2. The introduction of acrobatic illusion of music and dance in the western regions and frontier minority dances,
3. Official organization: Yuefu
However, the brick and stone reliefs in the Han Dynasty are precious historical materials that can best reflect the image of the dance in the Han Dynasty, and they show us various styles of the dance in the Han Dynasty. Because dances in the Han Dynasty are often mixed or performed alternately with other programs in the "Hundred Dramas", acrobatic programs that emphasize skill performance have affected the development of dances to some extent. Dance in Han Dynasty is characterized by the combination of skills. At the same time, making full use of dance equipment and costumes to express feelings and enhance aesthetic feeling has become one of the characteristics of Chinese traditional dance in Han Dynasty. The combination of skills in Han dance,
Music and dance in Han Dynasty is an era of wide acceptance and integration of various skills. Influenced by acrobatics, illusion, corner arrival and exorcism, dance has developed to a difficult stage, enriching the means of expressing feelings and expanding the expressive force of dance.
Reflected in the program "Pan Encouragement". There are not only elegant and wonderful dances, but also superb and complicated skills of "falling on your knees". "Pan-Drum Dance" not only pays attention to the improvement of dance form, but also emphasizes that the external dance capacity expresses the internal poetry and pursues the artistic conception of dance. Another result of the integration of various skills is the emergence of musical dramas.
The East China Sea yellow public word has a false shape. The wizard Huang Gong hates the white tiger, and it is a typical routine to stage a fight between man and beast. Huang Gong's magic was ineffective, and he was finally killed by the white tiger, which was full of satire and comedy.
Another book, The General Meeting of the Immortals, is the further development of totem dance and witch dance.
Due to the consolidation of feudal system and economic prosperity in Han Dynasty, people's life was improved, and music and dance in various places developed accordingly. Famous songs and dances around the country are: Dong Song, Dong Dance, Zhao Bian, Zhao Dance, Jingyan, Chu Dance, and Zheng Dance.
Differences between music and dance in Han and Tang dynasties;
From the historical background, both of them (1) are promising times, both of which inherited the beneficial factors of the previous dynasty and made bold innovations on the basis of tradition. For example, Yuefu, a collection of folk music and dance in the Qin Dynasty. The continuous formation and development of folk music and dance has laid a solid foundation for the formation of hundred operas. Qin Shihuang was also the first to introduce a "corner play" with performances and wrestling into the court. In the Tang Dynasty, Gaochang music was added to Jiubu Ji in the Sui Dynasty, and Wenkang Ji was changed to Le Yan, forming Shibu Ji. (2) The two dynasties had strong national strength, vast territory and relatively stable political situation. The economy is prosperous and people's lives are stable. Both the Tang Dynasty and the Han Dynasty were unified times. During the period of Emperor Wu of Han Dynasty, Wei Qing and Huo Qubing attacked Xiongnu and expanded their territory. Although the policy of "pro-marriage-forced marriage-pro-marriage" was adopted in the Han Dynasty, people's lives were still relatively stable. Not to mention the Tang Dynasty. Since Li Shimin, many kings have been born. In the Tang Dynasty, Da Luorong was made king of Bohai County. Guli Peiluo, Huai Ren Khan, also sent Princess Wencheng to Tibet to kiss Songzan Gambu. (3) Smooth Silk Road and great ethnic integration are conducive to absorbing foreign dance culture. The ethnic integration of Xiongnu and Han nationality was the general trend at that time, and other ethnic minorities also integrated with Han nationality. For example, "Bayu Dance" was introduced into the Central Plains by the dances of southwest ethnic minorities. Dances such as Hu Xuan and Huteng in the Tang Dynasty were also introduced from the Western Regions. An Lushan was a famous dancer at that time, famous for her Hu Xuan dance.
From the content scope, the prosperity of literature and poetry in Tang Dynasty promoted the development of music and dance, while Yuefu and Hanfu in Han Dynasty also promoted the development of music and dance. For example, Liu Bang's Song of the Wind in the Han Dynasty and Bai Juyi's Flowers Are Not Flowers in the Tang Dynasty all reflect the influence of Han Fu and poetry on music and dance.
