During the Spring and Autumn Period, there was a famous dancer named Xi Shi, who was born in the village of Ramie in Zhuji, Zhejiang Province. Xishi was one of the four great beauties of ancient China, also known as Xizi, and was the most famous dancer of her time.
When King Goujian of Yue was in the midst of a national crisis, he endured humiliation and tried to save his country with his body. At that time, King Goujian retreated to Huiji Mountain and was besieged by the Wu army, so he was forced to beg for peace with Wu, and Goujian was taken as a hostage by Wu. He was forced to beg for peace with the Wu, and was taken hostage by the Wu. When he was released, he went into hiding and plotted to restore his country.
Daifu Fan Li, in response to the weakness of the king of Wu, offered nine strategies to destroy Wu, the most poisonous of which was the beauty plan. Fan Li was ordered to tour the whole country to investigate the beauty dancers.
One day, Fan Li came to the village of Ramie, where he met Zheng Dan and Xi Shi, a pair of sisters. He brought Zheng Dan and Xi Shi back to Huijie, and taught them how to sing and dance, so that they would be ready to present them to the king of Wu, Fu Chai.
At that time, King Goujian believed that a real beauty must have three conditions: beauty, good singing and dancing, and physical appearance. But Xi Shi only possessed two conditions, and she still lacked the most important condition of being good at singing and dancing.
So King Goujian spent 3 years to teach Xi Shi dance, step, etiquette, etc., and finally cultivated Xi Shi into a real name A dancer.
Xi Shi practiced hard every day, and she danced to the melodious music, her posture was extremely graceful and charming. Later, Xishi was trained in the art of etiquette and gesture, and she gradually became a well-cultivated dancer from a folk raccoon girl, with an intimidating physical beauty in the way she moved her hands and feet, and in the way she treated people and other people.
Finally, Goujian made her a gorgeous palace dress, and then offered her to King Fu-chai of Wu. At that time, Xi Shi came in style, and on the splendid round stage, the king of Wu was so excited that he accompanied her with a blowjob.
Later, with the curtains slightly draped around her, and the lamps picking up the warmth of the furnace, Xi Shi began to move like fine water, her skirt as light as tulle, like silk, like gauze, like a kind of floating sensation from far away, from near and far away. Xi Shi's light dance steps, four seats startled, the people around, sometimes sigh, sometimes excited. Fu Zhai saw Xishi waist like a water snake, face like red powder, slender hands, incomparable moving.
Fu Zhai, the king of Wu, was very happy after admiring Xi Shi's singing and dancing. Fu Chai in Gusu to build the Spring Night Palace, built a large pool, the pool set up a green dragon boat, he daily and Xishi for the water play, and later he built for Xishi performances of songs, dances and banquets Pavilion Wa Pavilion, Spirit Pavilion and so on.
Xi Shi was the best at dancing a kind of dance called "clog dance", and Fu Chai built a "clog gallery" for her, using hundreds of large tanks with wooden boards on them. Xi Shi wore wooden clogs and danced with a small bell on her skirt, and when she moved, the sound of the bell and the reverberation of the vat were intertwined, making Fu Zhai intoxicated.
Later, Goujian successfully utilized Xi Shi to keep King Fu-chai of Wu in check, and he finally defeated Wu by taking the courage to work hard.
In fact, the Spring and Autumn Period was an era of political pluralism and the inevitable result of the development of the Western Zhou feudal system. The development of the Zhou dynasty's vassal states tended to slow down at this time, while the rise of the power of different surnames of the vassals, the formation of the Spring and Autumn period of the magnificent historical scene of hegemony, war and turmoil.
The early Western Zhou dynasty divided into "eight hundred vassals", to the Spring and Autumn period and for more than 170 large and small marquisate. Some small states became vassals of the big states, and the big states competed for hegemony, resulting in five big states competing for power during the Spring and Autumn Period, known as the "Five Hegemons of the Spring and Autumn Period".
