Research on the Historical Evolution and Cultural Inheritance of Chinese Classical Dance and Ancient Court Music and Dance

https://doi-xxx.org/6812/17610597574445

LI Tong ying

(Normal College of Jimei University,Xiamen 361021,478199319@qq.com,China)

Abstract: Chinese classical dance shares the same origin as ancient court music and dance. It not only carries the historical context of the ritual and music system but also accumulates a unique aesthetic spirit. Based on historical documents, dance score materials and artistic practices, this article systematically sorts out the origin and evolution of court music and dance, explores its influence mechanism on the formation of Chinese classical dance, and analyzes the rheological relationship between the two in terms of function, form and aesthetics. On this basis, further elaborate on the cultural inheritance path of classical dance in education, stage art and international communication, and propose future development directions such as digital protection, popularization of education, stage innovation and cross-cultural communication. Research suggests that Chinese classical dance is not only a contemporary expression of ancient court music and dance, but also an important carrier of China’s fine traditional culture. Its inheritance and innovation have profound significance for enhancing cultural identity, improving national aesthetics, and promoting cultural confidence.

Key words: Chinese Classical Dance Court music and dance Historical changes; Cultural inheritance Aesthetic value

Introduction

Ancient court music and dance, as an important component of the ritual and music system, not only symbolized political power and ancestral temple sacrifices but also served as a significant source of Chinese dance art. With the evolution of history, court music and dance gradually completed the transformation from ritual systems and ceremonies to aesthetic performances, and their artistic elements profoundly influenced the formation and development of Chinese classical dance. In modern times, classical dance has been continuously improved in the construction of disciplines, stage creation and popularization of education, and has become an important art form for showcasing Chinese culture. However, academic research on the inheritance relationship between court music and dance and classical dance is still insufficient, especially lacking systematic exploration of their historical evolution and contemporary expression paths. Based on this, this article takes historical evolution and cultural inheritance as dual perspectives, aiming to reveal the intrinsic connection between classical dance and court music and dance, and explore their value and significance in contemporary society.

1. Historical Origins of Ancient Chinese Court Music and Dance

(1) The ritual and Music System and Court Dance of the Pre-Qin Period

The court dance of the Pre-Qin period was closely linked to the ritual and music system and was one of the most important sources of ancient Chinese dance. In classics such as “The Rites of Zhou” and “The Book of Rites”, it is repeatedly emphasized that “rites determine hierarchy and music harmonize people’s hearts”, indicating that dance is not only an aesthetic activity but also an important tool for national politics and the ritual system of ancestral temples. Court dance at this stage was represented by the “Eight Rows Dance”, which was composed of eight rows of dancers and was respectively used in the sacrificial ceremonies of the emperor and the feudal lords. The dance movements are mostly expressed through solemn and uniform steps, standardized gestures and symbolic holding of objects (such as feather 旄, dry qi), embodying the cosmology and order concept of “balance between movement and stillness, and harmony of Yin and Yang” under the ritual and music system.

Table 1 Representative Works and Functions of Court Music and Dance throughout History

The core value of this institutionalized dance lies in “rectifying the mind and self-cultivation, and harmonizing all nations”. Its aesthetic features do not pursue individual expression but emphasize group nature, order and symbolism. Dance and music complement each other, jointly constructing the grand framework of the ritual civilization. In an aesthetic sense, it set the tone of “elegance, subtlety and solemnity” for the court music and dance of later generations, and also provided the prototype of the stylized language of classical dance. It can be said that the ritual, music and dance of the Pre-Qin period were not only artistic expressions but also symbols of political legitimacy. The fundamental role of dance at this stage was to achieve the political philosophy of “harmony between man and nature” through the ritualized expression of the body.