Judging from the importance attached by the rulers, the rulers attached importance to, advocated, supported and participated in their creation and rehearsal, which contributed to the popularization of dance in the folk and court. For example, Yuefu, Taiyue and Huangmen Propaganda Departments were established in the Han Dynasty. In the Tang Dynasty, there were pear gardens, teaching workshops and Taichang Temple. In addition, the rulers themselves are also involved. Liu Bang, Emperor Gaozu of the Han Dynasty, sang Song of the Wind, Li Shimin sang Joy of the King of Qin, Wu Zetian sang Long Live a Hundred Birds, and Tang sang The Coat Dance. It is said that Tang was obsessed with singing and dancing, and he didn't believe it until the Anshi Rebellion hit the city gate. So much so that Du Mu's Bo Qinhuai wrote that "business women don't know how to hate national subjugation, but they still sing backyard flowers across the river".
Judging from the popularity of music and dance, folk dance prevailed in both dynasties. For example, hundreds of plays in the Han Dynasty and musical plays in the Tang Dynasty. The two are also interrelated. Dance was popular among the people, and both dynasties were proud of it. Whether literati or civilians, all social classes have different forms of dance activities. There is a saying in the Han Dynasty that "dancing belongs to one family". At the banquet, some hosts dance first and then invite guests to dance. If guests don't jump in return, they tend to hold a grudge. In other words, the popularity of music and dance at that time, like drinking tea when we usually visit our hosts, has been regarded as a kind of etiquette and has long been planted in people's hearts. Song and dance dramas in the Tang Dynasty also have vivid plots, which are deeply loved by the people and the court. For example, step on a ballad, mother, warrior Lan Ling.
Judging from the performance scale and achievements, (1) dance has a huge scale, superb acting skills and many artists. For example, Gong Sundaniang's sword dance, Xie Aman's Lingbo dance, Yang Guifei's clothes dance and Mei Fei's Jinghong dance. In the Han Dynasty, Mrs. Zhao, Mrs. Qi and all held high positions. (2) Dancers are full of stars, creating novel programs and action vocabulary. For example, in the Han Dynasty, "dancing with long sleeves", in the Tang Dynasty, people hung their hands, waved their hands and danced. Wu Fu and Huai Nan Hong Lie in the Han Dynasty also had a great influence on the development of music and dance in China.
Judging from the performance style of dance, the civil and military dance in Han Dynasty is very similar to the sword dance and soft dance in Tang Dynasty.
Judging from the characteristics of dance, it is a kind of dance that combines Taoism, Confucianism and Buddhism. Buddhism: Since it was introduced into the Central Plains at the end of the Western Han Dynasty, it has been highly valued by the rulers. White Horse Temple and other temples were built in the Han Dynasty, and Buddhism prevailed in the Tang Dynasty. Emperor Taizong even sent Master Xuanzang to Tianzhu to seek truth. Confucianism: Since Emperor Wu of the Han Dynasty, Dong Zhongshu has been a "master of Confucianism" and admired Confucianism. The Tang Dynasty was also a feudal society, based on Confucianism. Both Emperor Taizong and Tang Gaozong ruled by benevolence. Taoism is a native of China, and the concept of immortality has a long history. Even the theory of music and dance and the aesthetic work Huainan Honglie are governed by Taoist inaction. Qin Shihuang is the most representative figure, and there are dances depicting Taoist myths in hundreds of plays in the Han Dynasty. This was more obvious in the Tang Dynasty. Emperor Ming of the Tang Dynasty compiled many innovative dance plays based on the images and stories of his dream dragon girls and fairies.
The two dynasties are different, the wheel of history is advancing, and the ideas of music and dance in Han and Tang dynasties are also different. Compared with the Han Dynasty, the music and dance system in the Tang Dynasty is more perfect, larger in scale, more exquisite in performance skills, and the rulers are more aware of the truth of "communication between music and politics" and more enlightened in policies. On the basis of the culture of Confucianism, Taoism, music and dance in the Han Dynasty, the Tang Dynasty put more emphasis on the Buddhist factors in the thought of harmony between man and nature.
Newton once said, "I see far, because I stand on the shoulders of giants." The development of music and dance in Tang Dynasty and Han Dynasty is closely linked. For example, the song and dance dramas in the Tang Dynasty were produced on the basis of hundreds of dramas. One of the important contributions of the Han Dynasty was the dance score "Huainan Honglie", which contributed greatly to the dance development of later generations. The combination of rigidity and flexibility with waist and legs as the basic skills also laid the foundation for later dances. The music and dance of the Han Dynasty and previous dynasties gave birth to the third peak in the history of China classical dance-the Tang Dynasty.