What are the characteristics of national dances in the Spring and Autumn Period and the Warring States Period?

China court dance was formed, established and developed with the appearance of ancient courts, leaving a colorful page in the splendid cultural history of China. In the 2nd/kloc-0th century BC, Qi established the first dynasty in the history of China: Xia Dynasty. At that time, people believed in ghosts and gods. Therefore, regardless of the size of the country, divination and ritual activities are needed. Therefore, the dances at that time were mostly performed during sacrifices and celebrations. Legend has it that Kay likes singing and dancing. According to bamboo records, he once ordered people to dance Jiu Shao. Although we can't know the content of dance today, we may guess that it has something to do with sacrifice. Shan Hai Jing? 6? It is also recorded in 1 Wild West Sutra that Qi went to the Emperor of Heaven and got two music and dance works "Nine Debates and Nine Songs" from the Emperor of Heaven and brought them back to the world, so he made them again. At the end of the Xia Dynasty, when Xia Jie was in power, there were 30,000 female musicians, and the sound of lewd music shook the whole city (Guan Jia). His music and dance advocated luxury, but he was addicted to lewd music and eventually died. Like Xia dynasty, Shang dynasty, which replaced Xia dynasty, also respected ghosts and gods. Sacrifice and all other "ceremonies" must be accompanied by songs and dances. Businessmen talk to ghosts and gods with music and sing to them. Music and dance have become an important means for people to worship, serve, entertain ghosts and gods, and make people communicate with God. Sometimes Shang Wang also dances in person. For example, in the Oracle Bone Inscriptions of Yin Ruins, the feather dance performed by the Shang King when he offered sacrifices to the gods was recorded. After the demise of Shang Dynasty, the royal family of Western Zhou Dynasty established a set of detailed etiquette and music system, which marked the formal establishment of China court dance. "Rite" refers to rituals such as sacrifice and worship, and "music" refers to music and dance accompanying "Rite". The ritual and music system in the Zhou Dynasty has two basic contents, one is to stipulate the level, and the other is to stipulate that the music and dance accompanying the ceremony are basically elegant music. According to the rites and music system of the Zhou Dynasty, people with different occasions and identities not only have different manners, but also use different music and musical instruments, and their grades are very strict. According to Zhou Li Chun Guan, if you make a sacrifice to the gods, "you will ring the yellow bell, sing a big song and dance Cloud Gate". When offering sacrifices to the land, "there are too many clusters, and bells are ringing and dancing" Xianchi ". "Sacrificing Mountains and Rivers", performing guests, singing bells and dancing "Summer". When worshipping around, you should "play Gu Xi, sing Lu Nan" and dance "Jiu Shao". When you are enjoying the past, you should "play foreign songs, sing Xiao Lu" and dance "Dalian". When you admire your ancestors, you should "play without shooting, sing without bells" and dance with "great martial arts". When the two gentlemen meet, they use the elegant "King of Literature"; Xiaoya's Luming Literature, Four Degrees, and Flowers of Huang Huangzhe were used to give a banquet for visiting envoys. Another example is the "Song Yong" used by the emperor for ancestor worship, but the literati can't use it. In Zhou Yayue, instrumental music, dance and singing are often performed separately, but they are not completely combined. Dance is accompanied by flute-like pipes and singing, and singing is accompanied by stringed instruments or reed instruments. Instrumental music is the so-called "golden melody", which is an ensemble of bells, drums and chimes. The specifications of "Golden Opera" are so high that only emperors and princes can use it. Doctors and doctors can only use drums alone. At that time, you could see six generations of music and dance, namely, Cloud Gate of the Yellow Emperor, Xianchi of Shi Yao, Jiu Shao of Shunshi, Daxia of Shi Yu, Dayun of Shang Dynasty and Dawu of Zhou Dynasty. The court dances of the Zhou Dynasty were mainly performed on the following occasions: First, they were used for sacrifice. " Zhou Li? "Emperor Guan" records: "The tasks of dancers include: teaching soldiers to dance and leading people to dance when offering sacrifices to mountains and rivers; Teach dance and lead people to dance when offering sacrifices to the country; Teach badminton dance and lead people to dance when offering sacrifices to the quartet; Teach the emperor to dance and lead people to dance and pray for rain during drought. " "Wu dancer, full feather. Feather dancer, feather analysis. The emperor dancers wore feathers on their heads and jade feathers on their clothes. "The second one is for witchcraft." Zhou