In 58 1 year, the Sui Dynasty unified China, ending a long war. In order to show his achievements and great national strength in unifying the whole country, Emperor Wendi of Sui Dynasty concentrated on arranging the music and dances of the Southern and Northern Dynasties and some foreign nationalities at the beginning of the Emperor's reign (58 1-585), and formulated "Seven Songs", which later developed into "Nine Songs", which made the court swallow music develop unprecedentedly.
The Tang Dynasty is a period of vigorous development of China culture, and the dance art of the Tang Dynasty has also been highly developed. Various music and dance institutions set up by the court in the Tang Dynasty, such as Jiao Fang, Liyuan and Taichang Temple, concentrated a large number of folk artists of all ethnic groups, making music and dance in the Tang Dynasty a carrier to absorb the essence of foreign culture and reflecting the confidence and generosity of the Tang people. The court Yan music such as "Geisha in the Left" and "Geisha in the Inner" are all new music and dance programs created by absorbing the music and dance of various ethnic groups, and all of them praise virtue in content.
Music and dance activities in the Tang Dynasty also penetrated into all levels of society, from the court to the common people. Music and dance performances are essential in festivals and banquets. These small dances performed at ordinary banquets can be divided into "healthy dance" and "soft dance" according to their action characteristics and styles. "Sword dance" refers to those music dances with bold movements, such as sword dance, branch-breaking dance and Hu Xuan dance. "Soft dance" is elegant and gentle, and its rhythm is slow. The more famous ones are Spring Warbler and Green Waist.
In the Tang Dynasty, a multi-stage dance suite composed of instrumental performance, dancing and singing appeared, such as Dancing in Clothes and Feathers. In addition, there are some folk songs and dances with storylines and characters, such as "Step on a Ballad Mother". Palace banquets in Sui and Tang Dynasties are music used for court ceremonies. After the reunification of the whole country, the Sui Dynasty concentrated on sorting out the music and dance of the Southern and Northern Dynasties and some foreign nationalities, and formulated seven songs: First, the National Music; Second, Shang Qing Ji; 3. Korean Geisha; Fourth, Tianzhu Geisha; Five, "One Ji Guo"; Sixth, "Ju Chi"; Seven, "Wen Kang Ji", namely "Li Bi". During the great cause of the Sui Dynasty (605-608 AD), there were more titles and titles. At the same time, Shangqingji was ranked as the first, and Ji Guo was changed to Xiliangji, which became Jiubu Le.
In the early Tang dynasty, the court music and dance inherited the Sui system, and the nine pieces of music remained the same. In 637 AD, Li Bi was abolished, and in 640, Yan Yue, who praised the prosperity of the Tang Dynasty, was ranked first. In the sixteenth year of Zhenguan (642), Emperor Taizong gave a banquet, which added Gaochang to make ten pleasures.
The imperial court set up the above-mentioned music department in order to show its strong national strength. Among them, two pieces of music and dance "Yanle" and "Shang Qing" belong to the Han style of the Central Plains, and the other eight pieces are named after place names and country names, which are unique folk music and dances. The dancers' costumes are all beautified national costumes. After the arrangement of the court, there are certain performance systems and norms, which stipulate the number of all musicians and musicians, costumes, musical instruments used, and what songs, dances and music are interpreted. Seven songs, nine songs and ten songs are both ceremonial and artistic, and have certain appreciation value. They are quite famous court Yanle in the history of China. Broken array music
Praise Li Shimin's "Broken Array Music", also known as "Qide Dance". When Li Shimin was the king of Qin, the song "The King of Qin Breaking the Array" was popular in the army. After Li Shimin ascended the throne, he played in court ceremonies. In the seventh year of Zhenguan (AD 633), he used this song to create the dance "Broken Array Music". There are 120 dancers who dance in armor and halberds. Dance formation: left and right, chariots in front, teams behind. Sometimes it is a horizontal "beautiful fish array" and sometimes it is a vertical "goose stork array". Spread out in the middle like a dustpan, such as spreading wings. The dance team bends and stretches, and the ends correspond. The whole dance is divided into three sections, and each section changes its position four times. Accompanied by the drum, the tune is Qiuci sound, sharp and slow pricking action, plus majestic singing. Proud and resolute, with a generous voice, has a strong flavor of war life.
