A Study On The Dancing Of Maids In Jinci Song Dynasty

The statue of maids in the song dynasty in Jinci Temple in the temple of Sheng MU,reflects the image of maids in ancient Chinese court culture,which is of great value to the study of court life in song dynasty.In this paper,the majority of the Jinci temple’s color sculpture group image as the object of study,restore the historical role of the role of the image of the maid,from the image of the dance maid image,so as to reproduce the song dynasty palace dance art culture represented by the image.In the exploration and research,based on the form of the handmaiden image,I further combined the dance form and the connotation thought and culture of the handmaiden image with relevant literature and contemporary poetry and dance,and finally reproduced the song dynasty court dance with the theme and characteristics of the handmaiden image of jinci song dynasty.This paper is divided into four parts,as follows:In the first part,the paper briefly introduces the colored plastic group images of the statue of maids in the song dynasty in Jinci Temple,and mainly extracts the maids’ images of the colored plastic group images for detailed description.The second part is to explore the historical context of the aesthetics of the court dance and the unique aesthetics under the neo-confucianism of the song dynasty.First of all,the ancient Chinese court dance produced different aesthetic emphases in different dynasties,but based on the sense of national traditional identity,the main dance aesthetic has been inherited as the main content,for example,the dance waist dance sleeve and small waist two major dance features,has been the main content of the ancient Chinese dance;The second is the ideological aspect.Since ancient times,dance has been active in history as a "ritual and music system".Different ideological trends in ancient times have influenced people’s aesthetic consciousness,thus affecting the way of dance performance.The neo-confucianism such as "cheng zhu neo-confucianism" in the song dynasty paid more attention to the inner interest,which made the aesthetics of music and dance in the song dynasty different from that in the tang dynasty but similar to the traditional historical aesthetics.The third part is the specific exploration of the dance art of the song dynasty,including the analysis of the dance movements in the existing historical dance notation.The relationship between the normality of the movements in the song dynasty "De Shou Gong Dance" and the image of the maids in Jinci Temple,the relationship between the concept of "turning" in the Ming dynasty "Ni GU Dance" and the image of the maids in Jinci Temple,and the development of the dance described in song dynasty poetry on the reproduction of the image of the maids in Jinci Temple based on the same history and the same aesthetic standard.It is of great referential significance to the reappearance of the dance of the statue of maids in the song dynasty in Jinci Temple.The fourth part,it is the the statue of maids in the song dynasty in Jinci Temple like dance recurring practice part,mainly in the first part of the statue of maids in the song dynasty in Jinci Temple like itself form as the foundation,in the second part of the aesthetic standard,summarize the action of the third part of the content,according to the research achievements of contemporary dancers in song dynasty dance notation,corresponding to the the statue of maids in the song dynasty in Jinci Temple like repetition and dance are the most prominent feature of the dancing posture.Finally,the artistic value and contemporary value of the reappearance of the statue of maids in the song dynasty in Jinci Temple’s dance are expounded.The purpose of this paper is to dynamically dance the static painted handmaiden image of song dynasty with historical value,to reproduce the music and dance culture of song dynasty with its time characteristics as a real person,and to enrich the value of song handmaiden image.