(2) Court grand Dances during the Han and Tang Dynasties

During the Han and Tang Dynasties, Chinese court music and dance reached a glorious peak in terms of scale, content and artistry. During the Han Dynasty, the tradition of rites and music from the Pre-Qin period was inherited, while elements of music and dance from the Western Regions were absorbed, gradually forming an artistic style that was grand and inclusive. Court dances represented by “The Great Martial Arts” and “The Seven Virtues Dance” were not only used in state ceremonies to demonstrate the dignity of the dynasty, but also expressed political ideas through symbolic movements. For instance, the “Seven Virtues” symbolized the emperor’s benevolence, righteousness, martial arts and the virtue of governing the country. By this time, court dance had expanded from simple sacrificial ceremonies to various scenarios such as court banquets and music, and diplomatic receptions, with its functions becoming increasingly diversified.

The Tang Dynasty was the heyday of court dance, with its grand scale, rich content and diverse artistic forms. The “Feathered Robe and Rainbow Skirt” can be regarded as a representative work, integrating the music of Central Plains with the dance postures of the Western Regions, forming a light, elegant and graceful style, and showcasing the openness and confidence of the prosperous Tang Dynasty. The movements of court dance are no longer confined to solemnity and dignity, but are infused with graceful spins, relaxed postures and freehand expressions, placing greater emphasis on the individual charm and emotional expression of the dancers. Meanwhile, the introduction of Hu music and Hu dance led to a diverse and coexisting pattern of court dance in the Tang Dynasty, promoting the cross-cultural integration of dance and music.

Overall, the court dances of the Han and Tang dynasties were not only a symbol of state power but also a microcosm of the prosperity of social culture and international exchanges. It broke through the solemn model of the Pre-Qin period in terms of aesthetics, forming an artistic atmosphere that emphasizes both grandeur and magnificence, and accumulated rich resources for the movement forms, rhythm styles and aesthetic concepts of classical dance in later generations.

(3) The Continuation and Transformation of the Song, Yuan, Ming and Qing Dynasties

During the Song, Yuan, Ming and Qing dynasties, court dance gradually developed in multiple ways, including institutionalization, etiquette and entertainment. The court dance of the Song Dynasty continued the style of the Tang Dynasty, but its style became more refined. In the Song Dynasty, society valued literature over martial arts. Court dances were often seen at banquets and elegant gatherings, emphasizing a refined and elegant beauty. For instance, the “banquet Music Dance” emphasizes the smoothness of rhythm and the subtlety of movements, reflecting the feature of the Song people’s pursuit of “literati aesthetics”. Although the dances of this period were not as grand as those of the Tang Dynasty, they made unique achievements in terms of delicacy and elegance.

During the Yuan Dynasty, due to the prosperity of zaju and opera, the function of court dance was somewhat weakened and it was more integrated with the stage performances of opera. Dance movements tend to be dramatic and evolutionary, providing stylized performance elements for classical dance.

During the Ming and Qing dynasties, court dance entered a highly institutionalized and ritualized stage. The imperial court of the Ming Dynasty inherited the tradition of Zhou rituals, attached great importance to the standardization of sacrificial dances, and at the same time developed large-scale celebration dances such as the “Longevity Dance” to serve the imperial power. During the Qing Dynasty, a more complex system of “elegant music and ceremonial dance” was formed. The dance was highly stylized, with concise and regular movements, and placed greater emphasis on order and dignity. Meanwhile, in some scenes, the court dance of the Qing Dynasty tended to be more entertaining and ornamental, gradually moving away from its original ritual function.

From the perspective of historical evolution, the court dances of the Song, Yuan, Ming and Qing Dynasties, while inheriting the traditions of ritual and music, constantly underwent functional transformation: tilting from the “core of ritual system” to “aesthetic refinement” and “entertainment performance”. Its artistic style gradually became stylized and evolved, and through illustrations, documents and stage remains, it provided important materials for the restoration and creation of classical dance since the 20th century.

Ii. The Formation and Development of Chinese Classical Dance

(1) The concept and scope of classical dance

Chinese classical dance is an important dance genre that gradually established itself in the process of dance discipline in the mid-20th century. Its core feature lies in taking Chinese traditional culture and ancient dance remains as its foundation, and through the unity of body rhythm, form and artistic conception, it has formed a dance system with unique national aesthetic characteristics. Classical dance is not a simple restoration of ancient dance. Instead, it is formed through refinement, integration and disciplinary reconstruction based on multiple elements such as historical accumulation, opera performance, folk dance and court music and dance.