There are different numbers of "broken array music" in Li Bu Ji and Zuo Bu Ji. After the death of Emperor Taizong, it was renamed "Broken Array Music" and became a martial dance for sacrifice. Tang Xuanzong turned it into a performance dance with hundreds of ladies-in-waiting dances "Broken Array Music" for appreciation. In the late Tang Dynasty, the country became independent, and the situation of the country declined day by day. There are still "broken array music" dances in various provinces, but the scale is very small, with only 10 people.
With the fame of Emperor Taizong, "Broken Array Music" spread far and wide, with far-reaching influence and spread overseas. Tang Xuanzang mentioned in Records of the Western Regions of the Tang Dynasty that both India's Japanese King and the arrested Moro King talked about the broken music with admiration. There is still "Qin Wang's broken array music" in Japanese gagaku dance, which is said to have been introduced to Japan from the Tang Dynasty. Dancing in clothes and feathers
Daqu is a multi-section dance music that integrates music, dance and poetry. At first, it was a kind of musical instrument with free rhythm, called "San Xu"; Then there is the singing of Andante (sometimes accompanied by dance), which is called "the middle sequence"; Finally, the dance music with fast rhythm and ups and downs is called "breaking". Dancing in a Dress and Feather is a famous song and dance in the Tang Dynasty, which was written by Xuanzong of the Tang Dynasty on the basis of absorbing the Indian Sanskrit presented by Yang, the envoy of the Western Regions. The author tried to describe a fictional fairyland. There is a line in Liu Yuxi's poem: "Three rural tourists hope that the fairy mountain will return to the colorful feather." In addition, there is a legend that Emperor Chengzu of the Tang Dynasty visited the Moon Palace and wrote down "clothes and feathers".
The "random sequence" part of the music of "Nishang" is beautiful and beautiful. The "middle sequence" enters the beat dance. Dancers dressed as fairies are elegant and gorgeous, wearing walking crowns, down coats and gowns, and neon skirts (also moon white skirts). The dance is light and soft, elegant and smart. "Floating back to the light snow, smiling gives Youlong a surprise, the weeping willows droop slightly, and the clouds drag the skirt obliquely" (Bai Juyi's Song of Clothes and Feathers). "Breaking the Game" was followed by a fast-paced dance segment with complicated and intense movements, and the whole dance ended with a long lead.
The most famous dance is the performance of Yang Guifei (Yuhuan). She once boasted: "A song of clothes and feathers is enough to drown the past." The performance forms of "dressage" include solo dance, duet and group dance.
Bai Juyi described the wonderful performance of a pair of beautiful dancers in Feather Song. Sometimes they nod together, sometimes they wave their sleeves and spread out. Their performance was fascinating. Bai Juyi once lamented: "There are countless songs and dances, so I love dress dancing." During the reign of Emperor Wenzong, a large team composed of hundreds of ladies-in-waiting danced and performed "Nishang Song". Dancers hold banners as dancing tools, wear feather clothes and pearls, and dance like cranes flying in the air.
Nishang Feather is a court dance with high artistic level, a reserved program in the Tang Dynasty, and an influential work in ancient Chinese dance. According to the visible historical data and their own intentions, some dancers in later generations have newly compiled "Dancing in Clothes". Dance with a sword
The famous "sword dance" in the Tang Dynasty (referring to the vigorous and unrestrained dance style)-"sword" is a vigorous and magnificent dance. Du Fu's poem "Watching Gong Sundaniang's Disciples Dance Sword" describes the scene of Gong Sundaniang performing "sword dancing" in the folk, which is soul-stirring: it looks like Hou Yi shooting nine suns, and it looks like a group of immortals dancing in Lapras. Intense places, such as lightning; Quiet as a river and sea.
