The most common plane elements in the landscape are cloud patterns, water patterns and so on. A lot of Chinese landscape square have. There are also some animals, like cranes, tigers and so on.
Three-dimensional elements such as sundials, Shanghai Pudong has set up a huge stainless steel sundial made of Zhongma. There are also ancient wooden building nodes can also be used to do landscape. Do a good search, change the shape, zoom in, whatever can be used in the landscape.
Some landscapes, or public **** art books have introductions.
Introduction
Classical dance is based on the traditional dance of the national folk, through generations of professional workers to refine, organize, process, create, and after a long period of artistic practice test, handed down is considered to have a certain exemplary significance and classical style characteristics of the dance. Generally speaking, classical dances have rigorous programs, standardized movements and superior skills. Many countries and nationalities in the world have their own unique styles of classical dance.
The origin of classical dance
The original dance is ballet, after the "processing" appeared in modern dance, ballet and modern dance, the only difference is: ballet to lengthen, upward feeling is the main, while the modern dance is the opposite, it is to exaggerate the earth's attraction, the center of gravity downward mainly; and after the "processing" transformation. "The only difference is that ballet is a bit hard, while classical dance advocates softness.
The artistic characteristics of classical dance
China's Han classical dance, the dance movements handed down, most of which are preserved in the opera dance; some dance gestures and modeling, preserved in China's extremely rich grottoes mural, sculpture, portrait of stone, portrait of bricks, terracotta figurines, as well as a variety of unearthed artifacts of the paintings, decorations, the dance image of the modeling; China's rich literary and historical materials also have a large number of specific descriptions of the past dance image. The rich literary and historical materials in China also have a large number of specific descriptions of dance images in the past. China's dancers have made great achievements in researching, organizing, reproducing and developing Chinese classical dance since the 1950s, establishing a set of teaching materials for Chinese classical dance, creating a large number of dances and dance dramas in the style of Chinese classical dance, and forming the aesthetics of delicate and roundedness, rigidity and softness, scenario blending, combination of skills, and perfect harmony and high degree of unity of essence, vitality, spirit, and hand, eye, body, method and step. The aesthetics of harmony and high degree of unity.
Indian classical dance
Indian classical dance, by the Brahmaputra, Kathak, Kadakali, Manipuri, Odissi and Kuchipudi six traditional dance system. Its main artistic characteristics are dance movements rhythm, rhythmic distinctive, stylized, with rich connotation of colorful dance mime hand style and delicate facial expressions.
European classical dance
European classical dance, generally referred to as ballet. Ballet, the French translation of Ballet. European countries of classical dance drama collectively known as ballet, is a European classical dance as the main means of expression, integrated music, theater, stage art and other art forms of dance varieties. Because of its performance technology, an important feature is that actresses should wear special pointe shoes and dance on the ground with their toes, so it is commonly known as "pointe dance". According to legend, ballet first originated in Italy and was formed in France before being introduced to Russia in the 18th century. At the end of the 18th century and the beginning of the 19th century to become an independent and complete art form, the creation of the pointe dance technique, the development of a variety of aerial jumps and rotary skills, and produced a complete set of training methods, and gradually formed with different styles and characteristics of the Italian school, French school and Russian school, etc. In the 20th century, after the 20's appeared the modern school of ballet, and has given rise to many ballet schools, popular in Europe and the United States. schools, popular in Europe and the United States.
Java, classical dance of
Java, classical dance of
Classical dance popular in Indonesia, Central Java and West Java. It has had a major influence on Indonesian dance culture. West Javanese classical dance arose in the Bandung region, centered on the Sundanese, and formed its own genre. Central Javanese classical dance has two schools of Yogyakarta and Solo. 10th century, most of the Javanese classical dance simply imitate the form of animals, there is a tendency to have the spirit of all things, passed down to the present day there are imitation of elephants, "Ugger - Kaja - Pailin" and imitation of vulture eagle, "Anluda", and so on. By the 12th century, dances based on myths and legends appeared, such as the stories in the Indian epics Ramayana and Mahabharata. Most of the dance movements and shapes are derived from the Wajang Opera (Indonesian shadow), with a certain program: both legs half-squatting, can not be bent forward and backward, the head does not move, the eyes remain at a certain angle to look down, and only when the expression of war can the eyes follow the movement of the hand gestures. There are many kinds of gestures, each with a certain meaning, and until 1918, Javanese classical dance was only allowed to be performed at the court. Since then, the ban has been lifted, and the dance has been spread to the public, and its form and content have been further enriched.