According to the book "Spring and Autumn Annals" written by Confucius, before 242 BC, the total number of wars among the vassal states*** was 483, and the number of alliances was 450. This is rare in the history of our country, thus, the power of the Zhou royal family was greatly weakened, "rites and music" began to become a major trend in history, the dynasty has no authority, and thus "rites and music from the vassals out of the conquest".
The Eastern Zhou period was not only a time of great upheaval and change in political life, but also a time of accelerated and wonderful economic and cultural development. Religion, ritual system, military system, and criminal law in social life were all in a constant state of change.
The centralized power of the Western Zhou Dynasty was divided by the great powers, and from the Spring and Autumn Period to the Warring States Period, there were more than 700 years in which "the lords and vassals contended for supremacy", "Confucianism and Taoism came into being", "the Hundred Schools of Thought", and "the Hundred Schools of Thought".
These events influenced the art of music and dance in the Eastern Zhou states, and dance also played multiple roles in these varied and colorful socio-political, military, and court daily life, some of which have left colorful pages for the history of dance in China.
During the Spring and Autumn and Warring States Periods, with the growth of the productive forces of society liberated by the feudal system, the common people began to emerge. Agriculture and handicrafts were developed, people's awareness of commodities increased, and freedom of speech and equality of thought in social life became the trend of the times. All this laid the foundation for the prosperity of folk songs and dances in the Spring and Autumn and Warring States Periods.
People, in addition to summarizing the previous music and dance, but also on the basis of the creation of a lot of dance into the ritual system, this time has begun to formulate the "Cai Shi" system, that is, the collection of folk poetry, music, dance and other winds.
Because, during the Spring and Autumn and Warring States Periods, people had already noticed that there were people's feelings and voices in the "poetry style", "music style" and "dance style", and people observed the hidden feelings of the people and understood the people's grievances through music and dances of this period. The music and dances of this period were used to observe the hidden feelings of the people and to understand the grievances of the people and their livelihoods.
On the other hand, the lords' "poetry collection" also opened up a new source of music and dance to enrich the court, so "poetry collection" became an institutional measure since the Zhou Dynasty, and was imitated by successive courts before evolving into the pre-Qin poems. The first of these was a collection of poems called the "Book of Songs" (诗经).
The Book of Songs is a literary treasure of the pre-Qin period, the first collection of poetry in China. Later scholars regarded it as a classic, so it was also called "Poetry" and "Three Hundred Poems".
The total number of poems included in the Book of Poetry is 305, spanning the period from the beginning of the Western Zhou Dynasty to the middle of the Spring and Autumn Period, when folk songs and dances were sung and danced all over the world.
The Book of Songs is divided into three parts: Feng, Ya, and Song, and the so-called "Feng" is the musical tunes, also known as the "State Winds", which include the folk songs of each vassal state.
Since most of the folk songs at that time contained songs and dances, and the lyrics and dances were closely connected, many of the songs and poems in the "National Winds" can be regarded as records of folk music and dances in the Zhou Dynasty. Its music is only and. The gentleman Tao Tao, the left holds a fan, the right beckons me by Ao. He is a great man, and he is a great man, and he is a great man, and he is a great man.
This psalm is to the effect that the gentleman is joyful, holding a reed-song in his left hand, and beckoning me out of the house with his right hand, how happy and free it is; and that the gentleman is cheerful, holding a feather in his left hand, and beckoning me to swim with him with his right hand, how happy and free it is!
Lusheng, feathers, are popular music and dance props. This is a poem that expresses the joy of love and vividly shows the beauty of folk dance. There are also poems about pre-Qin dances in the "Shijing - Chen Feng - Wanqiu" collected in the area of Huaiyang, Henan Province later, which reads:
The soup of Zi is on top of the Wanqiu. Xun has sentiments, but there is no hope. The drums are beaten under the Wanyu hill. The winter and summer, the value of its heron feathers. The way of Wanqiu is the way to beat the percussion. No winter, no summer, worth its heron
This poem is to the effect that on top of Wanqiu, the girl dances lightly, though sentient but without hope. Below Wanqiu, thumping the drum, though there is no winter or summer, the girl is hearty with the heron's feather in her hand. Though there is no winter or summer, the girl dances soundly with heron feather in her hand.
