In China's dance creation, it is a very important link to mold the spiritual temperament of "image". What kind of spiritual temperament is an important feature that distinguishes China's dance "image" from western modern dance. China's philosophy and aesthetic thought regard the perfection of personality and the cultivation of emotion as the realm and goal of artistic creation and aesthetics, and finally hope to achieve a kind of harmony, including the harmony between man and nature and interpersonal relationship. "The relationship between heaven and man" refers to the natural harmony between heaven and earth, and man is also a part of the harmony between heaven and earth. On the premise of the relationship between heaven and man, interpersonal relationship should adjust people's psychology and temperament through "cultivation".
Therefore, the expression of artistic image and spiritual outlook is particularly important in dance creation. China's dance should pursue a spiritual image of harmony and unity of realm, grace and ideal personality, which is an educated image and a desirable image. At the same time, restrained, implicit, rigid and flexible emotional expression is also an important spiritual connotation in shaping China's dance image. In the research, we find that the spiritual temperament of China's dance artistic image is obviously manifested in carrying forward the ideal people and things and yearning for perfection and harmony, which is an aesthetic spiritual pursuit. And clearly embodies the praise of truth, goodness and beauty and the criticism of ugly things. Humanistic thoughts and poetic feelings are fully conveyed in artistic expression.
In China's dance creation, it is a very important link to mold the spiritual temperament of "image".
In China's dance creation, it is a very important link to mold the spiritual temperament of "image". What kind of spiritual temperament is an important feature that distinguishes China's dance "image" from western modern dance. China's philosophy and aesthetic thought regard the perfection of personality and the cultivation of emotion as the realm and goal of artistic creation and aesthetics, and finally hope to achieve a kind of harmony, including the harmony between man and nature and interpersonal relationship. "The relationship between heaven and man" refers to the natural harmony between heaven and earth, and man is also a part of the harmony between heaven and earth. On the premise of the relationship between heaven and man, interpersonal relationship should adjust people's psychology and temperament through "cultivation".
Therefore, the expression of artistic image and spiritual outlook is particularly important in dance creation. China's dance should pursue a spiritual image of harmony and unity of realm, grace and ideal personality, which is an educated image and a desirable image. At the same time, restrained, implicit, rigid and flexible emotional expression is also an important spiritual connotation in shaping China's dance image. In the research, we find that the spiritual temperament of China's dance artistic image is obviously manifested in carrying forward the ideal people and things and yearning for perfection and harmony, which is an aesthetic spiritual pursuit. And clearly embodies the praise of truth, goodness and beauty and the criticism of ugly things. Humanistic thoughts and poetic feelings are fully conveyed in artistic expression.
Secondly, it is a spiritual temperament that is attached to mountains and rivers and is carefree. Judging from China's cultural tradition, this spiritual temperament is mainly influenced by China's Taoist thought. Compared with Confucianism, Taoism in China emphasizes the unity of things and me, pays attention to spiritual liberation and achieves artistic life. In particular, Zhuang Xuesi's thought embodies an artistic spirit. Taoism believes that artistic creation can enter an aesthetic realm through the pursuit of ideal personality, thus realizing the liberation of its own vitality and finally achieving "walking with the creator in the world" and integrating with the universe. This ideological realm of Taoism profoundly influenced China's artistic spirit.
In addition, the image-building of China's dance should also pay attention to national consciousness. China's artistic tradition has always attached importance to national consciousness. In China's traditional aesthetic thought, it is emphasized that art should not only serve people, but also make its emotional expression related to social life or political state. It can play a role in educating people, governing the country and making society harmonious. In China's artistic creation, the spirit and belief of a country and a nation should be infiltrated into the image creation to shape the spiritual character of the image. Our artists should realize that if a nation does not have its own national consciousness, it is impossible to talk about independent individual consciousness. If "national race" disappears, can "individual life" still have a place? We should embody this profound understanding in artistic creation.
In fact, whether it is poetry, novels, music, painting, or dancing, etc. The national spirit can be inspired by artistic works, so artistic creators should shoulder this responsibility. As far as the literary history of China is concerned, most of the poems in the Han and Tang Dynasties are full of tragedy or lofty aspirations, and these poems also prove that the national power in the Han and Tang Dynasties is very powerful.
Poets in the late Tang Dynasty often indulge in pleasure and debauchery, and most of their poems are decadent. The social reality of the late Tang Dynasty was also bullying by foreigners. Many poems, whether in the early or prosperous Tang Dynasty, embody a magnificent literary talent and a national spirit. For example, Chen Ziang, a Tang Dynasty poet, expressed a strong national consciousness in his poem "Send David to the Army": "The Huns still exist, but Jiang Weifu joined the army. No, no, three rivers, chasing six counties. The wild mountain turns north, and the fox inserts clouds. " If you don't let go, you will succeed if you stay in Korea. "In the prosperous Tang Dynasty, Wang Changling's poem" Joining the Army "said:" The snowy mountains in Qinghai are dark, and the lonely city overlooks Yumenguan. "The yellow sand wears golden armor in many battles, and the loulan is not returned."
It is also a poem praising the national spirit. China's dance creation should also contain national spirit and integrity, which can show the aesthetic characteristics of China's artistic image. By shaping and expressing the artistic image with national spirit, the public's thoughts will be led to a higher level, which is not only needed by the real society, but also reflects a cultural tradition. The ultimate goal is to stimulate people's wishes, cultivate people's hearts and play an important role in people's social moral construction.