Classical dance in China
Ballet was introduced to China in the 1920s. However, at that time, it was still limited to a small number of people. 50 years later, China's dance workers have the conditions to formalize and systematically learn from the world's excellent ballet art, set up a professional ballet group, the world's excellent ballet repertoire introduced to the audience in China, and in the form of ballet art created a number of ballet art reflecting the life of the people of our country and the struggle of the subject matter of the dance drama works.
Origin of Classical Chinese Dance, Body Rhythm and its Aesthetic and Curriculum
Classical Chinese Dance, as a category in China's dance art, is on the basis of traditional folk dances, which have been refined, collated, processed, and created by successive generations of professional workers, and have been handed down through the test of a longer period of artistic practice, with a certain exemplary significance and characteristics of the classical style. Dance. Classical dance was founded in the 1950s and was once called "opera dance" by some people. It is a mixture between opera and dance, that is to say, it has not been completely metamorphosed from opera. Calling it opera, it has removed the most important singing and recitation in opera; saying that it is dance, it still maintains a large number of the original state of opera. The songs or dances in opera are for the service of storytelling. Even if it is not singing not white martial arts is still theater, its dance on the role of the line of subordination is also very distinct.
Classical dance, from its origin, is a revival of ancient dance, a revival of opera dance, and a revival of thousands of years of Chinese dance tradition. Obviously, its aesthetic principles are not a new invention, but thousands of years of Chinese culture and the continuation of the flow, is a long line from the ancient string to the present, these principles are not only visible in the opera, in the Tang and Song dynasty music and dance, in the Han and Wei dynasty "dance drama", and even in the Shang and Zhou rituals and music, can be seen in its traces of its cultural characteristics; in terms of its flow
The Chinese dance is a brand-new artwork generated on the original ground, which is a new dance category comparable to ballet and modern dance, and this derivative dance is authentic Chinese goods.
Chinese classical dance has not yet passed its childhood, and it is still growing and developing. However, the creation of the body rhyme has stabilized its aesthetic core, its theoretical foundation has been relatively solid, and the movement system has been formed, so we have every reason to say that it has already got rid of the original form of opera, and is moving towards the category of real dance.
The Classical Chinese Dance "Body Rhythm" class, which arose in the early eighties, has been gradually recognized by the Chinese and foreign dance circles and academics after more than a decade of practice. 1993, it was rewarded by the National Education Commission as an excellent teaching achievement. Li Zhengyi and Tang Mancheng, two old professors of classical dance in Beijing Dance Academy, resolutely organized and created the classical dance "Body Rhythm" class, which revitalized Chinese classical dance and brought back the dawn of the classical dance career. Prof. Li Zhengyi said when interpreting "Classical Dance": "Classical Dance is not a replica of the ancient dance, it is a new classical dance based on the aesthetics of the deep traditional dance and adapted to the appreciation habits of modern people. It is based on ethnicity as the main body, on the principles of national aesthetics such as opera and martial arts, and absorbs and borrows the beneficial parts of foreign arts such as ballet, making it an independent, national and contemporary dance type and system."
Classical Dance Body Rhythm and Its Aesthetics
"Body Rhythm" is a general term for "body method" and "rhythm". "Body rhythm" belongs to the category of external technique, "rhythm" belongs to the connotation of art, the organic combination of the two and penetration, in order to truly reflect the style of classical Chinese dance and the essence of aesthetics. In other words, "body rhythm" means "both form and spirit, body and mind, internal and external unity", which is the indispensable symbol of Chinese classical dance and the artistic soul of Chinese classical dance. Body rhyme, although the source of the style is obvious, but it can no longer be named "opera dance" name, its metamorphosis from opera to dance has been basically completed. It has been rid of the original opera dance on the role of the line of the thousands of changes, but no matter how to change, and is the same thing, this "one" and this "change" is a rare character of art, but also the aesthetics of an art of the essentials.