The Gongsun family was called into the palace to perform, and their skills were superb. Yichun Academy and Liyuan, where experts gathered, were unparalleled. "Poems of Jinyang Gate" describes the grand performance in the holiday palace, and there is a sentence of "palace magic". Zheng Yu, the author of this poem, pointed out: "There was a sword dance in Gong Sundaniang, and the number at that time was magnificent."
Gongsun's dance "Sword" has a distinct rhythm, vigorous dance and rich changes. Clear thoughts and setbacks inspired cursive writers Zhang Xu and Huai Su, thus cursive script made great progress. Yao He's Poem of the Sword says, "Dance on the spot today, and you will know that you are a warrior. Kesahig dance, bearing in mind the height of war ",shows that" sword dance "is a dance full of war life. "Sword Dance" was once introduced to North Korea, and the picture of "Sword Dance" was painted in the Korean ancient book "Synopsis of the Golden Chamber". The team dances of the court children's team in Song Dynasty included sword team and sword Daqu.
The sword dance in the Tang Dynasty inherited the fencing of the previous generation. Today's sword dance techniques in martial arts, drama and dance are also developed from ancient sword dance. Hu Xuan Dance is a famous healthy dance in Tang Dynasty, which was originally a folk dance in Central Asia. In the Tang Dynasty, there was a saying that "Hu Xuan's daughter left her comfort zone (now Samarkand, Central Asia)". Nine songs and ten songs in Sui and Tang Dynasties all contain healthy parts, which are called when they turn sharply like the wind. Dance accompaniment is mainly drums. Dance is characterized by rapid and continuous multi-turn rotation. The Tang poetry describes this beautiful dance's rotating posture as snow falling back, grass flying around, angular whirlwind and running on wheels. Jumping on the strings and drums, thousands of turns. The rapid rotation and dancing make it difficult for the audience to distinguish their backs from their faces.
The Tang Dynasty mural "Letian Dance Map" in Cave 220 in Dunhuang and the stone carving dancers unearthed from the Tang Tomb in Yanchi, Ningxia, all reflect the charm of Hu Xuan dance in the Tang Dynasty to some extent.
Hu Xuanwu was popular in the Tang Dynasty. Bai Juyi's poem "Hu Xuannv" said: "Tianbao four seasons change, and all servants learn to turn around." It can be seen that Hu Xuan dance was really all the rage in the Tang Dynasty. Today, in the folk dances in Central Asia and Xinjiang, when the dance reaches its climax, the dancers often keep spinning at a fast pace to express their inner joy and passion.
In the Tang Dynasty, Yang Guifei, An Lushan and Wu Yanxiu were all masters of Hu Xuan except the maiko who could dance Hu Xuan. Huteng Dance, a famous healthy dance in the Tang Dynasty, originated in Shiguo (now Tashkent, Uzbekistan, Central Asia, and the Tang Dynasty was under the jurisdiction of Anxi Duhu). The dancers wore pointed hats, narrow sleeves, a "Hu shirt", a belt around their waist and brocade boots on their feet. Dance is dominated by jumping and fast-changing steps. Liu Yanshi's poem "Wang Zhongcheng's House Watching Dance at Night, Hu Teng" describes the complex dance steps with fast-paced idling by "jumping the hub to make the foot color soft". Li Rui's poem "Hu Tenger" includes: "Raise eyebrows and move eyes on the carpet, and exchange red sweat with beaded hats. Drunk and inclined east and west, the boots before the lamp are weak. The phrase "Everything around is in harmony, and the backhand is akimbo like the moon" describes the dancer's vivid expression, intense dance, rapid prancing, rushing, backhand akimbo and other dance movements, and so on.
Today, among the folk dances in China, Xinjiang and Central Asia, there are also men's dances with many jumping movements, complicated kicking rhythm, high skills and bold style.