In addition, China's art has a very important emotional feature: no matter how much pain there is in life and how many joys and sorrows there are in the world, people should be full of feelings for life. The so-called "deep affection" includes sadness, friendship and sympathy for life and the world. The sorrow of life is a kind of sorrow for the brevity and impermanence of life. Friendship between people means attaching importance to the warmth of empathy such as personality and friendship. The so-called universal sympathy is a deep sympathy and care for suffering and everything in the world.
These "affectionate" characteristics make the shaping of artistic image more emotional in personality. At the same time, the image-building of China's art should also be a concentrated expression of bloody life. This bloody life contains the spirit of freedom, resistance and struggle, which makes individual personality full of tension and heroism and calls for truth with true temperament and blood.
Looking at the spiritual level of China's dance image-building, we should also cover the following characteristics: harmonious and perfect ideal spirit; The natural spirit of being born at large; The national spirit of expressing national consciousness; It contains deep affection and bloody personality spirit. The spiritual aesthetic orientation of image is the key link in shaping artistic image. What kind of spiritual quality the image has is also a remarkable feature that distinguishes China dance from western dance. Exploring the spiritual aesthetics of artistic images is an important aspect of China's research on the image language of dance choreographers, which has an important role and far-reaching significance for the creation and development of China's dance.
Secondly, it is a spiritual temperament that is attached to mountains and rivers and is carefree. Judging from China's cultural tradition, this spiritual temperament is mainly influenced by China's Taoist thought. Compared with Confucianism, Taoism in China emphasizes the unity of things and me, pays attention to spiritual liberation and achieves artistic life. In particular, Zhuang Xuesi's thought embodies an artistic spirit. Taoism believes that artistic creation can enter an aesthetic realm through the pursuit of ideal personality, thus realizing the liberation of its own vitality and finally achieving "walking with the creator in the world" and integrating with the universe. This ideological realm of Taoism profoundly influenced China's artistic spirit.
In addition, the image-building of China's dance should also pay attention to national consciousness. China's artistic tradition has always attached importance to national consciousness. In China's traditional aesthetic thought, it is emphasized that art should not only serve people, but also make its emotional expression related to social life or political state. It can play a role in educating people, governing the country and making society harmonious. In China's artistic creation, the spirit and belief of a country and a nation should be infiltrated into the image creation to shape the spiritual character of the image. Our artists should realize that if a nation does not have its own national consciousness, it is impossible to talk about independent individual consciousness. If "national race" disappears, can "individual life" still have a place? We should embody this profound understanding in artistic creation.
In fact, whether it is poetry, novels, music, painting, or dancing, etc. The national spirit can be inspired by artistic works, so artistic creators should shoulder this responsibility. As far as the literary history of China is concerned, most of the poems in the Han and Tang Dynasties are full of tragedy or lofty aspirations, and these poems also prove that the national power in the Han and Tang Dynasties is very powerful. Poets in the late Tang Dynasty often indulge in pleasure and debauchery, and most of their poems are decadent. The social reality of the late Tang Dynasty was also foreign bullying. Many poems, whether in the early or prosperous Tang Dynasty, embody a magnificent literary talent and a national spirit.
For example, Chen Ziang, a Tang Dynasty poet, expressed a strong national consciousness in his poem "Send David to the Army": "The Huns still exist, but Jiang Weifu joined the army. No, no, three rivers, chasing six counties. The wild mountain turns north, and the fox inserts clouds. " If you don't let go, you will succeed if you stay in Korea. "In the prosperous Tang Dynasty, Wang Changling's poem" Joining the Army "said:" The snowy mountains in Qinghai are dark, and the lonely city overlooks Yumenguan. "The yellow sand wears golden armor in many battles, and the loulan is not returned."
It is also a poem praising the national spirit. China's dance creation should also contain national spirit and integrity, which can show the aesthetic characteristics of China's artistic image. By shaping and expressing the artistic image with national spirit, the public's thoughts will be led to a higher level, which is not only needed by the real society, but also reflects a cultural tradition. The ultimate goal is to stimulate people's wishes, cultivate people's hearts and play an important role in people's social moral construction.
In addition, China's art has a very important emotional feature: no matter how much pain there is in life and how many joys and sorrows there are in the world, people should be full of feelings for life. The so-called "deep affection" includes sadness, friendship and sympathy for life and the world. The sorrow of life is a kind of sorrow for the brevity and impermanence of life. Friendship between people means attaching importance to the warmth of empathy such as personality and friendship. The so-called universal sympathy is a deep sympathy and care for suffering and everything in the world.
These "affectionate" characteristics make the shaping of artistic image more emotional in personality. At the same time, the image-building of China's art should also be a concentrated expression of bloody life. This bloody life contains the spirit of freedom, resistance and struggle, which makes individual personality full of tension and heroism and calls for truth with true temperament and blood.
Looking at the spiritual level of China's dance image-building, we should also cover the following characteristics: harmonious and perfect ideal spirit; The natural spirit of being born at large; The national spirit of expressing national consciousness; It contains deep affection and bloody personality spirit. The spiritual aesthetic orientation of image is the key link in shaping artistic image. What kind of spiritual quality the image has is also a remarkable feature that distinguishes China dance from western dance. Exploring the spiritual aesthetics of artistic images is an important aspect of China's research on the image language of dance choreographers, which has an important role and far-reaching significance for the creation and development of China's dance.