A mature folk dancer on the stage to show the action has an aesthetic value and artistic charm, because of the embodiment of the "shape, God, strength, law" of the high degree of integration, which is an important means of expression of the body rhyme of Chinese classical dance. As the basic movement elements of body rhythm, "form, spirit, strength and rhythm" highly summarize all the connotations of body rhythm. Shape, i.e., external movement, includes posture and the line of movement connected with its action. God, i.e., the spirit, the mind, is the dominant part of the dominant role. Jin, or force, contains the artistic treatment of the relationship between lightness, weight, slowness, strength, weakness, length, rigidity and flexibility. Law, that is, the law of movement itself. The relationship between these four major elements of movement is to achieve the unity of form and spirit, inside and outside, through Jin and Ruling. The law is "the heart and the mind, the mind and the qi, the qi and the force, the force and the form". This is a pithy generalization and distillation. These words are highly unified and harmonized with the elemental movements, which constitute the aesthetic theory of dance with Chinese characteristics.
1. Shape
Shape refers to the movements on the outside of the form. It is manifested in all kinds of physical forms, ever-changing movements and connections between movements. All visible forms and processes can be called "shape". Shape is the most basic feature of image art, and it is the attachment of the charm of classical dance and the medium to convey the beauty of classical dance.
As we all know, through the analysis of the aesthetic characteristics of traditional art and various typical dance postures, it has been concluded that in terms of "form", we must firstly solve the curvilinear beauty of "twisting, tilting, rounding and curving" and "robustness, uprightness, implicit flexibility" in the body posture. It is concluded that in terms of "form", we must first address the curvilinear beauty of "twisting, tilting, rounding and curving" and the temperament beauty of "robustness, uprightness and subtle flexibility". Chinese dance emphasizes the curvilinear beauty of "twisting, tilting, rounding and curving", the curvilinear beauty of "tilting, bending, turning and rolling" and the inner temperament of "robustness and uprightness, implicit flexibility" in the human body form. From the unearthed tomb figurines and Dunhuang murals, it is not difficult to see that this is from ancient times to the present day a lineage and continuous development and evolution. Such as the Qin and Han dance figurines of the "collapse of the waist and hips", the Tang Dynasty "three bays", opera dance in the "Meridian phase", "yin and yang face ", "twisting twist" of Chinese folk dance "Jiaozhou Yangge", "rolling, twisting, turning, toughness" of "Ocean Yangge", "stopping, twisting, turning, toughness" of "Marine Yangge "stopping, probing, twisting, waves" of "Ocean Yangge" and "Leaning Tower" of "Flower Drum Lantern", "Dragon Ape Steps" and "Eight Trigrams" of martial arts ", "Bagua" and so on, all through the human body, "twisting, tilting, round, curved" beauty. Mastery of the body and the shape of the curve of the beauty also need to have the corresponding quality of ability. Therefore, it is also a technique, the human body's "twisted, tilted, round, curved" is the overall image. From a local point of view, "head, neck, chest, waist, hips", "shoulders, elbows, wrists, arms, palms", "knees, ankles, feet, feet" have their specific requirements.
2, God
This refers to the connotation, grace, rhythm and temperament. If there is no charm in any art, it can be said that there is no soul. In Chinese literature and art criticism, charisma is an exceptionally important concept. Whether talking about poetry, painting, music or calligraphy, the word "charisma" is indispensable. In the movement of the human body in classical dance, Shen Yun can be recognized and felt. And it is precisely by grasping the "spirit" that the "form" has vitality.
In the concept of heart, body rhythm emphasizes the inner qi, breath and intention. Emphasis is placed on divinity and inner emotion. In the relationship between form and God, put God in the first place, "to God to lead the form, to the form of God," it is this idea of emotion to create the body rhyme "rhyme". It can be said that without rhyme, there is no classical Chinese dance. Without the excitement and drive of inner emotion, the most important luster of classical Chinese dance is lost.
