be pulled to the right to show the roundness and charm of the action. The "anti-law" of "if it doesn't go well" can have a surprising effect. The trend of an action and momentum is obviously to the left, suddenly to the right, or from front to back, and so on. This kind of "anti-law" is unique to classical dance, which can produce ever-changing, confusing and ever-changing movements of the human body. From every specific movement, there is also a saying that "everything starts from the opposite side", that is, "everything must be done from the left, everything must be done from the left, everything must be done from the opening, and everything must be done from the front". It is these special laws that produce the special aesthetics of classical dance. Whether it's smooth sailing at one stroke, facing fortune or "starting from the opposite side", it embodies the beauty of China classical dance, which is the essence of China's "dancing method".

Characteristics of Body Rhyme Course of Classical Dance

The appearance of body rhyme, as an important teaching achievement of China classical dance, makes the training of China classical dance move towards its own form standardization and dance diversification. It is not only a complete training system, but also a system integrating training, creation and performance with the aesthetic characteristics of China classical dance. As far as the current teaching is concerned, the understanding of the function and value of the charm of classical dance is still in a vague state in concept, and it has not been put in a correct position in teaching. In every process and detail of teaching, the teaching of "physical charm" has not penetrated into the "bone marrow" of basic training courses, and has really been regarded as the "core" of classical dance.

General situation of the development of classical dance in China

China classical dance, the name of this kind of dance, was first put forward by Mr. Ou Yangyuqian in 1950, and was recognized and widely circulated by people in the dance industry, and finally confirmed. Contemporary China classical dance is related to China classical dance, but it is not synonymous with China classical dance. Contemporary China classical dance was founded by dancers such as Tang Mancheng and Li Zhengyi of Beijing Dance Academy on the basis of China opera dance and China martial arts, combined with foreign ballet. The concept of China classical dance has its historical and stylistic significance, and it is also a developing concept.

China classical dance has a long history. Its origin can be traced back to the court dance in ancient China or the folk dance in more distant times. Since the Zhou Dynasty, specialized music and dance institutions have been set up in the courts of the Han, Jin and Tang Dynasties to train professional music and dance personnel to organize, research, process and develop popular folk self-entertainment dances, religious dances and even foreign dances, thus forming court dances. Among them, the Six Dynasties Dance in the Zhou Dynasty (including six kinds of music and dances of Yunmen, Xianchi, Shaoshao, Daxia, Dabo and Dawu), the Nine Steps Music, Ten Steps Music, Zuobu Geji and Yuebu Geji in the Tang Dynasty, and the China Palace Dance are important tools for rulers to entertain themselves and sing praises, with female music as the mainstay. Because the palace dance is created with the aesthetic taste of the rulers, some of its works inevitably have the charm of style and the negativity of content; But most of them are created by artists on the basis of Chinese folk dances, so there is no lack of exquisiteness in China's traditional arts. After Song and Yuan Dynasties, due to frequent wars, culture was destroyed and the development of dance was also affected. Many famous dances in the Han and Tang Dynasties were lost. With the formation and development of traditional opera, the Song Dynasty dance, which was formed on the basis of traditional dance, gradually replaced the art of song and dance. In the Yuan Dynasty, the combination of court music and dance with folk songs and dances, even "white opera", "burlesque" and "corner opera" gradually formed the artistic form of China traditional opera. China traditional opera art requires the combination of singing, reading, doing and acting. It has many factors such as dance, music, art, acrobatics, literature, spoken English and so on, and is a comprehensive art form. Traditional Chinese opera dance contains the essence of traditional Chinese dance. According to the needs of the characters' plots, some life movements are absorbed and reformed, which strengthens and enriches the expressive force of dance. After Yuan, Ming and Qing Dynasties, social contradictions were relatively complicated, and complicated social life provided a lot of materials, which further developed dance.

After the founding of New China, in the early 1950s, in order to develop and innovate the national dance art, dancers extracted dance materials from rich China opera performances, studied, sorted out and refined China Wushu, and established a set of China classical dance teaching materials with reference to ballet training methods. At the same time, he arranged and performed a series of dance dramas and dances with the style of China classical dance, such as Lotus Lantern, Knife Meeting and Moonlight Night on the Spring River. With the reform and opening up in 1980s, China classical dance is also changing constantly, and it has begun to expand from appearance to connotation to a new space. On the one hand, dancers broke through the study of China traditional opera and dance, dabbled in ancient cave murals and data of dance images in various unearthed cultural relics, and thus sorted out and created many unique classical dances and classical dance dramas, such as Rain on Silk Road, Dancing with Bells, Dancing with Imitation of Tang Dynasty and Geisha. These retro music and dances highlight their generosity, preciseness, clarity and beauty. On the other hand, it is the innovation, creation and practice of dance educators Tang Mancheng and Li Zhengyi on China's classical dance body rhyme theory. Professor Tang Mancheng said: "Body rhyme starts from getting rid of the business and routines of traditional Chinese opera, and explores its aesthetic laws of" form, spirit, strength, law, spirit and meaning "from China's great cultural traditions including calligraphy and martial arts, refines its elements, and summarizes the route and laws of classical dance and the connotations of masculinity, femininity and rhythm, thus making it no longer dramatic and comparable. Attending: They refined and summarized the action rules in the past classical dance into several basic actions of circular motion centering on the waist, which greatly expanded the action space of China classical dance. From this practice, a large number of excellent dance works have been produced, such as Yellow River, Rivers, Mulan Gui and Liangzhu. In the Yellow River, China classical dance, which was born out of China traditional opera and dance, broke through the limitations of China traditional opera and is no longer a copy of China traditional opera. On the contrary, it is transformed into a body language, and you can freely express your thoughts and passions with great body movements. " Therefore, China's classical dance not only finds something consistent with China's traditional literary spirit from its appearance, but also from its inner charm, thus making China's classical dance delicate, mellow and flexible. The success of Yellow River marks the development of China classical dance to a brand-new stage.

Respondents: Z _ A _ B _ E _ Y- magic apprentice level 1 10-5 15:0 1.

Dragon and Kirin are the most traditional.

Respondents: Wang Jichao-Trainee Magician II10-515:11.

The influence of classical elements on landscape design is nothing more than the influence of design concept and specific image. The former is mainly Feng Shui theory, while the latter includes various specific elements.

In fact, there was landscape design in ancient China, and the level was still very high, but the name at that time was Feng Shui. Apart from the superstitious part, the original intention of Feng Shui is the design and construction of an environment. The ancient people in China used the theory of geomantic omen intentionally or unintentionally in the design from palaces to mausoleums, from gardens to residential buildings.

Today, people in China will naturally and unnaturally consider the factors of geomantic omen in environmental design, whether it is the designer's own initiative or Party A's request ~ ~ ~

Such as door opening orientation, waterscape setting, connection and over-white of landscape sequence, etc.

As for the specific elements, there are many.

-Various crafts, shapes, decorations, patterns,

-Vegetation design in landscape design is also influenced by traditional culture. Plum, orchid, bamboo and chrysanthemum, the favorite plants of ancient people in China, are still favored by most people, including landscape designers.