1. Dances in the Prosperous Tang Dynasty Mr. Ou Yangyuqian made a high summary and wonderful explanation of dances in the Prosperous Tang Dynasty in his book Dances in the Prosperous Tang Dynasty. The beauty and elegance of literary dance and the soul-stirring of martial dance; Tang Gaozong's strategic and tactical thinking combined with broken music, 900 people exaggerated Jingu music and dance, amazing new technology dancers turned to change clothes, and Wei Ping's light and holy music after the rebellion; Healthy dance and gentle dance of small dance; What is most commendable is the dance in dresses and clothes, the veiled Roman costume, the slow and urgent rhythm, and the artistic appreciation. This is the Yang Yuhuan couple.
Second, the dance policy of the Tang government. The attitude of the Tang government towards dance can be seen from the emperor's entertainment life. In the Tang Dynasty, whenever the imperial court held a big banquet, there were music and dance performances, such as a banquet held by ministers to congratulate the emperor, to receive brothers and envoys from various countries, to celebrate the harvest, and to welcome the western regions to Chang 'an, and so on. There is also the dance of the emperor mentioned above, which is far more than that. National policy makers, who love and enjoy dance, naturally support the development of dance for their own indulgence.
In addition, there was a stipulation in the Tang Dynasty that dancing was forbidden. In fact, only the old emperor was allowed to be happy, and ordinary people were not allowed to entertain and dance. The feudal ruling class concentrated folk song and dance performances in the court and entertained themselves. At the same time, they regarded this enjoyment as a privilege and did not allow people to share it. In the Tang Dynasty, it was forbidden to perform in the countryside. Tang Juan 34 said that artists who violate the ban, or the families and village heads who receive them, will be punished by 30 times, and artists will be sent back to their original places for heavy service. There are two reasons: first, the concept of hierarchy; The second is to safeguard the rule, that is, to be afraid of civilians gathering to make trouble.
Third, the dance teaching institutions in the Tang Dynasty mentioned the dance teaching institutions in the Tang Dynasty, which will definitely make people think of teaching workshops and pear orchards. Teaching workshop record: the right side is better at singing and the left side is better at dancing, all because of habit. It shows that the Zuojiao workshop in Juyan Zheng Fang at that time was mainly dance training. Book of the New Tang Dynasty (Volume 22) records that Xuanzong was familiar with temperament and loved French music, so he chose 300 children of the left geisha to teach in the Liyuan.
Book of New Tang Dynasty _ Official Records: After Wude, Neijiaofang was placed in the forbidden city. Wuhou ruyi two years, changed to' Shao Yunfu'. In the second year of Kaiyuan, Neijiaofang was placed next to Penglai Palace. The teaching workshops in the Tang Dynasty were mainly responsible for the creation and performance of court folk music, with a large number of people. It is an influential and representative music and dance creation and performance unit. Since its establishment, it has become the main undertaker of palace entertainment activities and made outstanding contributions to the development of music and dance in the Tang Dynasty. The supreme ruler of Jiaofang is the emperor, but the highest position of Jiaofang is the eunuch. His position is the ambassador of Jiaofang, and he is called the ambassador in Jiaofang. According to textual research, the first ambassador of the Tang Dynasty was Fan Anji. After the Anshi Rebellion, such a huge music and dance organization and many musicians and dancers in the palace became the burden of the rulers. In the 14th and 14th years of Yuan Dynasty, the scale and personnel of Jiao Fang became smaller and smaller. Although Jiao Fang was not dissolved at this time, it was far less than that in the prosperous Tang Dynasty. Musicians in Jiao Fang are hidden from people's sight, and most of them have a bleak night. They can only pursue the memory of Kaiyuan's prosperous times in the song and dance of banquets between officials and businessmen in the late Tang Dynasty.
Liyuan is a music and dance institution specially established by Xuanzong of Tang Dynasty. It is named after the pear garden near the Forbidden Garden. Mainly teaching and playing French music, the best musicians and dancers can be selected to the pear garden. Therefore, according to the Tang Dynasty Miscellaneous Notes, there were two Kaiyuan people who taught themselves music in the Liyuan in their spare time, and they were called disciples of the Emperor Liyuan. The disciples of Liyuan were carefully selected from Taichang musicians, and 300 male artists lived in the Forbidden Garden. Hundreds of female artists who live in the northern courtyard of Yichun in the palace are all called disciples of Emperor Li Yuan. After 755 AD, the court music and dance institutions gradually decreased and declined, and the rulers became less and less interested in music and dance. In the 14th year of Tang Daizong Dali, Liyuan was finally dissolved. Pear Garden has disappeared for more than 1000 years, but its name has been used to this day.
In the teaching activities of teaching institutions, dancers play an irreplaceable role in court entertainment. It is these outstanding artists who usually accompany Xuanzong and spend countless happy times.
The first is to select students. At the beginning of the establishment of Jiao Fang, musicians were mainly composed of two parts, one part was a musician in the original Taichang Temple, and the other part was a musician in the official residence. In addition, the brothel has always been an important town for selecting musicians in teaching workshops. Gong Sundaniang, a fencing dancer from Jiao Fangjie, often dances in front of Huaqing Palace. There is a poem in Zhengyang Jinyang Gate: Gong Sunjian's ci is magical, and Huai Su, a monk, sees it, and cursive script has made great progress. Inspired by his dance setbacks, the magical dance skills can make all the arts bypass. Zhang is a dance genius discovered by Yang Guifei. She once fell for her dance, stayed with her, cultivated her carefully, and wrote poems to praise her.
Reference: Ou Yangyuqian. Dance in Tang Dynasty. Shanghai Literature and Art Publishing House, 1980. Dou peide Palace Dance in the Prosperous Tang Dynasty. Contemporary drama, 2003. 1. Wang Songtao. On the diversity and continuity of meteorology in the prosperous Tang Dynasty from the popularity of Hu dance. China Cultural Forum, 2008. 1. Bai, Wang. 2005. 1. Zuo Hanlin. Textual research on the emergence and evolution of disciples in Tang Dynasty. Journal of Qinghai Normal University, April 2004. Bai, Wang. The first ambassador of the Tang Dynasty. Journal of China Theatre Academy, February 2005. Zhang Liquan, Shi Bin, Zuo Hanlin. Textual research on disciples in tang dynasty. Journal of Adult Education College of Hebei University, 2005.