This is also a folk song and dance with musical instruments and props. In the song, there is a lament for the difficulty of finding love, but in the endless song and dance, some kind of relief is sought.
Later, in Shanxi Houma Jin site unearthed in the Spring and Autumn Period, a drumming drummer pottery piece, the pottery piece is a thin line carved with a waist, long skirt, side of the drum female dancers, its dance is very rich in dynamic.
There are also small trees on the side painted on the pottery piece seems to imply some kind of connection between the dance and the nature, and the lyrical atmosphere in the scene, which occurs naturally, is more or less reminiscent of the beautiful words of "The Book of Psalms".
While Confucius, the great sage of the Spring and Autumn period, was very much averse to the "Zhengwei sound" with its melodramatic flavor, he himself was not opposed to the songs and dances of Zheng and Wei, which were truly expressive of emotion. Confucius believed that the Book of Songs was poetry as well as dance, which is why the ancients said, "There are three hundred poems in song and three hundred in dance.
During the Spring and Autumn and Warring States Periods, China's folk songs and dances flourished and developed greatly. And the Book of Poetry was precisely organized by the great sage Confucius. It is said that Confucius was also able to recognize the names of songs and dances that people generally did not know during the Spring and Autumn period.
On one occasion, the Marquis of Qi saw a bird with one foot land and dance in front of the court, and he was so puzzled that he went to Confucius for advice.
Confucius said, "That is the Shang Yang Dance. The Shang Yang is a legendary bird that has only one foot, and once it appears, the sky will rain heavily."
The Marquis of Qi heard this, and he hastened to prepare against flooding, and as a result, Qi was the only one among the vassal states to escape the disaster.
Legend has it that during the Spring and Autumn period, there was a dance performed by children called the "Shang Yang Dance," which roughly consisted of two people holding hands, hooking each other's arms, lifting one foot, and jumping on the ground with the other foot, while singing, "The sky is going to rain heavily, and the Shang Yang is going to dance."
From the movements of this dance, it is probably an imitation of a bird's dance, perhaps evolved from the dance of people praying for rain in ancient times. Of course, the music and dance of the Spring and Autumn and Warring States periods, whether its content is to recount the war, express love or depict the feast, are more or less with a religious meaning, both entertaining the gods and entertaining the dual role of people.
Later, on the wood-carved and lacquer-painted Yuanyang box unearthed from the Zenghouyi Tomb in Hubei Province, there is an image depicting a short man beating a drum, who seems to be dressed up as some kind of animal. On another picture, there is a dark red lacquer painting of a sorcerer dressed as an animal striking a chime, the whole atmosphere is solemn and solemn, while the lines of the picture reveal rusticity and grotesqueness.
There was also the "Four Descendants' Music" at the court during the Spring and Autumn and Warring States periods, and its music and dance organizations included "banner men," people in charge of scattered music and barbaric music, which showed that dances of ethnic minorities outside of the central plains had also been noticed by people.
There were many exchanges of music and dance during the Spring and Autumn and Warring States Periods, and it can be said that exchanges of music and dance among the various ethnic groups had already begun from a very early stage. The Six Great Dances of the Zhou Dynasty were in fact a fusion of the music and dances of various tribes from all over China.
During the Spring and Autumn period and the Warring States period, it became fashionable to give away women's music and dances to each other, and the fusion of the music and dance cultures of the various tribes was promoted to a certain extent.
During the Spring and Autumn Period and the Warring States Period, there was also a dance called "Spinning Embrace", which describes how the dancer's soft and agile body spins and spins as if it could be encircled in her embrace when she dances this kind of dance.
When the dancers danced the "spinning arms" dance, if the ground was covered with four or five inches of incense, the dancers could not even leave a footprint after the dance, which showed that the "spinning arms" dance was really light.
There are some legends of exaggeration, but also vividly reflects the Spring and Autumn and Warring States period dance development has been a certain scale.
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