"The heart is in harmony with the mind, the mind is in harmony with the qi, the qi is in harmony with the force, and the force is in harmony with the form". The so-called "heart, mind and qi" is the materialization of "charm". It is often said that the eyes are the windows of the soul", the eyes are the tools to convey the spirit", and the eyes "gather, put, condense, close, close" does not mean the movement of the eyeballs themselves, but precisely by the connotation of the domination and the psychological rhythm of the expression of the results, which is precisely that the charm is dominates everything. "Before the form moves, God leads first; when the form has stopped, God does not stop." This mnemonic explains the connection and relationship between form and spirit in a graphic and accurate way.
People have long been mystified by the inherent rhythm of classical Chinese dance. Although the word "circle" has long been recognized, what kind of movement law it is, and what is the trajectory of the body and the arm, this is a long-standing perplexing problem for people engaged in classical dance. The creators of Body Rhythm put forward the theory of "three-circle movement". They believed that the body movement process of Chinese classical dance is along three circles in the movement. These are the vertical circle, the horizontal circle, and the figure of eight circle. It is surprising that this long-standing problem has been so easily deciphered. And again, so accurately and concisely. It immediately brings to mind Laban's theory of the motion of spheres. They have very similar ideas, and each explains its own laws. It turns out that the truth is very simple. Science has gone through the process of "from shallow to deep" to "deep and shallow". The simple truth is the result of painstaking search, is the accumulation of a long time, by chance.
3. Strength
"Strength" means the inner rhythm and the layered, contrasting strength of the external movements. For example, the movement of "points in a line" (i.e., "static in motion") or "points in a line" (i.e., "static in motion"), are all based on the "line in a line" (i.e., "static in motion"), which are all based on the "line in a line" (i.e., "static in motion"). ), all rely on the proper use of "strength" to be able to show. The rhythm of Classical Chinese Dance is often not the same as the rhythm of regular 2/4, 3/4 and 4/4 music. It is more often in the soothing but not slow, tight but not chaotic, movement in the quiet, quiet in the movement of the free and regular "elastic" rhythm. The "body rhythm" is to cultivate dancers in the movement, the use of strength is not average, but has a light and heavy, slow and sharp, long and short, staccato, symbols, cuts, extensions and so on the contrast and distinction. These rhythmic symbols are expressed by human movement, which is the true mastery and understanding of the use of "Jin". "Jin" is not only used throughout the process of the movement, but also at the end of the movement, which is very important. Regardless of the opera, ballet, martial arts routines are very important to the action before the end of the instant rhythm processing, Chinese classical dance is no exception, it has the following types of typical debut of the strength: "inch strength" a posture, angle, orientation are ready to use an inch between the strength of the "finishing touch! The "Inch Strength". "Counterpoint" - giving a strong reaction force to the body modeling that is about to end, so as to strengthen and accentuate the final modeling. "Shen Jin" - everything has been completed, but with the eyes and limbs for the sense of extension, so that "the shape has stopped but the God is more than". In addition, there are also "just in the soft", "tough in the brittle", "urgent in the slow" and other differences in strength.
4, the law
"The word 'law' it encompasses the movement of its own rhythmic and movement in accordance with the law of the two meanings. Generally speaking, the movement must be "smooth", and this "smooth" is the "right law" of the law, and the movement is "smooth" through the "smooth". The action through the "Shun" seems to have a sense of flow, a sense of completion. The "anti-rhythm" is also a very important factor in the rhythm of classical dance, such as the "double shaking hands", when the arm shakes to the left, the body should be pulled to the right, in order to show that the action of the roundness and flavor. "Not smooth is smooth" of the "antilaw", can produce strange peaks stacked up, unexpected effects. The direction of an action and momentum is clearly to the left, a sudden sharp turn to the right, or from forward to backward and so on. This kind of "anti-rhythm" is unique to classical dance, which can produce the dynamic sense of the human body's ever-changing, confusing, and instantaneous movements. From the point of view of each specific action, classical dance also has "everything from the opposite side", that is, "when the punch must rely on, want to the left successively, when the opening must be closed, want to the front successively," the law of movement, and it is these special laws that produce the special aesthetic of classical dance. Whether it is the smoothness of a single breath, the smoothness of a boat, or the opposite of the reverse potential, or "from the opposite side", are embodied in the classical Chinese dance of the round, swim, change, the beauty of the illusion, which is precisely the Chinese "dance law" of the essence of the mysterious place.