Li? The sheriff recorded, "Wizards are in charge of witches. If there is a drought in China, he will lead witches to dance and pray for rain. In addition, when offering sacrifices to the god of all things, the soldiers danced. The third is to drive away the epidemic. The fourth is for education. " Zhou Li? According to local official records, "Musicians are in charge of the politics of Chinese studies to educate aristocratic children to learn small dances (referring to dances learned as children). Small dances include martial arts dance, feather dance, emperor dance, Luo dance, dry dance and human dance. By learning music and dance, these aristocratic children can dance Yunmen, Xianchi, Dashao, Daxia, Daxie and Dawu. Harmony in melody and dance can be used to worship gods, ghosts and earthly gods, so as to make the country harmonious, the people harmonious, the guests appeased, the people from afar obeyed and everything flourished. The fifth one is for feasting. The dances performed at that time included bow and arrow dancing. On the basis of music and dance in Shang Dynasty, the court dance in Western Zhou Dynasty developed into etiquette under the concept of "matching heaven with virtue", but weakened its entertainment function. The main body of dance is elegant music and dance, which is characterized by solemnity and loftiness. For example, when Emperor Zhou offered sacrifices on the winter solstice and summer solstice, and when his son went to the altar to pray on that day, the dance team would offer "Cloud Gate" and "Fairy Pool". The dancers' movements are moderate, orderly and elegant, highlighting the characteristics of solemnity, sacredness and moderation. Zuo Zhuan describes the feelings of Ji Zha, the son of Wu State, when he watched the elegant dance in Lu State. When he saw Xiang Xiao and Qiu Nan dancing, he said, "What a pity! Seeing the dance of Dawu, he said, "Zhou Zhisheng, if that's the case, it's so beautiful! When he saw the dance "Shao Lian", he said: "The sage is magnificent, and there is still shame. It is difficult for the sage! Seeing the dance of "Big Summer", he said, "It's beautiful! Diligence without virtue. If not, who can do it! " Seeing the dance "Whistle Board", he said, "What a great virtue! Great, such as the sky, such as the earth! Although it is virtuous, its contempt is attached to it. Be careful. If he is happy, I dare not invite myself! "It can be seen from this that Ji Zha advocates less dancing because" virtue "is to the extreme, and its generosity is so great that no music or dance can surpass it. During the Spring and Autumn Period and the Warring States Period, with the decline of the power of the Zhou royal family, the established system of rites and music began to collapse. Some governors began to use music and dance more politely. For example, the Analects of Confucius records: "Zi Yue's eight-string dance can be tolerated, but it can't be tolerated. This is also very embarrassing. " At the same time, "new music" (advocating excellent women's music), which was denounced as "the voice of righteousness", also entered the court, and influenced the original elegant music with folk pop music. To this end, Confucius sent out the feeling that "evil purple is better than Zhu, and evil chaos is elegant". From then on, folk music and dance began to enter the court and gradually merged with it. In addition, at this time, the entertainment function of court dance was strengthened, and the dance was lighter, more elegant, gentler and more aesthetic, which laid the foundation for the development of court dance in later generations. Dance with thin waist and long sleeves was popular at that time. We can get a glimpse from the following narrative. "Chu Ci" said: "On February 28th, the dance will be allowed. If it is handed over to the pole, it will be handed over to the case." He also said, "Fei Fei Cui Zeng, (Zeng, dance also." "Dancers are as smart as kingfishers. ) show poetry and dance. " "Shuowen Jiezi" says: "Yan Zhaowang acceded to the throne, and Yan Guang came to perform two dances, one was Xuanjuan and the other was sobering. Light body and fragrant body, or no trace to be found, or not hungry for many years. Wang Zhao was sentenced to Danhua, drinking precious cream and millet from Danquan. Wang Dengchong's platform in the summer made them wander and dance, and they could hardly support themselves. Wang brushed it with a tassel, danced it as a entanglement, and followed the dust lightly. The second time, I said that the feather is like the tail of the wind, and I said that the branches are entangled in the sleeves. " In addition, with the disintegration of the rulers' power in the Western Zhou Dynasty, there appeared a situation of "ritual collapse and bad music". Folk music and dance have replaced dull and elegant music with their fresh and lively spirit and vitality. 