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承上启下的六朝(东吴、东晋、宋、齐、梁、陈)是中国古代的一个历史转折期,也是吴地社会发展的关键期。依托良好的社会环境和政权偏安的优势,吴地的文化艺术在六朝艺术自觉的环境中迅速发展壮大并成熟,形成了自身独特的文化艺术特征和人文审美意境。其中以《拂舞》《白纻舞》为代表的一批吴地乐舞在六朝宫廷阶层和文人士大夫的推动下经历了从“俗”到“雅”、好“轻”重“情”、由“形”升“意”的发展过程,艺术性、表现力都大大增强,形成了清秀、飘逸、婉约、雅致的区域性艺术风格。这种艺术风格后随《清商乐》一同融入隋唐(中国)舞蹈主流之中,成为中国传统艺术文化中的一脉。
The six dynasties (Soochow, Dongjin, Song, Qi, Liang and Chen) inherited from the past are a historic turning point in ancient China and a crucial period for Wu’s social development. Relying on the good social environment and the advantages of partial security, Wu’s culture and art rapidly developed and matured in the art conscious environment of the Six Dynasties, forming its own unique cultural and artistic features and humanistic aesthetic conception. Among them, a group of Wuli music and dance represented by “brushing” and “white dancing” experienced under the impetus of the court class and literati and doctor of the Six Dynasties from “vulgar” to “elegant” and “light” The artistic and expressive power of “love” and “love” rose from “shape ” to “meaning ”, which greatly enhanced the artistic style of the region, which is graceful, graceful, graceful and graceful. This art style followed the Qing Dynasty Music together into the mainstream dance of the Sui and Tang dynasties (China) and became a pulse in the traditional Chinese art and culture.