The core of classical dance lies in “body rhythm”, that is, to convey emotions and artistic conception through the opening and closing, rising and falling, and rotation of the body. Body rhythm is not only a physical technique but also embodies the aesthetic principle of “combining form and spirit, and conveying emotions through artistic conception”. His movement style often emphasizes the connection between breathing and qi rhythm, stressing “guiding the form with the mind and nourishing the exterior with the interior”, and pursuing the harmonious unity of movement and spirit. To reveal the intrinsic logic of the movement structure in classical dance, it can be abstracted through the following formula:

（1）

Among them, S represents the overall effect of the body rhythm in classical dance, M represents the movement posture, B represents breathing and rhythm, and I represents the expression of artistic conception. The formula indicates that the artistic effect of classical dance is the result of the interaction among movement, breathing and artistic conception.

(2) The transformation from court dance to classical dance

Chinese classical dance has a close relationship with court music and dance. The stylization, standardization and aesthetic features of court dance provide important references for the movement system and body rhythm style of classical dance. For instance, the solemnity, uniformity and group harmony emphasized in court dance directly affect the balance between “uniformity and fluidity” in classical dance. The postures and figures in the Tang Dynasty’s “Feathered Robe and Rainbow Skirt” and the Dunhuang dance murals have become important materials for the restoration and innovation of classical dance.

However, classical dance is not a simple copy of court dance; rather, it integrates the performance patterns of opera dance, the life flavor of folk dance, and the theoretical refinement of aestheticians. Through the organization and stage presentation of the modern education system, it has formed a systematic set of action vocabulary, making it both historically inherited and contemporary artistic expressiveness. This transformation is not merely an inheritance in form, but also a recreation of spirit and aesthetics. While inheriting the “elegance and solemnity” of court dance, classical dance has added elements of “lyricism and freehand expression”, enabling it to better meet the aesthetic demands of contemporary audiences.

(3) The Development Stages of Classical Dance

The development of Chinese classical dance can roughly be divided into three stages: the 1950s to 1970s was the nascent and exploratory stage, represented by dancers such as Dai Ailian. Through the study of Dunhuang murals and the dance images of the Han and Tang Dynasties, the concept of “classical dance” was proposed and attempts were made to subjectify it. The period from the 1980s to the 2000s was a stage of systematization and standardization. The dance education system in colleges and universities gradually matured, and “body rhythm classes” became the core training content. Restored dances (such as “Han-Tang Dance” and “Dunhuang Dance”) were put into practice on the stage, gradually establishing the movement vocabulary and training methods of classical dance. Since the 21st century, it has entered a stage of innovation and dissemination. Classical dance has been combined with contemporary stage art and film and television works, giving rise to a large number of innovative plays, such as “The Great Dream of Dunhuang” and “Only This Green and Blue”, which have demonstrated strong vitality and dissemination power on domestic and international stages. The development of classical dance is not linear but the result of the combined effect of multiple factors. Its development law can be expressed by the following formula:

（2）

Among them, D represents the development index of classical dance, H represents historical relics, E represents the education system, and P represents stage practice. The formula indicates that the continuous development of classical dance requires the cultural foundation of historical relics, the imparting and cultivation of the education system, and the promotion of stage practice. All three are indispensable. Only through interaction can the continuation and innovation of classical dance be guaranteed.

Iii. The Historical Evolution Relationship between Court Music and Dance and Classical Dance

(1) Functional transformation

The original fundamental function of court music and dance was to serve the ritual system and politics. Through the coordination of the standardized movements of dance and music, it demonstrated the dignity of the royal power and the order of the state. From the Pre-Qin period to the Han and Tang dynasties, this ritual function held a core position. However, with the prosperity of social culture and the development of artistic aesthetics, dance gradually transformed from a single ritual tool to a multi-functional complex, and its aesthetic and entertainment qualities began to be strengthened. The Tang Dynasty’s “Feathered Robe and Ceremonial Song” is a typical example. While retaining its ritual symbols, it placed greater emphasis on aesthetic value and emotional expression, marking the transformation of the functions of court music and dance towards artistry and aestheticization.

