On The Aesthetic Culture Of Dance In Han Dynasty

Dance art,as one of the oldest art forms in China,is produced along with the progress and development of human society.The Han Dynasty is generally deemed as an important transition period as well as an era when great progress has first been achieved in the development of aesthetic culture of ancient Chinese dance,which has been gradually moving towards mature and conscious aesthetics from then.In the context of grand unification in Han Dynasty,dance aesthetic culture emerges from the ritual and music culture of the pre-Qin period and gradually develops into an independent aesthetic object and aesthetic activity,showing unique style and features of aesthetic culture.It is necessary and very important to study the aesthetic culture of dance in the Han Dynasty systematically for a comprehensive understanding of the development and evolution law of the aesthetic culture of dance in the Han Dynasty and even in ancient China,to grasp its nature,style and features,and to promote its development and prosperity in contemporary China.Taking a panoramic view of previous studies into the dance in Han Dynasty,it has been found that though numerous notable achievements have been achieved,most of them are just unitary,static,partial and decomposing researches,and there is still a lack of systematic discussion.The study of aesthetic culture,a research method or perspective of aesthetics of literature and art,has won much attention in recent years.Its greatest advantage is to study the objects systematically on the premise of aesthetic qualitative analysis,which not only breaks through the division of literature,art and aesthetic thought,art and life in the previous aesthetic research of literature and art,but also makes the research highly integrated and comprehensive,without losing the characteristics of aesthetic qualitative analysis,making the research highly disciplinary and specific.In view of these facts,this paper studies the dance of Han Dynasty from the perspective of aesthetic culture,taking the aesthetic culture of dance in Han Dynasty as study objects based on the historical records and relics on the development and evolution of the dance of Han Dynasty.This paper takes Mr.Zhou Laixiang's definitions of aesthetic culture and morphological boundary of research objects in the preface of the first issue of Oriental Aesthetic Culture Research as theoretical reference.It analyzes the aesthetic culture of dance in Han Dynasty from three aspects: life form,art form and theoretical form.Combining the specific forms of aesthetic culture of dance in Han Dynasty with contemporary aesthetic theories,this paper comprehensively applies the method of aesthetic culture studies,the method of the unity of history and logic,the method of mutual corroboration between documentary sources and archaeological resources,the method of cross-media studies,and the method of intensive reading of the text,following the principle of combining macro research and case studies,combining vertical comparison and horizontal interpretation,for the purpose of discussing issues about the surviving context,basic forms(life form,artistic form,and theoretical form),case interpretations,development and evolution,overall pursuit,major characteristics,historical status,profound influences and contemporary value of the aesthetic culture of dance in Han Dynasty,and summarizing the law governing its development and evolution.For one thing,the author strives to recreate the complete picture of the prosperity and vitality of dance in Han Dynasty;for another,the author expands the breadth and depth of the theoretical studies on the aesthetic culture of dance in Han Dynasty and reveals the symbolic significance of moving towards mature and conscious aesthetics,promoting the development of related studies and making contributions to the development of contemporary aesthetic culture of dance,especially to the inheritance of the aesthetic culture of national dance.This paper includes introduction and eight chapters.According to the research ideas and general logic mentioned above,this paper can be divided into three parts: the introduction and the first chapter are the premises;the second chapter to the fifth chapter are morphological and case studies;the sixth chapter to the eighth chapter are the macro research on the vertical development and evolution,overall pursuit,main characteristics,and historical status,influence and value.The main contents are as follows:The introduction mainly analyzes the related basic problems of this paper.It puts forward the problems to be studied in this paper,expounds the necessity and importance of the research,interprets the core concepts such as aesthetic culture,reviews the research status,and expounds the research objectives,methods and innovations.Chapter ? is about the analysis of the surviving context of the aesthetic culture of dance in Han Dynasty,mainly from the perspective of social orders,economic foundation,the idea of Confucianism and Taoism,the theory of YIN and YANG and five elements,the philosophy of harmony between man and nature,and the music institution Yuefu(a government office in the Han Dynasty for collecting folk songs and ballads).The vast territory and active social atmosphere of the Han Dynasty provided a vigorous living soil for the aesthetic culture of dance in Han Dynasty;the stable administrative system and social class laid a solid social foundation for the aesthetic culture of dance in Han Dynasty.The strong economic foundation on the one hand provided sufficient economic supports for the development of the aesthetic culture of dance in Han Dynasty and on the other hand provided a stable consumer group for the dance art in Han Dynasty;the flourish of the idea of Confucianism and Taoism influenced the ideological connotation and aesthetic expression of the aesthetic culture of dance in Han Dynasty;the prevailing theory of YIN and YANG and five elements and the philosophy of harmony between man and nature also exerted profound influences on the aesthetic culture of dance in Han Dynasty;the mature music institution Yuefu in Han Dynasty also provided solid institutional support for the aesthetic culture of dance in Han Dynasty.These aspects together constitute the surviving context of the aesthetic culture of dance in Han Dynasty and have profound effects on the development of the aesthetic culture of dance in Han Dynasty.Chapter ? mainly analyzes the life forms of the aesthetic culture of dance in Han Dynasty.Dance is a form and a medium often used in the daily life and social communication in Han Dynasty.Based on different occasions,the life forms of the aesthetic culture of dance in Han Dynasty can be divided into sacrificial folk dance,folk dance for people's daily life,and banquet dance for toasting and entertainment.Different life forms