What are the artistic characteristics of Dunhuang dance

Night dance art point of view to study it, develop it and put it on the stage, starting in the opera artist Mei Lanfang ("Heavenly Maiden Scattering Flowers"), followed by the older generation of dancers Dai Ailian ("Flying Sky"), and then dancers in Gansu Province ("Silk Road Flowers and Rain"), in the 20th century at the end of the 70th year, distinctive Dunhuang dance, and finally dusted off their bodies to open up a colorful plumage, flew out of the cave of the Thousand Buddhas, and flew to the world. The ancient art has rejuvenated itself, and the charm of the ancient art has been revitalized! Ancient art has regained its youthfulness, where is the charm and where are the characteristics? Dancers on the formation of the Dunhuang dance and its artistic charm of the research cut, scholars fighting the general consensus is: Dunhuang dance is domestic ethnic groups (especially the Han and western ethnic groups) and Chinese and foreign countries (especially China, India and Central Asian countries) dance culture mingled with the product of creation. Dunhuang dance researcher, the founder of the Dunhuang Dance Roots Practice Gao Jinrong that Dunhuang mural dance is mainly concentrated in the following aspects: 1. Northern Liang to the Northern Zhou Kabuki days. 2. Tang dynasty painting of the sutra. 3. various generations of the flying sky. 4. Lotus Ruzi. 5. Vajra Rex and the heavenly kings, which is full of masculinity of male dance modeling. 6. secular dance, is the reality of the life of the direct spinning. 7. the world of the world, the world of the world is the world of the world of the world, the world of the world of the world of the world of the world of the world of the world of dance, the world of the world of dance, the world of the world of the world of dance. In addition, there are colored bodhisattvas. She believes that the Dunhuang color sculpture and Dunhuang murals with the Mogao Grottoes is a major component of the plastic arts. Ancient craftsmen with skillful techniques, a high degree of ability to generalize and synthesize and rich imagination, shaped a lot of wonderful shape, the spirit of active women's image, the hand posture is rich, slender and beautiful, most of the night is a beautiful dream of the dance action. Mural dance is very fruitful and outstanding, there is a moment of the dance process, there is an abrupt end of the appearance. Some of the movements of the lyrical and beautiful, gentle and charming spirit, waist arm Softman dream, revealing her Dunhuang dance external features summarized and synthesized as follows: 1. hand shape fruitful and colorful, slender and beautiful, rich in China's classical beauty; 2. arm Softman variable, wrist and elbow angular; 3. barefoot, the foot of the basic shape of the hook, warped, crooked; 4. body shape basic sinking, out of the crotch, rushing body shape into the three-way bend. There are two styles of crotch movement: one is to push the crotch; one is to sit on the crotch. Push crotch is in the crotch to provoke out on the launch, the line is harder, the action is powerful; sitting crotch has forward and backward divergent purposes, the action is soft. The total composition of rigid and flexible, curved bright a soft, tough, heavy, curved linked to the movement characteristics. 5. The use of long silk, drums, pipa and other props and the image of the dance, but also one of its bright features. Gao Jinrong also believes that the early Dunhuang murals in the dance gestures, there is a significant influence of Indian dance, many action gestures from India. Another minority dance researcher Li Caixiu pointed out that the mainland and the western region of the contact and cultural exchanges far before the construction of the Dunhuang Caves has begun. As early as the early years of the Han Dynasty "ü-Tsang music" has been introduced to the Han Palace. In 139 BC, Zhang Qian through the Western Regions brought back the music and Roman acrobats in the Western Regions, in the Dunhuang murals, those "flying sky" inverted, somersaults and acrobatic image of the image of the Rex, are with a dense rough and bright Western flavor. The two Jin Dynasty and the North and South Dynasty wars were frequent, resulting in the migration of the easy-to-people, but this gives the cultural exchanges between the easy-to-people has created the premise of a large number of Toufou easy-to-people music and dance into the mainland, which in the Dunhuang mural has also been spun out of the Northern Wei Dynasty, the Northern Zhou dynasty mural, there are a lot of high nose, deep eyes, skin color of the characters of the image of the different, some of the score of the Western region, some of the performers are wearing the Turkic plains of the people. The dress of the Turkic people. Some of the two arms raised above the head to palm; some hands on the palm, head and waist into a curved twist, these dances are with a strong Western characteristics. Although the Sui Dynasty was only thirty years old in history, but in the exchange and fusion of music and dance between China and the western regions, it was the dip of the past and the future. In this era imported into China's Western music and dance image also night night enrich the Dunhuang murals of the color (soot) is the Chinese and Western music and dance art night exchange, night fusion of the prosperous era, in the Dunhuang murals, the Tang Dynasty music and dance image is also the most fruitful. Tang Dynasty rulers represented by Li Shiping Yi, in order to enrich the culture and art of the people, is very important to the culture of the people and music and dance of the acceptance of the people, such as the Sui Dynasty, adhering to the "seven parts of the music" increased and deleted for the "nine parts of the music"; to the Zhenbuguan fourteen years (A.D. 640 years) and add the "Gaochang music" to become the "ten parts of the music". Not only in the "ten music" in a number of from the West, and in the interior is also commonly quenched a lot of famous folk dances such as "Huteng Dance", "Hu Xuan Dance", "Cudgel Dance" is also from the West. In the past Dunhuang painters, it is based on the image of these dances, processed and created into a colorful Kabuki image of the painting. Although, Dunhuang dance is at home and abroad, the product of the mingling of the dance cultures of all ethnic groups, with an eclectic style features, but this style features are not set in stone, but in the inexhaustible transformation of this transformation is the direction of the localization and localization of ethnicity. Therefore, after the Tang Dynasty, the dance style of China is inexorably enhanced.