During the Song, Yuan, Ming and Qing dynasties, the ritual function of court dance gradually declined, and it increasingly took on the roles of entertainment, performance and political propaganda. Dance gradually moved away from the core venues of ancestral temples and ceremonies, and became more stage-oriented and entertaining. This change laid a functional foundation for the development of Chinese classical dance, enabling it to break free from the shackles of excessive reliance on power and religion and transform into an independent art system. The logic of functional transformation can be abstracted as the following formula:

（3）

Among them, F represents the functional value of the dance, L represents its ritualistic nature, A represents its aesthetic quality, E represents its entertainment value, and α, β, and γ are the corresponding weight coefficients. The formula indicates that as history progresses, the proportion of ritualistic functions in dance has been continuously decreasing, while the aesthetic and entertainment aspects have gradually increased, thereby promoting the highlighting of the artistic attributes of classical dance.

(2) Formal Inheritance and Aesthetic Transmission

Chinese classical dance has a significant inheritance relationship with court music and dance in terms of movement form, dance posture and body rhythm, as well as aesthetic connotation. The “solemnity and uniformity” emphasized in court dance are manifested in the regular movements of “opening, closing, circling and bending” in the body rhythm training of classical dance, ensuring the overall harmony of the dance movements. The rotation, stretching and light postures in the court dances of the Tang Dynasty directly influenced the pursuit of “harmony” and “stretching” in classical dance. The dance postures seen in the Dunhuang murals and Tang Dynasty literature, such as raising the sleeves high and looking back sideways, have all become important sources of the vocabulary of classical dance movements. At the same time, the transmission of aesthetic concepts is more prominent. The elegance, subtlety and symbolism emphasized in court dance are transformed into the aesthetic feature of “freehand brushwork” in classical dance. Classical dance achieves an elevation from form to spirit through the control of movement breath and the creation of artistic conception, inheriting the aesthetic tradition of “the unity of form and spirit” in court music and dance. Its logical relationship can be expressed by the following formula:

（4）

Among them, M represents the aesthetic style of dance, G represents the element of posture, R represents the rhythm of music, and S represents the stage space. The formula indicates that the aesthetic style of Chinese classical dance is the result of the combined effect of multiple factors. While inheriting the physical postures of court dance, it also emphasizes the coordination with the rhythm of music and the stage space, thus forming a complete artistic aesthetic system.

(3) Cultural exchanges across time and space

The historical relationship between court music and dance and classical dance is not only reflected in domestic inheritance, but also demonstrates their influence through cross-cultural exchanges. Chinese court music and dance had a profound influence on Japanese court music and Korean court dance as early as the Sui and Tang Dynasties. These countries still retain traces of ancient Chinese music and dance in court sacrificial and banquet dances. Meanwhile, Western Regions music and dance, Indian dance postures, etc. were also absorbed and integrated in the Tang Dynasty court, promoting the diversified development of Chinese dance. In modern times, classical dance continues to play a role in cross-cultural communication in international dissemination. Through overseas Tours, international dance festivals and cross-border collaborations, Chinese classical dance has gained international recognition for its unique aesthetic style and profound cultural heritage. It is not only a contemporary expression of court music and dance, but also an important calling card for the display of Chinese culture to the outside world. The cross-temporal and spatial influence of court music and dance has been carried forward and recreated in classical dance, making it not only carry historical accumulation but also possess contemporary communication value.

Iv. Cultural Inheritance and Contemporary Expression

(1) Inheritance in Dance Education

Dance education is a key link for the continuation and development of Chinese classical dance. Since the middle of the 20th century, classical dance has been incorporated into the professional curriculum system of higher art colleges and universities, forming a teaching model centered on “body rhythm training”. Through the study of Dunhuang murals, Han and Tang Dynasty dance postures and ancient dance scores, educators have not only restored some ancient dance movements, but also systematically sorted out training methods, thus forming a relatively complete teaching system for classical dance. This educational approach not only cultivated a large number of professional dance talents, but also endowed classical dance with high academic and standardized qualities in the discipline construction. In addition, with the popularization of art education in primary and secondary schools, the basic body rhythm and dance postures of classical dance have gradually entered the public classroom, allowing more teenagers to come into contact with this traditional art form. Dance education builds a bridge between tradition and modernity, ensuring the cultural inheritance of classical dance while promoting its popularization and dissemination at the social level. The improvement of the education system has enabled classical dance to no longer be confined to the skills of a few professional dancers, but gradually become an artistic resource shared by the public.