3 \ pq(U & amp； The prosperity of folk songs and dances in the Spring and Autumn Period and the Warring States Period is not only the need of the times, but also the need of people's social life. It attracts men and women to dance regardless of winter and summer. The earliest collection of poems, The Book of Songs, is one of the "six arts" compiled by Confucius (484 BC) for educating students. "Sing 300 poems, dance 300 poems", can sing and dance. Many poems describe the grand occasion of folk songs and dances. For example, the men and women who described Wanqiu (now Huaiyang, Henan Province), the capital of the State of Chen in the Book of Songs, sang and danced in Wanqiu (now Huaiyang still has hills) regardless of winter and summer. Dl B-V3t0 China Dance Network 】 M3AQRT 4B7I &; UG "KanQi drums, under the autumn. China Dance Network &; f/` rk & amp； Mh China Dance Network $H~*W'jCY has neither winter nor summer, which is worth its heron feather. China dance network E 1`UVMo 1hP China dance network,} ib w $? AFV。 Fokanzi attacked and headed straight for the back hill. China Dance Network. Fi6Oq"cxM5BZ-@ Q0 There is neither winter nor summer, which is worth it. "China Dance Network U0AF Q # \" M7 ~+AW $ Ki7J8R; f； Today, folk dances in Henan are still popular, especially the "flower basket" dance in front of Taihao Mausoleum, which is famous as "the legacy of da ji". China Dance Network *HzO! `/vjdb] Most of the national styles in the Book of Songs of S% x0 are folk songs and dances in the north, while the folk songs and dances in the south are preserved in Nine Songs of the South written by the great poet Qu Yuan (340-278 BC). The custom of Chu State is to "believe in ghosts and worship them". Wizards and witches participate in sacrifices, have fun and dance to entertain the gods. Nine songs are named after the gods they sacrificed: the Eastern Emperor Taiyi sacrificed to the gods, the YunZhongJun sacrificed to the YunShen, the Xiangshui Goddess, the Lady Xiang sacrificed to the Xiangshui Goddess, and Shao Siming sacrificed to the goddess who was in charge of life. Dong Jun offered sacrifices to the sun god, Hebo offered sacrifices to the male river god, Shan Gui offered sacrifices to the female mountain god, and the national mourning celebrated the fallen martyrs, ending the ritual spirit. There are eleven songs and dances before and after, the first and eleventh are for offering sacrifices to the gods, and the middle is for entertaining the gods. This is a gripping and romantic poem, and the charming witch dance brings out the best in poetry and music. When offering sacrifices to gods, it is also a time for young men and women to meet. Except for the "national mourning", most of the songs and dances offering sacrifices to the gods are courtship songs and dances of men and women, while Xiang Jun, Mrs. Xiang and Shan Gui describe the pain of the gods after their lovelorn love, taking the gods as metaphors and describing the love mentality of men and women in the world, which is sad and appealing. China Dance Network &; gqr'L-l2？ China Dance Network. | Jd(？ 2I 1S#p3`L During the performance, the wizards danced beautiful clothes and herbs with the music. "The spirit is gone, the clothes are gorgeous, the fragrance is overflowing, the five tones are noisy, and you are happy in Le Kang." FT:^MoVN2W？ #Nf0 China Dance Network E: uff4q ` Jiuge is a large-scale ancient mythological musical, but unfortunately it failed to develop along the road of musical. It became a pure ritual movement to worship Taiyi in the suburbs in the Han Dynasty, until the publication of Jiuge, which was compiled by Wen Yiduo on the basis of in-depth research, and the birth of Jiuge and Chu Yun in Hubei Song and Dance Theatre in recent years. China Dance Network: R6{#t Pv'gLww]X5Hh~7rg0 The "ritual collapse and bad music" in the Spring and Autumn Period and the Warring States Period brought infinite vitality to folk dance, and the prosperity of folk mass dance and aristocratic literati music (professional artists) made dance enter a brand-new development stage. The dance training of aristocratic families is extremely strict, such as the dance pattern lacquer enamel unearthed in Changsha, Hunan Province. In the picture, a female teacher is holding a pointer, three female dancers are left and right, and a long skirt with wide sleeves is learning to dance. Judging from the clothes, this painting reflects the aristocratic family of Chu State. From this, it is conceivable that learning dance in Tucheng for three years is strict in training. During the Spring and Autumn Period and the Warring States Period, bands with bells and drums as the main musical instruments prevailed, which was called "the music of bells and drums". The chimes unearthed in Sui County, Hubei Province are beautifully made. In addition, there is a painted mandarin duck-shaped lacquer wooden box in the tomb, which is dark and painted with gorgeous feathers. There are two snakes with horizontal sticks on the left side of Yuanyang's abdomen. There are two bells hanging above and two chimes hanging below. A deer-shaped beast or a man of god is ringing the bells in a free and easy dance. On