The ancient music and dance culture of the Chinese nation was formed in the continuous exchange and fusion of the music and dance culture of various ethnic groups. Such exchanges, the Xia Dynasty has been, "Bamboo Book Chronicle", "Shao Kang is the throne, Fang Yi guests, offering their music and dance". "After the hair of the throne, the first year, and then Paul Yong will be on the pool, the barbarians into the dance". The Six Dynasties Dance of the Zhou Dynasty was also the concentration and exchange of music and dance of various ethnic groups. Western music and dance of the introduction, about the time of the Qin and Han Dynasties, the beginning of the Han Dynasty Palace has "ü-Tepan music". Emperor Wu of Han sent Zhang Qian through the Western Regions, the introduction of the "Mahabharat Tule" of the song, Concordance Lieutenant Li Yannian because of the hu music more to create a new sound of twenty-eight solutions, in the acceptance of foreign music and dance under the influence of the creation and development. Ban Gu "Dongdu Fu" depicts the Han dynasty four barbarians music and dance gathered in Luoyang performance of the spectacle, there are the East Barbarians "spear dance", Southwest Barbarians "feather dance", West Barbarians "halberd dance" and the North Barbarians "dry dance". Emperor Ling of the Eastern Han Dynasty was fond of Hu music and dance, and all the nobles in Kyoto followed suit. In the Han Dynasty, there are images of Hu people performing acrobatics, illusions and drums on the Han statues. The Pan Drum Dance of the Han Dynasty blended the grace and elegance of the Central Plains with the warmth and exuberance of the Western Regions, forming the aesthetic characteristics of Han Dynasty dance. This dance was lost to obscurity during the Six Dynasties, and only in recent years has it been discovered that it is still in circulation in the folklore of Anhui and Shaanxi.
Another result of the exchange of music and dance between the Central Plains and the Western Regions arose during the conquests of the Northern Dynasties. During the Western Jin Dynasty, people from Guanzhong took refuge in Liangzhou, bringing with them the traditional music and dance of the Han and Wei dynasties. Lv Guang and the Xiongnu people frustrated the qu channel Mengxun Ping the West gained the "tortoise music" and the transmission of the old music of the Central Plains in Liangzhou, resulting in a new type of music and dance "Xiliang music", Gansu Dunhuang is the capital of Xiliang, Dunhuang Grottoes mural record of the "Xiliang music and dance" of the rhythm of the grace.
Since the Northern and Southern Dynasties, the north of the most important hu dance, sui daiye years of the nine parts of the kabuki, the western part of the possession of 6, to the tang zhenguan sixteen years (642) in the ten parts of the kabuki and add "gaochang music". Sheng Tang Jian dance "Huteng Dance" and from the Kangju of the "Hu Xuan Dance" is popular for a while. The Tsuge Odori dance from Shikoku in Central Asia was still popular in the Song Dynasty. In the Song Dynasty, the "Cudgel Dance" was fused with the great song and dance forms of the Central Plains, changing the original appearance of the Hu Dance and developing it into a new form of folk dance. The dance can be regarded as a typical product of the combination of Chinese and Western music and dance after the Pan Drum Dance of the Han Dynasty and the Xiliang Music of the Northern Dynasty, which enriched the treasure trove of Chinese traditional dance.
Sixth, the heyday of the development of the Tang Dynasty Yan music
Since the Zhou Dynasty, the court set up a special music and dance institutions, concentration and training of professional music and dance personnel, pay attention to the inheritance of traditions and the absorption of foreign influences.
To the Tang Dynasty, the music and dance institutions included the Taishang Temple, the Church Hall, the Pear Garden, and the Yichun Courtyard, which concentrated a large number of highly skilled music and dance artists and emphasized the cultivation and training of dance skills. The Tang Dynasty inherited the results of the Sui Dynasty great unification, both the southern dynasty of the Qing Shang music and dance, but also the northern dynasty of the Xiliang, Guzi, Goryeo, Tianzhu, Kangguo, Anguo, Shule, and other eastern and western music and dance, especially accepted the influence of the western regions of the various ethnic groups of the music and dance, the old music and new sounds, the Han-Hu mingling, promoting the development of music and dance in the Tang Dynasty.