A mural of music and dance in Su Si Xu's tomb in Tang Dynasty was unearthed in the eastern suburb of Xi. Hu Man, with a high nose and deep purpose, stood on the blanket, holding his arms high and sucking his legs, as if he had just landed after a fierce jump. Historians believe that this is quite similar to the Huteng dance described in Tang poetry. The team dance in the court of the Song Dynasty also included the drunken tiger Teng team. Branch-breaking dance is a famous "healthy dance" introduced from the western regions to the Central Plains. There is a saying in Zhao Lu's "Dance Fu of Guan Shuangzhe in Hunan" in the Tang Dynasty that "an ancient geisha is also a branch, and now it is also the name of a philosopher". Zhi Zhi is the name of the ancient city in the western regions, in today's Jiangbulin area of Central Asia.
The dance of philosophy was originally a solo dance for women, dressed in beautiful national costumes and covered with brocade boots; The accompaniment is mainly drums, and dancers appear in the drums. Zhang Xiaobao's poems in Zhe Zhi are: "The head of the philosopher incites", and Bai Juyi's "The Prostitute of the Zhe" has "three-stroke drum". Dance movements are changeable, vigorous and lively, graceful and handsome. Dancing sleeves sometimes hang down and sometimes tilt up, that is, the so-called fast and complicated step dance of "drums in sleeves" and "long sleeves into China" in the poem makes the worn-out golden bell make a crisp sound. The audience marveled at the lightness and softness of the dance. There was a deep bend at the end of the dance. There are many similarities between the description of "branch-breaking dance" in Tang poetry and the popular "hand drum" in Xinjiang today.
After the "Zhezhi Dance" was widely spread in the Central Plains, there appeared a "Zhezhi Ji" who performed this kind of dance, and it developed from solo dance to duet. Later, the two girls hid in the lotus, and then came out to dance the gentle dance "Qu Zhe Zhi". Great changes have taken place in its dance style and performance form. There are two women stepping on the lotus beside the monument of Gaofu Temple in Tang Dynasty in Xi 'an. The stone carving dancing in opposition may be related to the dance of "the one who bends" in Tang Dynasty. Spring warbler is a famous "soft dance" in Tang Dynasty. According to Jiao Fangji, "Spring Warbler" means that the emperor heard the warbler's cry in the morning and ordered the musician Bai Mingda to write a song, which he called "Spring Warbler". Bai Mingda is a famous Qiuci musician, and his music may have a certain Qiuci style.
Zhang You wrote in the poem "Spring Warbler" in the Tang Dynasty: "My wife has sung the spring warbler and the flowers are dancing lightly." Describe the most skilled "wife" in the palace and perform the gentle song and dance of Spring Warbler. The music and dance of Spring Warbler may have the characteristics of describing the sound and shape of birds. Dances similar to birds have existed since ancient times. They are the reflection of hunting life and the remains of totem worship.
"Spring Warbler" was once introduced to North Korea, and "The Rite of Entry" contained: "Spring Warbler ... set up a single seat, dance prostitutes, stand on the seat, advance and retreat, and dance without leaving the seat." And painted with dance scenes. A female dancer dances on the cube carpet. Japanese gagaku dance also includes "Spring Warbler", which was originally introduced to Japan from the Tang Dynasty. Men dance with bird crowns. Its performance form and style are different from those of women's soft dance in Tang Dynasty, and it is a Japanese nationalized gagaku dance. The first foot-binding dancer
Niangniang is the dance palace of Li Yu, who is exquisite and good at dancing after the Southern Tang Dynasty in the Five Dynasties. The latter made a six-foot-high lotus platform for her, decorated with many treasures, cymbals and tassels, and made various lotus flowers in the lotus.
My mother tied her feet with silk, bent her slender feet into a crescent shape, put on white plain socks, and danced around in the lotus like a lingyun. The poem says, "The lotus blooms better, and the moon grows new in the clouds." . At that time, women were all eager for it, which was enough to make bows beautiful. Historians believe that the bad habit of women's foot-binding began in the Five Dynasties.
Yan Niang's foot-binding dance may be related to Dan Jiao's "walking on stilts" in the later play. It is similar to the toe dance of ballet.