(2) Innovation in Stage Art

Stage art is an important carrier for the contemporary expression of classical dance. Since the end of the 20th century, restored plays and innovative works have developed in parallel, becoming the core approach for the dynamic inheritance of classical dance. Restored performances such as “Han-Tang Dance” and “Dunhuang Dance” have been brought back to life on stage through archaeological materials, historical records and iconographic research, allowing historical dance postures to be recreated. These works not only demonstrate the aesthetic style of ancient court music and dance, but also provide historical evidence for the development of classical dance. Meanwhile, a large number of innovative works keep emerging. From “Silk Road Flower Rain”, “The Great Dream of Dunhuang” to the recent “Only This Green and Blue”, all have demonstrated the cross-border integration of classical dance with literature, painting and music. These works, on the basis of inheriting the traditional movement language and body rhythm features, incorporate modern stage techniques and narrative methods, enabling classical dance to reach the public in a more visually appealing and infectious way. Stage innovation not only enriches the expression forms of classical dance, but also regenerates its artistic charm in the contemporary context.

(3) Cultural Identity and International Communication

The value of Chinese classical dance in contemporary times is not only limited to the dance itself, but also lies in the cultural symbols and national identity it carries. As an important part of China’s fine traditional culture, classical dance showcases the unique aesthetic style of the Chinese nation through its elegant body movements and profound artistic conception. Its wide dissemination within the country helps enhance the cultural identity of the public, improve the aesthetic quality of the nation, and promote the construction of cultural confidence. At the international communication level, Chinese classical dance, with its unique artistic language, has become an important medium for cross-cultural communication. Through international dance festivals, overseas Tours and cross-border art collaborations, classical dance has showcased the charm of Chinese culture on the world stage. It not only enters the international spotlight as a representative image of “Eastern aesthetics”, but also promotes mutual learning and integration of global cultures through dialogue with other dance forms. The international dissemination of classical dance is not only a process of artistic exchange, but also an important manifestation of the soft power of Chinese culture.

Table 2  Comparison Table of the Inheritance Path and Contemporary Performance of Classical Dance

Through three paths – dance education, stage art and international communication – Chinese classical dance has achieved a leap from the tradition of court dance to contemporary expression. In this process, it not only preserves the historical context but also rejuvenates with new vitality in a modern way, becoming a typical case of the creative transformation and innovative development of traditional culture.

1. Future Inheritance and Development Paths

(1) Digitalization and archival protection of dance scores

The inheritance of Chinese classical dance primarily relies on the preservation of literature, dance scores and video materials. Traditional dance scores are mostly passed down in the form of text, images or oral transmission, and are prone to loss or distortion in the course of historical changes. To avoid cultural discontinuity, it is necessary to systematically digitize and preserve the dance scores, documents and images related to classical dance and court music and dance. Modern digital technology makes this work possible: means such as 3D motion capture, virtual reality (VR), and artificial intelligence dance pose restoration can not only accurately record the dancers’ movements but also achieve cross-time and space sharing through dynamic databases. On the basis of digitalization, it is also necessary to establish a national archive of classical dance, to centrally preserve dance scores, videos, oral historical materials and stage recordings, and to formulate unified academic norms. This kind of archival protection can provide researchers with systematic materials and lay the foundation for dance education and restoration work. The digitalization of classical dance in the future should not only be about “archiving”, but also about “activating”. Through interactive platforms, digital museums and online courses, the public can have an intuitive contact with and experience the artistic charm of classical dance.

