The dance art in the Tang Dynasty is a fruitful result of the exchange and integration of various music and dances in the Han Dynasty and the Southern and Northern Dynasties for hundreds of years. She not only integrated the achievements of the previous generations such as Zhou, Qin, Han, Wei, Jin, Southern and Northern Dynasties, but also had a large number of new creations of her own, which had a great influence on the later development of dance in Song, Yuan, Ming and Qing Dynasties, as well as in modern and contemporary times. Therefore, there is sufficient reason and basis to say that the Tang Dynasty dance is a peak of the development of ancient dance art in China.
As a peak of development, she has many outstanding characteristics: First, performing dance has developed unprecedentedly. Whether it is the court or the people, whether it is a banquet or a folk festival, there are various forms and scales of dance performances, such as the "Yan (banquet) music" in the grand court; Nine geisha, ten geisha, left geisha, inner geisha and quartet music and dance performed in Beijing; Rich in content and superb in skills, such as Sword Dance, Soft Dance, Song and Dance Daqu, Song and Dance Opera, etc. First, mass dance activities are more popular and flourishing. There are many excellent dancers, such as Yang Guifei, Zhang, Xie Aman and so on. Then record the dance score of the dance. For example, the "dance music fragments" found in the later Dunhuang Buddhist scriptures.
Dance is an art that expresses people's thoughts and feelings and reflects social life with human body movements as the main means of expression. Du You's "General Code" said: "Dancers also lack singing, so they dance with their hands and feet, and their faces move like objects." Therefore, dance is a dynamic image. Of course, it is not a general physical action, but a physical action with a certain sense of rhythm, a certain aesthetic feeling and a certain emotional movement. Poets in the Tang Dynasty paid full attention to the characteristics of dance different from other arts, and tried to express the rhythm, modeling and emotional beauty of dance in their poems. Such as Zhang Xiaobao's philosophy:
At the beginning of the drum beat of the philosopher, the flower-shaped Luo shirt shrugged its waist. Walking brocade boots are ethereal and graceful, and embroidered hats float with the wind. Shen Ya stepped on the knot and turned around, feeling embarrassed and charming on his back. I was afraid that "xianggong" would not see enough, so I went up against the wind and rain.
This poem expresses the dynamic image of the dance of philosophy from beginning to end, including its characteristic movements and the continuity of movements. That is, bending, moving, moving, stepping and turning, and the transition from one posture to another. At the same time, it also shows beautiful dance gestures such as "ethereal and elegant" and "moving with the wind" and novel dance shapes such as "Luan Xing Zhuan" and "Feng Yingjiao". Finally, it gives people an image of "flying in the sky against the wind and rain", leaving an unforgettable impression. Another example is Liu Yanshi's "Wang Zhongcheng's Home Watching Night Dance Huteng":
There are few people in Shiguo Hull, and he was as anxious as a bird before squatting and dancing. Woven into a hat with a false top, a thin beard shirt and small sleeves. Pu Tao's lamp is in his hand, and he misses the west. Jump the hub with a treasure ring to make your feet colorful and your boots soft. Four seats are silent, and the flute and pipa are all over the head. A new snow and scarlet carpet fluttered around, and a red candle brushed beside it. Dancing in the bar, the silk tube is off. Hibiscus flowers look at the waning moon in the west.
This poem is different from Zhang Xiaobiao's Philosophy. Because Hu Teng dance is characterized by jumping and kicking, the poet does not describe the whole body dynamics, but only focuses on the dancer's leg and foot movements. Write down that at first he squatted down and stamped on the ground, rushing forward like a bird; Later, he got up and jumped, spinning like a wheel, and the viewer only saw colorful feet and shining brocade boots; Finally, the wind blew on the carpet and brushed off all the candles of the red candle next to it. This poem not only shows the intense and rapid rhythm of dance through the description of movements, but also shows the dancer's homesickness through the action of "looking west".
These two poems, which show the whole process of dance, do not account for a large proportion in the music and dance poems of the Tang Dynasty. Usually poets only describe the most characteristic movements, mostly the movements of sleeves and waist. The reason is that there is probably nothing more suitable to express the beauty of flow than the soft and elegant dance sleeves and the soft and graceful dance waist in dance movements. For example, he wrote dance sleeves: Swirling Water and Singing Dance Sleeves (Du Fu's Song of Happy Garden), Long Sleeves Returning to the South Pavilion at Night (Zhang Shuo) and Dance Sleeves Embroidering Waves with the Wind (Liu Jian's Spring Banquet Pavilion). In these descriptions, the dancing sleeves, whether flying over, returning late or chasing the wind, all present a dynamic beauty. Another example is waist dance: "Laziness promotes festivals and leads to numerous dances" (Winter White by Yuan Zhen), "Curling the waist against the wind" (Wang Wen), and "Dancing with the waist hanging down to soften the sun" (Long Songs by Li Xianyong). The description of laziness, softness and softness in these poems is not used to express static, but can arouse readers' association with the dynamic beauty of dancing waist. Sometimes, poets also write about dancing waist sleeves, such as Liu Xiyi's "Spring Girl Walking": "Slender waist for the moon, long sleeves dancing in the spring breeze." Zhang Hu's Dance: "When the waist is twisted, the sleeve is waved." The movement of waist and sleeves in different directions and forms constitutes a beautiful artistic shape, which is pleasing to the eye. In order to express the dynamics of dance, a large number of verbs are used in poetry, and sometimes multiple verbs are used continuously in a sentence. Such as "raising eyebrows and moving eyes on the carpet" (Li Duan's Hu Tenger), "Gu Dingling hangs and stops" (Bai Juyi's Song of Dressing and Feathering) and "Covering your face with sleeves" (Wang Jian's Song of Rice White). In order to accurately and vividly reproduce the art of motion, the poet pays special attention to choosing expressive verbs, such as "turn", "fly" and "brush" to show the swing of sleeves, "return", "turn" and "spin" to show different postures, and "step", "move" and "kick" to show various gaits.
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