A Study Of The Dancing Body Language Of Haiyou In Han Portraits

In the mainstream society of the Han Dynasty,the dance in the Han Dynasty’s paintings,living in the natural and humanistic world,has many kinds and forms,various modes are integrated,and dance skills and acrobatics interact with each other.It is a link between the past and the future in the history of Chinese dance.Up to now,as a kind of Chinese painting dance which has been used in social life for 400 years,it also exerts a subtle influence on us,as long as we "open our eyes"(Lu Xun).Therefore,starting from the image of Paiyou in Han Dynasty stone reliefs,bricks and rubbings,this paper uses the research method of dance body linguistics to show that there is such an image of Paiyou in Han Dynasty,which represents the unique image of ugliness appreciation in China.Like Pan drum dance,sleeve dance and towel dance,Paiyou’s dancing balls,swords and drums are all distinctive dances of Han Dynasty.But now no one has ever been able to shape them.but few studies have been made in the history of ancient Chinese dance.In this paper,the image of Paiyou is listed according to the way of Zuotu Youshu(Documentary History and image history evidence),and combined with the interpretation of iconology and the methodology of dance body linguistics,it is analyzed from the relationship between technology and art,performance style and belief level according to different images to explore Paiyou’s dance body speech,And put it in the original context(that is,the context of the Han Dynasty)to discuss,to minimize the occurrence of misinterpretation and misunderstanding,and then get the meaning of today(Dance).The specific contents are as follows:First,according to the characters in Han Dynasty portraits rather than the props such as sleeve dance and drum dance,we can see the position of Paiyou in Han Dynasty and even in ancient Chinese dance history;Secondly,through the classification,we focus on the study of Paiyou’s unarmed speech and props speech.The analysis method of dance body linguistics is different from that of archaeology,history and other research methods,in order to find out the analysis of body language speech,such as broadcasting,the technique of playing the pot,the dislocation of the high and low space of the body when changjinji dances with Paiyou The interpretation of form and meaning is different from that of historiography;The third is the conclusion.The ultimate purpose of this paper is to prepare for the theory can assist practice,that is,to try to change Paiyou’s "absent" to "present" again.One belt,one road,the other is the traditional Chinese comedy.The comic characters of the comedy are still in the folk dance and drama.The context,etymology,form and meaning of the haiku’s works can be compiled or reconstructed.This is hoped to provide a practical theoretical basis for the reconstruction of the "image and music dance" in the current era.