have different historical and cultural origins and morphological characteristics,and assume their own unique social and cultural significance and value.These life forms together constitute the whole picture of life forms of the aesthetic culture of dance in Han Dynasty.In Chapter ?,the artistic forms of the aesthetic culture of dance in Han Dynasty are analyzed.For one thing,influenced by the aesthetic tendency and entertainment needs of the imperial nobles and to meet the political needs of upper-class rulers at the same time,the artistic forms of the aesthetic culture of dance in Han Dynasty manifests as court dance and sacrificial court dance that emphasize feelings and entertainment;for another thing,the aesthetic culture of dance in Han Dynasty is also reflected in the training of professional dance artists,who mainly come from two sources: one is the inheritance and training of young nobles by royal musical officers,and the other is folk performers who lived at the bottom of society and danced to early a living.In general,the aesthetic culture of dance in Han Dynasty was deeply influenced by imperial nobles and professional dance artists,establishing an artistic form with unique characteristics of the times.Chapter ? focuses on the theoretical forms of the aesthetic culture of dance in Han Dynasty.Although Fu Yi's Ode to Dance is an outstanding literary work,it contains rich and unique theoretical characters and important theoretical value.Therefore,this work can be regarded as the theoretical form of the aesthetic culture of dance in Han Dynasty.Ode to Dance not only describes an interesting and charming dance performance but also elaborates on the author's views on elegant dance and popular dance in a theoretical way.It fully affirms the entertainment function of the aesthetic culture of dance,reflects the various aesthetic and cultural characteristics of dance in Han Dynasty which are shown in the form of theory,and demonstrates the pursuit of dance in Han Dynasty for aesthetic and cultural conception.Ode to Dance,as a theoretical symbol that marks the consciousness of the aesthetic culture of dance in Han Dynasty,exerts profound influences on the development of aesthetic culture of dance in later generations.In Chapter ?,the author mainly explains specific cases of the aesthetic culture of dance in Han Dynasty,focusing on long-sleeve dance,dance on tray and drum,dance for the spirit star,and acrobatic dance.These dances have their own aesthetic connotations,and,as the main practice subjects of the aesthetic culture at the same time,fully demonstrates the practical aesthetic spirits of the aesthetic culture of dance in Han Dynasty.This chapter,from the micro perspective,expounds the styles of each dance case,analyzes their respective aesthetic characteristics,expression techniques,and cultural value,and further recreates the complete and specific scene of the aesthetic culture of dance in Han Dynasty.Chapter ? covers the development and evolution of the aesthetic culture of dance in Han Dynasty.The formation of the aesthetic culture of dance in Han Dynasty is not accomplished overnight.Placed on the vertical axis of history,the aesthetic culture of dance in Han Dynasty is analyzed macroscopically: make comparisons with characteristics of the aesthetic culture of dance in previous dynasties and understand the uniqueness of the aesthetic culture of dance in Han Dynasty.With the change of social and historical conditions,the aesthetic culture of dance in Han Dynasty presents different aesthetic characteristics in different times.The aesthetic culture of dance in the Western Han Dynasty represents the end of the artistic spirit in the primitive culture period of the ancient times,while the aesthetic culture of dance in the Eastern Han Dynasty represents the beginning of the artistic spirit in the multicultural period of the medieval times.Considerable dance practice in the Eastern Han dynasty laid the foundation for the independence and self-consciousness of dance art.At the same time,it also reflected with the awakening of potential individual self-consciousness in the Eastern Han Dynasty,and jointly brewed greater and more violent changes in art and people themselves in the Wei and Jin Dynasties.The development and evolution of aesthetic culture in the dance of Han Dynasty is of great significance in the development history of aesthetic culture of Chinese dance.In Chapter ?,the author mainly analyzes the overall pursuit and main characteristics of the aesthetic culture of dance in Han Dynasty.Relying on the special historical background,the aesthetic culture of dance in Han Dynasty pursues an aesthetic characteristic of vigorousness and magnificence.Vigorousness means robustness and mightiness,and magnificence refers to romance and gorgeousness.The two are integrated,and complementary,which complement each other.The aesthetic characteristics of the aesthetic culture of dance in Han Dynasty are also demonstrated in the following aspects: a combination of beauty and ugliness,seeking elegance on the basis of popular nature,grace and liveliness,and taking sadness as beautiful.These aesthetic features are interrelated and echo with the overall pursuit of vigorousness and magnificence,constituting a complete and harmonious scene of the aesthetic culture of dance in Han Dynasty.The last chapter represents the author's analysis of the historical status,profound influences,and contemporary value of the aesthetic culture of dance in Han Dynasty.The aesthetic culture of dance in Han Dynasty plays an important role in the development of aesthetic culture of Chinese dance.It serves as a link between past and future,builds on past achievements and strives for new progress,and brings aesthetics into consciousness,thus achieving an unprecedented exchange and integration of national dance.On one hand,the profound influences of the aesthetic culture of dance in Han Dynasty are shown in the higher aesthetic consciousness of the overall scene of dance in Han Dynasty,something of a milestone in the history of dance art.On the other hand,the aesthetic characteristics that feature a combination of body language and skills of dance in Han Dynasty also establish the basic expression paradigm of Chinese classic dance and impose a profound influence on the aesthetic culture of contemporary dance.The contemporary value of the aesthetic culture of dance in Han Dynasty is mainly reflected in its contribution to the presentation and innovation of contemporary aesthetic culture of Chinese dance and its intersection and integration with other disciplines.As a historical and cultural phenomenon,the aesthetic culture of dance in Han Dynasty has become a thing of the past in the long river of history and culture,but the practice and spirit of aesthetic culture are still living in the present and will survive even in the future.