From the nine parts of the play, ten parts of the play development to the sitting part of the play, the standing part of the play, to the scale of the three great dances - "broken music", "Qingxin music", "on the Yuan music" as a representative of the majestic, some An Xu elegant, some full of fantasy colors. The three major dances can be regarded as the creation of epic dances of the Tang Dynasty. The real representative of the Tang Dynasty dance art style, is a small recreational dance Jian dance and soft dance. The Jian Dance is represented by the Sword, the Cudgel, the Hu Spin and the Hu Teng. The soft dance is represented by "Green Waist", "Liangzhou", "Spring Warbler" and "Night Cries". Representing the peak of Tang Dynasty music and dance art is the Song and Dance Daqu. The Tang Daqu is a combination of vertical inheritance and horizontal borrowing. The structure of the Han dynasty dazhong has the parts of "Yan" (introduction), "Xie" (music section), "Tend" and "Chaos" (ending section). (ending section) and other parts. In the Tang Dynasty, the form of the opera was influenced by the music and dance of the Western regions, and became richer and more perfect, with the structure of the "loose sequence" (slow plate without dance), "in the sequence" (dance with beat, including "row all over"), "in the sequence" (a number of segments), "in the sequence" (dance with beat, including "row all over"), "in the sequence" (dance with beat, including "row all over"). (a number of segments), "into the break" (the climax of the rapid section of the complex strings; including "false urging", "real urging", "gun all over"), "break" ), "resting beat" (the slow board before the end), "brake" (the sharp end of the section), etc., forming a complete performing art form. According to the Records of the Teachers' Workshop, there were 46 kinds of big songs in the Tang Dynasty, which had complex rhythms, rich tunes and tight structures, and had the advanced forms of large-scale songs and dances.
Some of the big songs were called "Faqu", which was rich in the elegant mood of "Qing Shangle". The Nishang Yuyi of the Faju is regarded as the crown of Tang Dynasty dances.
VII. Song Dynasty Dance and Its Theater Factors
There are three main aspects of Song Dynasty dance: the court team dance, folk team dance and dance in the theater.
Song dynasty team dance in the Tang dynasty on the basis of the development of children's team dance and female disciples team dance.
The folk dances of the Song Dynasty were very prosperous. Every New Year's Day, Lantern Festival, Qingming Festival, Tianning Festival (the emperor's birthday), folk dance team is very active. There are 70 kinds of dance teams in the New Year's Eve recorded in "Old Story of Wulin", and many programs of these 70 kinds of dance teams are still circulating in the folklore.
Song dynasty dance in the hundred theater, often performed in the military.
Tokyo Dreaming Records" "driving on the Baotsu building of the army presented a hundred plays" article, soldiers disguised as masked and cloaked gods and ghosts, judges, etc., in the drums and flutes, smoke and fire, firecrackers, shouting, performing "hold the gong", "hard ghosts", "Dance Judge", "mime", "seven holy knife", "rest tent", "wipe the stagger", etc., performers from one or two to more than a hundred people, some of which are still folklore, and some of them are still in the Song Dynasty. The performers ranged from one or two people to more than a hundred people, some wearing masks, some with green, green, yellow and white colors on their faces, with golden eyes and different costumes, fighting and stabbing two by two, and posing in formation against each other. These played a variety of characters dance, each into a play, but also seems to have a certain link to the plot of the drama.
