• (The) Research of the performance art and culture
• /
• no.25
• /
• pp.31-56
• /
• 2012

This paper were reviewed on some problems in the early history of Chinese dance written by scholars of contemporary China. Results of the review, were found the following problems; First, In describe to the early history of Chinese dance, contemporary Chinese scholars do not distinguish myths, legends and historical materials, so the history of ancient Chinese dance makes to mystery, thus, eventually will cause a lack of truthfulness. Second, In order to fill the lack in the early history of Chinese dance, the Chinese scholar often use a drawing of earthenware or mural. However, in certain cases, the same drawing by the other observer to be interpreted differently. In this case, if use as evidentiary material, there is a problem. Third, Most contemporary Chinese scholars usually say that the origins of dance is labor. It is to have originated from materialistic historical view can be said. However, in ancient China, but rather about the origin and function of dance there were diverse views. Therefore, this aspect should be cautious.

• The Journal of the Korea Contents Association
• /
• v.22 no.7
• /
• pp.623-634
• /
• 2022

Chinese Korean dance has been handed down in its original form, and some of the dances have changed slightly due to changes in the names of people or places, but it is a creative dance developed based on the roots of the Korean people. Therefore, it is a unique form of dance art that reflects the history and life of the ethnic Koreans while imbuing the unique psychology, emotions, artistic symbols, and creative talents of the Korean people. In this study, however, it is most important to identify the identity of Korean dance through historical changes in Korean dance and representative works by period, and to increase awareness by examining the characteristics of Korean dance. Therefore, based on the literature, this study will understand the concept and formation process of Korean dance, and examine the characteristics of the representative works of each period by dividing the history of Korean dance into four periods. On the other hand, this study suggests that the biggest challenge of the present era is not to establish and protect the identity of Chinese Korean dance, rather than simple dance.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.22 no.3
• /
• pp.381-389
• /
• 2021

Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.

• International Journal of Advanced Culture Technology
• /
• v.12 no.2
• /
• pp.16-29
• /
• 2024

Mogao Grottoes in Dunhuang, China is one of the world cultural heritage, is the largest ancient grottoes art group in the world, and is a natural and cultural place with outstanding universal value for mankind all over the world. Dunhuang music and dance derived from the murals of Mogao Grottoes is an artistic representation of its thousand-year-old glorious history and an indispensable historical material for research. As one of the iconic images of Dunhuang music and dance, the "rebound lute behind the back" dance posture has unique charm value both in the original mural composition and the stage image. This paper analyzes the characters holding pipa in Dunhuang murals by case analysis, comparative research and other relevant research methods, then studies the stage image and posture of "rebound lute behind the back", and finally analyzes the stage works of "rebound lute behind the back". It is concluded that the dance image of "rebound lute behind the back" is a dynamic stage art work gradually formed by artists from the static Dunhuang murals through refining, developing, processing and transforming. This is to revive the image of Dunhuang music and dance murals, to provide reference and reference for the inheritance and development of Dunhuang culture, and then to enhance and enrich the artistic value of excellent traditional Chinese culture and world cultural heritage.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.3
• /
• pp.211-219
• /
• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.201-221
• /
• 2009

This paper is a historical study on mime or pantomime in the chinese theater. What is the origin of chinese mime? This is a very difficult question to answer. But I thought its early model can be found in actions of ancient actors who are believed to precede any genre of theater and actually I could found a very significant proof in historical records which have been ignored generally. It is an episode of Youmeng(優孟) in Chu(楚) dynasty. According to this episode, the history of chinese mime has lasted at least over 2600 years. In my opinion, chinese mime had been organized in ritual genre in early theater and its development had been mostly based on the jiaosehangdang-system(脚色行當制). Most chengshi-movements(程式動作) of zuo(做) and da(打) have been organized in recent several centuries. But a further study on them shows us that the real origin of them is the ancient dance wu(舞). Afterwards the wu(舞) separated into two types of dance the so-called wenwu(文舞) and wuwu(武舞). So we can say that wenwu(文舞) and wuwu(武舞) had a direct influence on most chengshi-movements(程式動作) of zuo(做) and da(打).