(2) Deepening and popularizing the dance education system

Dance education is an important guarantee for the inheritance of classical dance. Over the past few decades, classical dance has mainly been concentrated within the curriculum system of professional colleges and universities, featuring strong academic and professional characteristics. The future path lies in deepening the hierarchy of the education system, which requires not only enhancing the depth of professional education but also promoting the breadth of universal education. At the professional level, the educational model that combines “body rhythm training – dance score learning – stage practice” can be further improved. The historical background, aesthetic thoughts and movement systems of court music and dance can be more systematically integrated into the teaching materials, enabling students to understand the cultural connotations of classical dance while undergoing technical training. Interdisciplinary research should be encouraged to enable dance education to interact with musicology, aesthetics and history, thus forming a more comprehensive talent cultivation model. At the popularization level, classical dance education should be moderately introduced into the art education courses of primary and secondary schools. This can not only enhance the artistic literacy of teenagers but also strengthen their sense of identification with traditional Chinese culture. Meanwhile, social educational institutions and mass dance clubs should also play a role in promoting classical dance. Through online teaching platforms and open courses, classical dance can break through geographical limitations and be popularized among a wider public. The deepening and popularization of the education system have enabled the inheritance of classical dance to no longer be confined to professional dancers but gradually develop into a cultural resource shared by all.

(3) Cross-border innovation in stage art

Stage art is the most vigorous form of expression of classical dance in contemporary society, and its future development cannot do without cross-border innovation. With the development of technology, stage Spaces are no longer confined to traditional theaters but are integrated with multimedia technology, digital images, and lighting installations to create immersive artistic experiences. The combination of the traditional movement language of classical dance and modern stage art techniques can create works with greater visual impact and aesthetic depth. Future stage innovations can be carried out in the following aspects: First, cross-border integration with traditional culture and art. For instance, classical dance can be combined with Chinese painting, calligraphy and poetry to form a “cross-media narrative”, interpreting the artistic conception of literature and painting through dance movements. Second, it combines with contemporary technology. By using motion capture and holographic projection, the performance of classical dance is extended to the virtual space, allowing the audience to experience the tension of the dance in a brand-new way. Thirdly, it is combined with international art exchanges. Through joint creation with world dance theaters, classical dance can engage in cross-border dialogues with foreign dance genres such as ballet, modern dance, and even street dance, maintaining its own characteristics while absorbing foreign elements. The cross-border innovation of stage art can enable classical dance to break through the traditional performance mode, presenting it to contemporary audiences in a more infectious and creative form, thereby expanding its reach and influence.

(4)A comprehensive model for future inheritance

The inheritance and development of classical dance in the future will not be achieved through a single approach, but rather through the combined effect of multiple factors such as digital protection, educational popularization, stage innovation, and international exchange. The following comprehensive model can be constructed:

（5）

Among them, T represents the future inheritance index, D represents digital protection, E represents educational dissemination, C represents stage innovation, and I represents international exchange. The formula indicates that the future inheritance of classical dance depends on the interaction of multiple paths. Only when digitalization, education, stages and international exchanges are all advanced in an all-round way can the cultural value of classical dance be sustained and disseminated to the greatest extent.

Conclusion: The relationship between Chinese classical dance and ancient court music and dance is not only a manifestation of historical inheritance but also the result of cultural recreation. Court music and dance, centered on the ritual and music system from the Pre-Qin period to the Tang Dynasty, gradually evolved into an art form that emphasized both aesthetics and entertainment. Its movement patterns, aesthetic orientations, and cultural connotations profoundly influenced the formation of classical dance. Classical dance has been continuously developing in the disciplinary construction and stage practice of the 20th century, and has become an art system with distinct national characteristics. The two demonstrate the intrinsic logic of continuation and evolution in functional transformation, aesthetic transmission and cross-cultural communication. Facing the contemporary era, the inheritance and development of classical dance are no longer confined to traditional restoration. Instead, they have gained new vitality through multiple approaches such as the improvement of the education system, the innovation of stage art, digital protection, and international dissemination. This not only helps preserve historical context, but also enhances cultural confidence in the context of globalization and showcases the unique aesthetic style of Chinese civilization.

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