Theatrical elements in Chinese dance did not originate in the Song Dynasty. During the Spring and Autumn Period, the "Dawu" was the story of King Wu's conquest of the Zhou Dynasty, and in the Han Dynasty, the song-and-dance drama "Huang Gong of the East China Sea" already had the embryonic form of a drama. In the Tang Dynasty, the song and dance dramas include "King Lanling", "Tattoo", and "Tap Rocking Nyonya". Treading Shaking Nyonya" already has dance, music, performance, singing, speech and other performance means, by the actors dress up the characters, to express the storyline. Theatrical elements were added to the court dances and songs of the Song Dynasty. Such as the team dance in the military color, also known as bamboo sticks, as a hook team, put the team, speech, and the leader of the dialogue, not only played the role of the announcer or the role of the program is an organic member of the program to promote the development of the plot plays an important role. Song dynasty opera also increased the storytelling, such as the opera "Green Waist", Song dynasty, there are "Cui Nurse six", "Ying Ying six". The Song dynasty also added storytelling, such as the Song dynasty's "Green Waist", which featured "Cui Gu Li Mu" and "Ying Ying Li Mu". The song "Sword and Tool" includes "The King's Sword and Tool". The "Sword Dance" in the "Ancient Peak Zhenyin Daqu" consists of two elements, the first half of which expresses the story of Xiang Zhuang's sword dance at the Hongmen Banquet; the second half of which expresses the story of Zhang Xu's great advancement in cursive writing after observing Gongsun Daniang's sword dance. These great compositions have taken on a strong dramatic character.
From the beginning of the Northern Song Dynasty, after the miscellaneous plays, in the Spring and Autumn Festival three feasts in the entertainment program, is still a hundred plays, team dances, miscellaneous plays performed one after another, until the middle of the Ming Dynasty, but also maintains this combination of forms. They developed in parallel for a long time, influencing and absorbing each other. Chinese opera contains a song and dance, martial arts and acrobatics elements, and the ancient Chinese song and dance opera, military theater, song and dance theater, etc., has a lineage connection.
Eight, the Yuan dynasty opera dance and religious dance
The Yuan dynasty opera art called Yuan miscellaneous opera. The Yuan Yuan opera "singing", "cloud", "section" is its artistic means of performance. Among the three, "Section" is mainly work, including expression, dance and martial arts. Among them, there are inserted dances, such as the "Iron Crutch Li Degree Golden Girls", the 4th fold: "I can see my eight immortals dance a time you see (on the eight immortals, song and dance section)." In addition, "Liu Xuan De drunk up yellow crane tower" in the folk dance team dance "village field music", "chase Han Xin" in the use of running bamboo horse and so on. Other examples of such insertive dances in Yuan miscellaneous dramas include An Lushan's "Hu Spin" dance and Yang Guifei's "Neishang Yuyi" dance in "Tang Minghuang's Autumn Night Sycamore Rain. The martial arts techniques in the Yuan miscellaneous dramas also contain many dance elements, such as various instrumental dances, sparring, somersaults, and pouncing flags on stilts. Some other plays, such as "Little Yuchi" in the "do tune formation section", "Maling Road" in the "pawns pose formation section", which is a team dance. Other works in Yuan miscellaneous operas gradually evolved into programmed dance movements to express the characters' moods, such as the "Shyness Section" and the "Panic Section" in "Baying Moon Pavilion", and the "Panic Section" in "Panic Section". At the time of the miscellaneous opera artists, but also some skillful dance movements named, such as "fluttering red flag", "dragging white practice", "on stilts" and so on.
