The Influence Of The Music And Dance Frescoes In The Mogao Grottoes Of Dunhuang On The Aesthetic Characteristics Of Today's Dance

Mo Kao Grotto at Dunhuang is the world's largest extent grottoes art treasure house with the longest history,the richest contents and the best preserved.The music and dance frescoes in the grottoes can be said to be an "image history" spanning thousands of years,which reflects the ancient people's extreme pursuit of art and aesthetic consciousness,and has an important impact on the formation and development of Dunhuang Dance.The Dunhuang Dance belongs to the category of Chinese classical dance,which comes from the "resurrection" of dunhuang frescoes.It is a product of the fusion of foreign cultures in the long history of development and the "re-creation" according to the Oriental classical aesthetic characteristics.In the development of Dunhuang Dance,many experts and scholars have formed a set of relatively systematic basic theories through painstaking research.Under the guidance of these theories,through the diligent training of generations of dancers,the fresco art of Dunhuang music and dance more than 1,600 years ago was displayed to the audience through dance works.With its rich cultural connotation,unique development history and wonderful performance forms,Dunhuang Dance has become an important genre of Chinese classical dance and occupies a very important position in Chinese dance and even world dance.In the formation of this genre,we can see that the Dunhuang music and dance frescoes have exerted a profound influence on the aesthetic characteristics of today's dance.In view of this,this paper studies the influence of the mogao grottoes frescoes on the aesthetic characteristics of contemporary dances in China.This paper is divided into five chapters:Chapter one "introduction".This paper mainly introduces the reasons and significance of the topic,research methods and difficulties,as well as the research status at home and abroad.This paper mainly adopts the field investigation method,literature research method,individual analysis method and other research methods,takes philosophy,aesthetics,dunhuang historiography as the theoretical basis,through the theoretical analysis of the existing literature,puts forward the research topic of this paper,which lays the foundation for the follow-up research.The second chapter is the historical evolution of the mogao grottoes.This chapter gives an overview of the mogao grottoes in dunhuang and probes into the historical evolution of the music and dance murals.According to the development of the cultural environment in dunhuang,the mogao grottoes are divided into early,middle and late period to elaborate the development of the fresco.The overall combination of image analysis method,to deeply analyze the Dunhuang Dance form formed by external absorption,communication and fusion,and multiple Chinese.The third chapter is "the main content and aesthetic characteristics of the mogao grottoes in dunhuang".This chapter of the ci-poetry by the heavenly palace,flying the ci-poetry enjoyed the ci-poetry music such as Buddhism,im the ci-poetry music and protective deities deriving murals and kucha ci-poetry music,travel,figure the ci-poetry music,banquet figure secular dancing murals are introduced,such as analyzing the main characteristic of different kinds of dance,summed up the Mo Kao Grotto at Dunhuang mural deriving a blend of Chinese and western beauty,the beauty of the diversity and beauty of posture rhythm aesthetic characteristics.Chapter four:the influence of dunhuang music and dance frescoes on the aesthetic characteristics of dance.This chapter mainly from the dunhuang music and dance fresco on the content of today's dance,form and style of these three aspects of the impact of a comprehensive analysis.Through the study of the formation of Dunhuang Dance genre,the application of elements,the new presentation of dunhuang music and dance from the perspective of mass media and the new development in the era of mobile Internet,the author finds out the aesthetic expression of its externalization and the aesthetic connotation of internalization in the heart.The fifth chapter is "the reflection and development of the aesthetic characteristics of dunhuang mural".This chapter studies the aesthetic characteristics of the dunhuang music and dance frescoes embodied by different dances with specific examples through comparative study.Taking the combination of Chinese and western in the ballet "dunhuang" and the diversified fusion of large-scale situational experience drama "seeing dunhuang again" as an example,through the comparison of their stills and mural images,the body rhythm of Dunhuang Dance reflected in the two works is found,and the aesthetic thought of their similarities and differences is studied.The music and dance culture of dunhuang is not only the gift of the ancient ancestors,but also the need for the development of art.If this kind of music and dance culture,which has endured for a long time,wants to develop in the new era,it needs new ideas to inject new soul into it.The study of the influence of the mogao grottoes frescoes on the aesthetic characteristics of contemporary dances is conducive to the development of Oriental dance aesthetics,the inheritance and continuation of Dunhuang Dances,and has certain theoretical significance and practical value for the prosperity and development of world dance aesthetics.