Characteristics of classical dance body rhyme course
The appearance of body rhyme is an important teaching achievement of classical Chinese dance, which makes the training of classical Chinese dance move towards the standardization of its own form and dance type. It is not only a complete training system, but also a system of aesthetic characteristics of classical Chinese dance in which training and creation and performance are mutually unified. As far as the current teaching is concerned, it should be said that the understanding of the role and value of classical dance charisma is still in a fuzzy state in terms of conception, and we have not been able to put it in its right position in teaching, let alone infiltrating "body charisma" into the "bone marrow" of the basic training class in every process and every detail of teaching. In every teaching process and every detail, the teaching of "body rhythm" is not infiltrated into the "bone marrow" of the basic training course, and it is really treated correctly as the "nucleus" of classical dance.
Overview of the development of Chinese classical dance
The name of Chinese classical dance was firstly proposed by Mr. Ouyang Yuqian in 1950, and then it was recognized by the people in the dance circle and widely spread, and finally it was determined. Contemporary Classical Chinese Dance has a blood relationship with ancient Chinese dance, but it is not synonymous with ancient Chinese dance. Contemporary Classical Chinese Dance was founded after the founding of New China by Tang Mancheng, Li Zhengyi and other dancers of Beijing Dance Academy, on the basis of Chinese Opera Dance and Chinese Martial Arts, and in combination with foreign ballet, it was gradually summarized and generalized. The concept of Chinese classical dance has its own history, more stylistic meaning, it is also a developing concept.
Chinese classical dance has an extremely long history. Its origin can be traced back to the ancient Chinese court dances or the folk dances of more distant times. To the beginning of the Zhou Dynasty, to the Han Dynasty, the two Jin Dynasty and even the Tang Dynasty, five generations of the court set up a special music and dance institutions, concentration and training of professional music and dance personnel, and popular in the folk self-indulgent dance and religious dance and even foreign dances to organize, research, processing and development, the formation of the court dance. Among them, such as the Zhou Dynasty's "six generations of dance" (including the "Cloud Gate", "salty pool", "Da Shao", "Daxia", "Da Spinach", "Dawu" six music and dance), the Tang Dynasty's "Nine Department of Music", "Ten Department of Music", "sitting in the Department of the伎"，"Le Department of the伎"，"The Great Song" and so on, a variety of different colors, and each leading the way. Chinese court dance, is the successive rulers to enjoy pleasure, singing the praises of an important tool, mainly female music. Because of the court dance to the ruler's aesthetic interests and creation, part of its works inevitably exist in the style of the Chi Chi, the content of the negative; but most of them are still mostly by artists in the Chinese folk dance based on the creation of out, so there is no lack of Chinese traditional art of the exquisite place. After the Song and Yuan Dynasties, due to frequent wars and cultural destruction, the development of dance was also affected, and many famous dances of the Han and Tang Dynasties were lost. In the Song Dynasty dance formed on the basis of traditional dance, the formation and development of opera gradually replaced the art of song and dance. In the Yuan Dynasty, the combination of court music and dance with folk songs and dances, and even "white opera", "burlesque", and "corner theater" gradually formed the art form of opera. The art of opera requires a combination of singing, reciting, acting and playing, and has various factors such as dance, music, fine arts, acrobatics, literature and speech, etc. It is a comprehensive art form. Dance in opera contains the essence of traditional Chinese dance, which absorbs certain life movements according to the needs of the characters' plots and transforms them to strengthen and enrich the expressive power of dance. After the Yuan, Ming and Qing dynasties, the social conflicts were relatively complicated, and the complex social life provided many materials for the further development of dance.