The religious dances of ancient China were mainly Wiccan, Taoist and Buddhist dances. Wicca and Taoism is China's inherent religion, since the Eastern Han Dynasty, Buddhism imported from India, to the North and South Dynasties and the Sui, Tang and Five Dynasties has not declined. Emperor Huan of the Eastern Han Dynasty, etc., ancestral temple Buddha "do advocate music, in order to seek blessings"; Northern Wei Jingle Temple in Luoyang, set up a female music, "singing around the beams, dance sleeve Xu turn"; Southern Dynasty Liang Wu Di system "good", The Emperor Wu of Liang in the Southern Dynasty made "Shan Ya" and "Da Le", which were called "Zheng Le" to publicize the Buddha's teachings. Tang Dynasty, one of the ten music "Xilang music", there is "ütepe Buddha song", the Song Dynasty court team dance in the bodhisattva offering incense and flowers team, are also music and dance to promote Buddhism. Yuan dynasty to believe in shamanism (wicca) and lamaism (buddhism), in the yuan dynasty court team dance is full of religious superstitions. Yuan dynasty court team dance, *** divided into four teams, New Year's Day with the "music and sound of the king team", the birthday festival with the "birthday team", the court with the "ritual band", the preaching of Buddhism with the "saying team". Each team is divided into 10 squads. Among the 10 teams of the "King of Music Team", the lead team is the band, and there are two women's teams, one playing the song of Changchunliu and the other performing the peony dance, and in the 10th team there are also women who perform the flower bridle drum, while the rest of them are men's team dances and are dressed up as deities and ghosts. The rest are men's team dances in which they dress up as gods and ghosts. There is also a dance in which the Eight Great Vajra are dressed up in the Saying Team. In addition, there are also "Bao Gai Dance", "Sun and Moon Fan Dance", "Block Dance", "Umbrella Dance", "Golden Wing Peng Dance", all of which are dances with religious colors.
The most famous dance of the Yuan Dynasty is the "sixteen heavenly devils dance" created by Emperor Yuan Shun Di, called the praise of Buddha, in fact, for the amusement of the people, in the palace performances, only the eunuchs who have received the secret precepts are permitted to watch, and forbidden to the folk performances.
Nine, the Ming and Qing Dynasties dance
The dance of this period can be roughly divided into three categories: court team dance, opera dance and folk dance.
Ming dynasty court dance, the big rituals into a feast with the "dynasty team dance", "tasseled whip victory team dance". Halloween feast with "nine barbarians into the treasure team dance", "Shouxing team dance". The Winter Solstice Banquet used the Zan Shengxi Team Dance and the Hundred Flowers Pilgrimage Team Dance. On the first day of the feast, the "Lotus Flower Dance" and "Lotus Dance" were used for the feast.
The general name of the Qing Dynasty Palace Banquet Band Dance is "Qinglong Dance", which includes the "Yanglie Dance" and "Heiqi Dance" of the ministerial dance. Dance content is allegorical, the beginning of the band stood two wings, singers 13 people, playing "Qinglong" music, performing "Yang Lie Dance", there are wearing a yellow painted cloth cover 16 people, wearing a black sheepskin cover 16 people, each wearing masks, jumping and falling, like strange beasts. And on the bamboo horse riding 8 people, circling and chasing, like the eight banners soldiers. A person shot a beast, the beasts followed and deterred. At this point, the "happy dance" dance team on the stage, the minister of the court dress 18 people, dance to celebrate.
The Ming and Qing opera dance. It can be divided into five categories:
①Insertive dances, such as "Jumping and Harmony", "Jumping Zhong Kui", and "Dumb Man Carrying the Wind" in the drama of "Saving Mother by Meilian" in the Ming publication.
②Programmed dance segments, such as: "up the bully", "trip horse", "walk side".
③Programmed dance movements, such as water sleeves, plumes, hair flinging, whiskers, fans, handkerchiefs, long silks and many others.
④Sword and gun handle.
5 Heel.
Opera dance is formed on the basis of ancient Chinese dance and developed according to the needs of the plot and characters. It not only has the characteristics of Chinese classical dance, but also preserves the essence of ancient Chinese dance, which has a revelatory effect on opening the treasury of Chinese classical dance and studying the development law of ancient dance.
China is a multi-ethnic country, *** there are 56 ethnic groups. Because of the different life, history, religion, culture and customs of each ethnic group, a rich and colorful ethnic folk dance has been produced. From the point of view of the folk dances of various ethnic groups that have been handed down to the present day, the vast majority of these dances have been finalized and matured in the Ming and Qing dynasties.