| This thesis is the author’s initial exploration and accumulation of the study of hand gestures of Dunhuang dance,which is expressed in the form of dance works,allowing the works to engage in dialogue with more people.I hope to deepen my understanding of Dunhuang,the condensation of civilization under the ups and downs of history and the epitome of symbols of the changes of times,through the creative process of breaking space.While conveying the unique aesthetic feeling of Dunhuang art,it also seeks a way of exploring and researching to dance research that takes a partial view of the whole.In the first chapter,based on the concept of "handing ",I will interpret it,explore the context and origin of " handing " in Dunhuang,and illustrate the culture,inheritance,inclusiveness,and historical depth of Dunhuang dance through the interpretation of hand gestures.In a specific geographical space,the Central Plains culture and foreign culture complement each other,forming a Dunhuang art that focuses on content and aims at harmony,vividness,charm,artistic conception,and sublimity.Based on the notion of "handing," I will interpret it in the first chapter,examine the context and genesis of "handing" in Dunhuang,and use the interpretation of hand movements to highlight the culture,inheritance,inclusivity,and historical depth of Dunhuang dance.The Central Plains culture and other cultures coexist in a particular geographic area to create a kind of art known as Dunhuang that is content-driven and strives for harmony,vividness,charm,creative conception,and sublimity.In the second chapter,on the basis of refining and integrating the mural grottoes,and on the premise of tracing their cultural heritage,the author expounds the evolution,types,and refining principles of the hands in the mural grottoes.Among the tens of thousands of hand prints and gestures,the author classifies them into 11 types of single handed gestures and 9 types of double handed gestures;In the overall refining process,it is refined based on the principles of visualization,imagery,and stylization,and ultimately implemented in functionality,aesthetics,semantics,and symbolism.In the third chapter," The Talisman of the Lotus " is the author’s practical attempt after theoretical guidance.The creation of this work selects " lotus flower holding foot prints ",and the character imaged rely on the thinking bodhisattva that holds his cheeks with one hand,eyes drooping,and meditates on Cave 71 of the Early Tang Dynasty in the Mogao Grottoes of Dunhuang.In this work,the author presents a state in which the Buddha’s face is speechless and the words are in the hands.Through the sublimation of " personal smallness " into the " greatness of all sentient beings," everything in the world is tempered,just like the growth of silt in a lotus flower.In the process of excavating,researching,and developing the discipline of Dunhuang danced," hand " may become a major breakthrough point,which can help us find our own body language and cultural coordinates,from small to large,and from subtle to subtle.It may be a way for every Dunhuang dancer to explore Dunhuang dance,and it is also a new path to the entire dance research.The path that few people took is often covered with thorns,but it is also the easiest to harvest stunning scenery. |