• Lingua Humanitatis
• /
• v.6
• /
• pp.265-291
• /
• 2004

The main purpose of this paper Is to analyze the characteristics of the Korean language used as a major communication means within the Korean community in Chenguoz District of Harbin, Heirungjiang Province, China, in terms of its phonology, morphology and syntax. The study focuses on how a variety of languages and dialects including Chinese, the Standard Chinese Korean adopted as a means of teaching in Korean schools, and Kyongsang Dialect of Korean have influenced the language of the community. It also deals as background information with the history of the community, the attitude of the community members toward Korean and Chinese, and their proficiencies of Korean and Chinese, to obtain the general picture of the bilingualism of this community. This specific region was studied since this region and most of the Korean communities in the Heirungjiang province were formed by descendents of the immigrants from the southern provinces of the Korean Peninsula, which allows the comparison between the language used today and the language their ancestors used before moving to this area. Due to the industrialization and innovation brought about by the opening of the Chinese society, the fast outward flow of youths to urban areas, and greater assimilation threats from the embedding Chinese culture, we are not too sure if the Korean language will continue to be used in the future. Given these circumstances, we consider this research most opportune in that it provides a look into the Korean community that developed its distinctive culture and language within an isolated cultural environment.

• Journal of Fashion Business
• /
• v.19 no.2
• /
• pp.53-68
• /
• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• Art History and Visual Culture
• /
• no.21
• /
• pp.126-147
• /
• 2018

This paper is to find the theme and meaning of the Beauvais Grotesque tapestry considered a conundrum. The three works are chosen from Beauvais Grotesque consisting of six tapestries, which are The Offering to Pan, The Musician and Dancers, The Camel in the J. Paul Getty Museum. I analyzed these works by dividing them into grotesque ornaments, chinoiserie motifs, and scenography. The Offering to Pan shows the influence of Raphael's Grotesque tapestry, but Beauvais work followed the design of Jean Berain's Grotesque with arabesque. In The Musician and Dancers, chinese ceramics, textiles, and Chinese people in edge were noted. Especially, the Chinese with yellow skin in the border reveals the European gaze on China at that time. In the 18th century, Chinoiserie was prevalent through stage designs rather than books. The Camel, playing Brighella, makes it clear that this tapestry is a stage of Comedia dell'arte. The characteristic of Comedia is a mixture of genres such as music and dance, with no scripting 'improvisation.' Features of Comedia are 'improvisation' without a script and a mixture of genres such as music and dance. Thus, the Grotesque tapestry transfers the stage of the Comedia into threads woven. In addition, the horizontal stage decoration with the disappearance of the perspective vanishing point is related to the era of regent of Philippe d'Orl?ans (1674-1723). Above all, the grotesque, Chinoiserie, and scenography are all fantasies separated from reality. Therefore, the Beauvais Grotesque tapestry represents of 'improvisation' and 'fantasy' in which there is no narrative theme or meaning, as if the script of Comedia did not exist.

• Journal of the Korean Society of Costume
• /
• v.53 no.4
• /
• pp.17-29
• /
• 2003

Long Sleeve Costume is often seen not only in ancient China but also in various neighboring places throughout the time. Costumes show the societies cultural preferences and values at that time, and Long Sleeve Costume is no exception. In my research, 1 focused on the time period from Han Dynasty to Tang dynasty in ancient China. During Han dynasty, Shenyl style robe(심의형 포) was widely worn, and it shows very little foreign cultural influence. For the period of Wei·Jin Southern and Northern Dynasties, foreign aspects of costume started to show up Possibly due to the influence of Buddhism and influx of foreign tribes. For instance, it is not too difficult to find hufu (호복) as well as Shenyl style robe, and it appears this Wei Jin Southern and Northern Dynasties may have been a transitional period of accommodating two cultures without complete merger. Now, when it comes to Tang dynasty, we observe a creation of new cultural form in costume after adopting exotic culture. Because Sh ny style robe. often observed for a long time in Chinese history, disappeared, and tuanling(단영) and fanling(번영) became the main stream in their costume style in Tang dynasty.