Under the impetus of the ritual–music system and prevailing social customs,dance and music in the Tang dynasty flourished to an unprecedented degree.Against this background,female music-and-dance figurines unearthed ...Under the impetus of the ritual–music system and prevailing social customs,dance and music in the Tang dynasty flourished to an unprecedented degree.Against this background,female music-and-dance figurines unearthed in the Henan region emerged as important carriers that combined ritual–customary functions with artistic significance.These figurines not only recreate the dynamic scenes of dance and musical performance but also embody,through their figurative design,the cultural construction of female identity and temperament.Taking the question of"why dance and music"as its central concern,this paper examines the types,forms,and design language of music-and-dance figurines from Henan,exploring how dynamic aesthetic qualities of dance and music are expressed through posture,costume,and accompanying instruments,as well as how the spirit of music and dance is conveyed through facial expression and narrative composition.In doing so,the study reveals a form of female consciousness shaped by the coexistence of ritual discipline and individual expression.These figurines thus serve as a vital medium for understanding the aesthetic sensibilities,institutional logic,and cultural spirit of Tang dynasty society.展开更多
The musical dance art recorded in early Dunhuang Grottoes,though supposed to be created by ancient northern ethnic groups such as the Hun and Xianbei,gives expression to a strong thought of"Chinafication"and...The musical dance art recorded in early Dunhuang Grottoes,though supposed to be created by ancient northern ethnic groups such as the Hun and Xianbei,gives expression to a strong thought of"Chinafication"and a sense of community for the Chinese nation.By analyzing the essence and content of the musical dance art in the Dunhuang Grottoes created during the Northern Liang(A.D.397-460),Northern Wei(A.D.386-534),Western Wei(A.D.535-556)and Northern Zhou(A.D.557-581)Dynasties,and by exploring the contribution of ancient ethnic groups such as the Hun and Xianbei in the formation and development of Chinese nation,this study reveals that the musical dance art in early Dunhuang Grottoes faithfully reflects the community pattern of the Chinese nation featured by"unity in diversity"developed since ancient times,and hopes that the future research and creation may expand their horizon by incorporating the musical dance art of early Dunhuang Grottoes into the system of contemporary Dunhuang dance.展开更多
文摘Under the impetus of the ritual–music system and prevailing social customs,dance and music in the Tang dynasty flourished to an unprecedented degree.Against this background,female music-and-dance figurines unearthed in the Henan region emerged as important carriers that combined ritual–customary functions with artistic significance.These figurines not only recreate the dynamic scenes of dance and musical performance but also embody,through their figurative design,the cultural construction of female identity and temperament.Taking the question of"why dance and music"as its central concern,this paper examines the types,forms,and design language of music-and-dance figurines from Henan,exploring how dynamic aesthetic qualities of dance and music are expressed through posture,costume,and accompanying instruments,as well as how the spirit of music and dance is conveyed through facial expression and narrative composition.In doing so,the study reveals a form of female consciousness shaped by the coexistence of ritual discipline and individual expression.These figurines thus serve as a vital medium for understanding the aesthetic sensibilities,institutional logic,and cultural spirit of Tang dynasty society.
文摘The musical dance art recorded in early Dunhuang Grottoes,though supposed to be created by ancient northern ethnic groups such as the Hun and Xianbei,gives expression to a strong thought of"Chinafication"and a sense of community for the Chinese nation.By analyzing the essence and content of the musical dance art in the Dunhuang Grottoes created during the Northern Liang(A.D.397-460),Northern Wei(A.D.386-534),Western Wei(A.D.535-556)and Northern Zhou(A.D.557-581)Dynasties,and by exploring the contribution of ancient ethnic groups such as the Hun and Xianbei in the formation and development of Chinese nation,this study reveals that the musical dance art in early Dunhuang Grottoes faithfully reflects the community pattern of the Chinese nation featured by"unity in diversity"developed since ancient times,and hopes that the future research and creation may expand their horizon by incorporating the musical dance art of early Dunhuang Grottoes into the system of contemporary Dunhuang dance.