After the founding of New China, in the early fifties, dance workers, in order to develop and innovate the art of national dance, extracted dance materials from the rich Chinese opera performances, and drew on the Chinese martial arts to research, organize, refine, and refer to the ballet training methods, etc., to establish a set of Chinese classical dance teaching materials. At the same time, it choreographed and performed a series of dance dramas and dances in the style of Chinese classical dance, such as "The Po Lin Lantern", "The Little Dagger Club" and "Moonlit Night of Spring River". Along with the open policy in the 1980s, Chinese classical dance has been undergoing constant changes, and has begun to expand into new spaces from appearance to content. On the one hand, the dancers broke through the scope limited to the study of opera dance, and got involved in the ancient cave murals and various excavated artifacts in the dance image of the data, so as to collate and create a lot of unique classical dance and classical dance drama, such as the "Silk Road Flowers and Rain", "Chimes and Dance", "Imitation of Tang Music and Dance", "Copper Sparrow Kabuki", etc., and these vintage music and dance highlights the gracefulness and generosity, precision and rigor, These vintage music and dances are characterized by elegance, precision, rigor, and clarity of style. On the other hand, it is the innovation, creation and practice of the theory of classical Chinese dance body rhyme by dance educators Tang Mancheng and Li Zhengyi. Prof. Tang Mancheng said, "'Body Rhythm' starts from getting rid of the lines and routines of opera, and explores the aesthetic laws of 'form, spirit, strength, rhythm, qi, and meaning' from the great cultural traditions of China, including calligraphy and martial arts, and refines its elements to summarize the movement characteristics of classical dance. elements, and summarize the routes, laws, and connotations of masculinity, femininity, and rhythm of classical dance movement, thus making it free of traces of dramatization, similitude, and lineage, and moving towards the abstract function of the subjective consciousness of the dance and the symbolization of movement." ⑩They refined and summarized the movement rules in previous classical dances into a number of basic movements centered on the waist and performing circular movements, greatly expanding the movement space of Chinese classical dance. As a result, they practiced and produced a large number of excellent dance works represented by "The Yellow River", "The Water of the River", "Mulan Returns", "Liang Zhu" and so on. In "The Yellow River", Chinese classical dance, which was born out of opera dance, breaks through the limitations of opera routines, and is no longer a replica of opera lines. Instead, it renovates classical dance into a human language that can freely express thoughts and passions by means of large-scale body movements, "thus making Chinese classical dance find not only the spirit of the Chinese tradition of Wendai from the appearance but also from the inner charisma". Thus the Chinese classical dance finds not only the appearance but also the inner charm to be consistent with the spirit of traditional Chinese literature, thus making the Chinese classical dance form the aesthetic characteristics of delicate and mellow, rigidity and flexibility, scenario blending, skill combination, as well as the perfect combination and high degree of unity of the essence, qi, and spirit, and hand, eye, body, method, and footwork." The success of "The Yellow River" marks a new stage in the development of Chinese classical dance.
Respondent: Z_A_B_E_Y - Magic Apprentice Level 1 10-5 15:01
Dragon, unicorn the most traditional
Respondent: Wang Jichao - Apprentice Magician Level 2 10-5 15:11
Landscape design by the influence of the classical elements is no more than the influence of the design of the concept of ideas and the specific image of the influence of the former is mainly feng shui theory, the latter will include a variety of specific elements
In fact, in ancient China there is landscape design, and the level is also very high, just then the name is called feng shui. Removing the superstitious part of it, Feng Shui is meant to be an environmental design and creation. Ancient Chinese consciously and unconsciously used the theory of Feng Shui in the design of everything from palaces to mausoleums, from gardens to homes.
Today, the Chinese people in the environmental design will also naturally and unnaturally take into account the factors of feng shui, whether it is the designer's own initiative or the requirements of the party ~ ~ ~ ~
such as the orientation of the open door, the water features set up, the landscape sequence of the articulation and the white and so on
As for the specific elements, it is a lot of
- - Various kinds of workmanship, form, shape, and so on
- - The design is a kind of environment. -A variety of workmanship, shape, ornamentation, pattern,
- Vegetation design in landscape design is also influenced by traditional culture. Plum orchids, bamboo and chrysanthemums, the plants favored by the ancients in China, are still favored by most people today, including landscape designers~~~`