A Study Of Dunhuang Dance Expressions And Artistic Characteristics From The Perspective Of Confucianism

The most prominent artistic and cultural content of the existing thousand-year-old Mogao Grottoes in Dunhuang is the convergence of Chinese and Western cultures,which is the product of the development of multi-cultures.As a unique artistic carrier of Dunhuang culture,Dunhuang dance’s achievements in teaching and scientific research are related to Dunhuang Mogao Grottoes culture.With the development of multi-culture,Confucianism,Buddhism and Taoism have gradually become the dominant form of Chinese traditional culture and the spiritual thread of Chinese traditional art.As a school of Chinese classical dance,Dunhuang dance,rooted in Buddhist cultural tradition,has become a consensus in the field of research,and has presented rich and profound research results.However,Dunhuang dance,as the cultural influence of the transit area of the ancient Silk Road,that is,Dunhuang area,in the course of thousands of years’ development,under the constant integration and conflict,Dunhuang culture is not only a Buddhist cultural form,but also impossible.Studying Dunhuang dance from the perspective of Confucian culture is conducive to viewing the artistic spirit and cultural basis of Dunhuang dance as a whole constructed and promoted by the three cultural traditions of Confucianism,Buddhism and Taoism,and trying to broaden the cultural dimension of Dunhuang dance research.Dunhuang dance,as a form of expression of Dunhuang cultural tradition in the field of art,needs to return to the context of Dunhuang cultural tradition.The secularized statue mainly based on Buddhism fully reflects the ideals of Chinese people’s pursuit of spiritual emancipation in the way of Chinese civilization.To explore the influence of Confucian culture on Dunhuang dance is to find the origin of the development of ancient Chinese dance and its culture in traditional Chinese culture.Firstly,the dissemination of Confucian culture in Dunhuang area lays a certain historical evidence.Secondly,the concept of music and dance in Confucian culture is explained.Thirdly,the characteristics of "Confucian" music and dance in murals are analyzed.Finally,it is put into practice in Dunhuang dance,from the pre-mural(Confucian music and dance theory)to the mural(Confucian mural music and dance characteristics)and then to the post-mural(The influence on Dunhuang dance)goes on step by step,and finally paves the way for exploring the influence of Dunhuang dance.Chinese Confucianism permeates the aesthetic features of Dunhuang dance,such as its perfect and unified dance posture,vivid rhythm and harmonious symmetry.Including its unique form of "music and dance as a whole",from the external appearance of Dunhuang dance and the inherent meaning of dance,its implicit,restrained and solemn aesthetic features are all traditional aesthetic features under Confucianism.To investigate and discuss the Confucian cultural dimension of Dunhuang dance is not only an innovation in the study of Dunhuang dance,but also a return of Dunhuang dance to Dunhuang cultural tradition.