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What are the artistic features of Dunhuang Dance?
The colorful and profound Dunhuang art, which has been sleeping for hundreds of years, has been recognized and studied in this century, and has also been destroyed and plundered by imperialists. From the perspective of dance art, learning it, developing it and putting it on the stage began with the opera artist Mei Lanfang ("The Goddess Scatters Flowers"), followed by the older dancer Dai Feitian, and then the dancer from Gansu ("Silk Road Rain"). In the late 1970s, the unique Dunhuang dance finally dusted off its body, unfolded colorful feathers and flew out of the Thousand Buddha Cave.
What are the charms and characteristics of ancient art? Dancers studied the formation and artistic charm of Dunhuang dance. Scholars generally believe that Dunhuang Dance is the product of the fusion of dance cultures of various ethnic groups in China (especially Han and Western ethnic groups) and foreign countries (especially China, Indian and Central Asian countries).
Gao, a researcher of Dunhuang dance and founder of Dunhuang dance basic training, believes that the dance movements of Dunhuang murals are mainly concentrated in the following aspects: 1 From Beiliang to Northern Zhou Dynasty, geisha was happy. 2. Painting in the Tang Dynasty. 3. Every generation is flying. 4. Lotus Boy. 5. King Kong Lux and the King of Heaven, this is a masculine male dance style. 6. Secular dance is a direct reflection of real life. In addition, there are colored plastic bodhisattvas. She believes that Dunhuang colored sculptures and Dunhuang murals are important parts of the plastic arts of Mogao Grottoes. Ancient craftsmen created many beautiful and vivid female images with skillful skills, high generalization ability and rich imagination, with rich gestures, slender and graceful movements, mostly wonderful dance movements. The mural dance is very rich and wonderful, and a moment in the dance process suddenly appears. Some movements are lyrical and feminine, with gentle and charming demeanor and graceful waist and arms, which shows that she summarized the external characteristics of Dunhuang dance as: 1. Hands are colorful, slender and beautiful, full of China classical beauty; 2. Flexible arms and angular wrists and elbows; 3. Barefoot, the basic shape of the foot is hooked, inclined and bent; 4. The posture is basically sinking, getting out of the crotch and rushing into three bends. There are two styles of hip movement: one is pushing the hip; One is sitting on the hip. Pushing hips is based on lifting hips, with tough lines and powerful movements; Sitting on the hips has different directions before and after, and the movements are soft. Generally speaking, it constitutes a combination of rigidity and flexibility and a distinct curve, which is a combination of softness, rigidity, weight and curvature. The image of dancing with props such as long silk, waist drum and pipa is also one of its distinctive features. Gao also believes that the dance gestures in early Dunhuang murals have obvious influence on Indian dance, many of which are from India.
Li Caixiu, another minority dance researcher, pointed out that the contact and cultural exchange between the mainland and the western regions began long before the construction of Dunhuang Grottoes. As early as the early Han Dynasty, Yu Yue was introduced to the Han Palace. In BC 139, Zhang Qian brought back western music and Roman acrobats after he went to the western regions. The image of "flying" handstand and somersault in Dunhuang murals and the image of Lux performing acrobatics all have a strong rugged and lively western customs. Frequent wars in the Jin, Southern and Northern Dynasties caused the migration of all ethnic groups, but created conditions for cultural exchanges between all ethnic groups. A large number of music and dances of ethnic minorities in the western regions were introduced into the mainland, which was also reflected in Dunhuang murals. In the murals of the Northern Wei Dynasty and the Northern Zhou Dynasty, many figures with high noses and deep eyes and different skin colors appeared. Some musical instruments come from the western regions, and some performers wear the costumes of Turkic people. Some hold their heads in their hands; Some put their hands together and twist their heads and waists into an arc. These dances have strong western characteristics. Although the Sui Dynasty has only a history of more than 30 years, it is determined to play a connecting role in the exchange and integration of music and dance between the Central Plains and the Western Regions. During this period, the images of western music and dance introduced into the Central Plains also greatly enriched the colors of Dunhuang murals. The Tang Dynasty was a prosperous period of great exchange and integration of music and dance art between the Central Plains and the Western Regions. Among Dunhuang murals, the images of music and dance in the Tang Dynasty are also the most abundant. In the Tang Dynasty, in order to enrich their own culture and art, the rulers represented by Li Shimin attached great importance to absorbing the cultures, music and dances of all ethnic groups, such as adding and deleting seven pieces of music inherited by the Sui Dynasty into nine pieces; In the fourteenth year of Zhenguan (AD 640), heightening Changle was ten pleasures. Many of these ten pieces of music not only come from the western regions, but also many famous folk dances such as Hu Teng Dance, Hu Xuan Dance and Zhezhi Dance are widely spread in the mainland. It was on the basis of these music and dance images that Dunhuang painters at that time processed and created colorful images of ci and music in their paintings.
Although Dunhuang dance is the product of the blending of national dance cultures at home and abroad, it has an inclusive style. But this style is not static, but constantly changing, and the trend of this change is nationalization and localization. Therefore, since the Tang Dynasty, the dance style of the Central Plains has been continuously enhanced.
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