the right is a beast (or man) beating drums with a mallet in both hands, and on the left is a beast (or man) with a sword dancing with the drums and throwing up long sleeves. The witch dance in Chu is the most representative. It is mentioned in "Nine Songs" that even in the Wu Chu War, when the soldiers and horses of the State of Wu arrived, King Chu Ling could bow his head and hold his feather, which was inspiring. Several colorful paintings of Jinse music and dance unearthed from Chu Tomb in Xinyang, Henan Province, show long sleeves and witchcraft dance. For example, a witch in harness wears wide-sleeved clothes and stretches out her arms as if to dance, and another witch is about to shoot with a bow and arrow, from which we can get a glimpse of the witch dance in Chu. China Dance Network 0J! Kg C Z A China Dance Network, aT9W. The R 1x T0x bronze sword unearthed in Shanbiao Town, Jixian County, Henan Province, is divided into three layers: upper, middle and lower. All of them are soldiers, holding spears and bows, fighting bravely and paddling with paddles. Some people beat gongs and drums to boost morale. The bronze pot with portrait patterns now hidden in the Forbidden City was also unearthed in Shanbiao Town, Jixian County, Henan Province. The copper pot has two rings, which are roughly divided into six layers. The fourth floor is a band of six. Three female geisha are wearing tights, and their legs are kneeling and ringing bells. Two female geisha stood and knocked on the stone, and one female geisha beat the drum with a drum pestle. All three were dressed in pleated skirts, with thin waists and twisted bodies, full of the beauty of body movements. The ends of the chime are supported by big birds. Coincidentally, the middle part of the "banquet fishing and hunting pot" unearthed in Baihuatan, a suburb of Chengdu, Sichuan Province, was supported by a pillar with four bells and four braids hanging on it. Four female geisha danced on their knees in tights, four female geisha wore pleated dresses, twelve rapped on their chins and two drummed. Outside the column, a female geisha is beating a drum with a double drum pestle. Under the drum stand, there is a bell-shaped crank called "Ding Ning", which is a musical instrument to save music, that is, the "gold" for "ringing the golden bell to retreat" in the war. At the neck of the copper pot, there is a picture of Caisang Wutu. In the meantime, a slender mulberry-picking girl was dancing with narrow sleeves, and the people around her raised their hands and high-fived with enthusiasm. There are only slight differences between the two copper pots in Chengdu and Jixian County, Henan Province. Maybe they were originally relics of Chu culture, and later they flowed into Buddy. There is also a picture of "Caisangwu" on the bronze pot lid unearthed in Huixian County, Henan Province. Dancers are picking mulberries under mulberry trees, and some are dancing in sleeves. Their costumes and dances are similar to the above-mentioned copper pot dance. During the Warring States period, southern female dancers were mostly long skirts with thin waist and long sleeves, which was a fashion. It is said that it is a jade carving dancer ornament unearthed from the Han tomb in Jincun, Luoyang. The upper part is arranged in a T-shape with a small jade tube, and a pair of jade carving maiko are hung under the jade tube below. The forehead is half-moon-shaped, the sideburns are curly, the long skirt is covered with narrow sleeves outside the wide sleeves, and the oblique skirt is wrapped in front, with a wide waist and a drooping tail. Two maiko's left and right hands are connected, dancing, showing liveliness and beauty in a symmetrical shape. The appearance of this kind of Yu Pei in the Warring States period not only proved that it broke through the system that the Western Zhou Dynasty was limited to ceremonial Yu Pei, but also showed that this kind of dance created a new style at this time, which was more entertaining and appreciated. Coincidentally, in the Xiongnu in the north, stone ornaments prevailed. Five Xiongnu stone ornaments were unearthed from Xigou Warring States Tomb in Buertaohai Township, Zhungeer Banner, Inner Mongolia. Among them, four or six dancers wear crowns, long sleeves around their waists, and their legs are in tandem, bending forward and kneeling. This is a very precious and little-known Xiongnu dance. There are pottery figurines unearthed in Changzhi, Shanxi Province in North China, which are solo dances for men, imitating the movements of birds flying, accompanied by eight people, and the dancers' heads are combed into a bun at the upper left. Pottery unearthed from the site of Jin State in Houma, Shanxi Province is covered with carved music and dance pictures, and female geisha beat drums and danced under the tree. Female geisha wore oblique skirts and danced a dance similar to Chu dance, from which we can see the remains of the exchange of music and dance between North and South during the Warring States Period.