摘要汉代是我国历史上十分重要的一个朝代，其经济繁荣、国力超强，汉代乐舞艺术也随之发展兴盛，呈现出纷繁复杂、精妙绝伦的盛况。汉代乐舞是我国古代舞蹈艺术中的瑰宝，它以含蓄温润、宏放厚重、刚柔相济的艺术风格立足于世，其中“翘袖折腰”舞姿是汉代舞蹈中最为典型最具代表性的舞姿，它的文化形态和艺术形态至今仍然影响着汉代舞蹈的审美风范和创作特色。本文试图对“翘袖折腰”这类舞姿的文化形态、艺术形态以及其历史演进做一个整体的微观分析，分别从“翘袖”、“折腰”、“翘袖折腰”三个方面对文化形态进行追溯，对该舞姿“S”型的体态特征、“拧倾俯仰”的动态特征以及以“圆”为轴的动势特征反映出的艺术特征进行粗浅研究。42636

毕业论文关键词：翘袖折腰；汉代舞蹈；文化形态；艺术形态

Talking about the morphological characteristics of  “QiaoXiu ZheYao” in Han Dynasty dance

Abstract

  Han Dynasty is very important in history. Han Dynasty music and dance arts develop with its thriving economy and super strength, and show the complex and exquisite occasion. Han Dynasty music and dance are treasures in ancient Chinese art of dance. It is based on the art styles of subtle moist, grand thick and rigid-compliant is the most typical and representative dance in Han Dynasty dance. Its cultural patterns and artistic forms still influence the aesthetic style and Creative Features of Han Dynasty dance. This article attempts to make an integral micro-analysis of cultural patterns, artistic forms and historical evolution. It traces back to the cultural patterns from three aspects of “QiaoXiu ZheYao”. To conduct a superficial research on the dancing posture characteristic type of “s”, “screw pitch” dynamic feature and “circle” as the axis of the electromotive force characteristics which reflect the artistic features.Han Dynasty is very important in history. Han Dynasty music and dance arts develop with its thriving economy and super strength, and show the complex and exquisite occasion. Han Dynasty music and dance are treasures in ancient Chinese art of dance It is based on the art styles of subtle moist, grand thick and rigid-compliant.   is the most typical and representative dance in Han Dynasty dance. Its cultural patterns and artistic forms still influence the aesthetic style and Creative Features of Han Dynasty dance. This article attempts to make an integral micro-analysis of cultural patterns, artistic forms and historical evolution. It traces back to the cultural patterns from three aspects of “QiaoXiu ZheYao”..To conduct a superficial research on the dancing posture characteristic type of “s”, “screw pitch” dynamic feature and “circle” as the axis of the electromotive force characteristics which reflect the artistic features.

Key Words: “QiaoXiu ZheYao”. ;dance in Han Dynasty; cultural patterns; art patterns

 目  录

摘要Ⅰ

AbstractⅡ

目录Ⅲ

引言-1

一、汉代舞蹈中“翘袖折腰”的概述 -1

二、汉代舞蹈中“翘袖折腰”舞姿的历史演进-3

（一）西汉早期的吸收与吸纳3

（二）西汉末期与东汉时期的融合与完型-4

（三）建安时期的承袭与保持4

三、汉代舞蹈中“翘袖折腰”舞姿的形态特征-5

（一）汉代舞蹈中”翘袖折腰“舞姿的文化形态5

（二）汉代舞蹈中“翘袖折腰”舞姿的艺术形态7

结语9

参考文献-10

 引 言

我国古代舞蹈历史悠久、渊远流长，由于各历史时期社会经济文化的不同，使得各个朝代也形成了不同艺术风格的乐舞形态。汉王朝大一统时期，俨然形成了自己独特的舞风舞貌和舞蹈形态特征，“翘袖折腰”就是汉代舞蹈中最具代表性的主体舞姿，该舞姿的形态特征在中国古代舞蹈的发展中起到了不可替代的重要作用。“翘袖折腰”舞姿不仅在汉画像石、舞俑中生动再现，在古籍史书中也有诸多描绘，如东汉时期傅毅的《舞赋》中写到“委蛇姌袅，云转漂流㫚。体如游龙，袖如素霓。”舞者肢体细长柔弱，飘忽无迹。身体像游动的蛟龙，袖体翻飞如素雅的副虹挂于半空。另一篇张衡的《观舞赋》中也写道“搦纤腰而互折，嬛倾倚兮低昂。” 在两篇汉代典型的文学体裁汉赋中都形象地描绘了汉代舞蹈中“翘袖折腰”舞姿腰与袖精妙运用。此外，《西京杂记》中曾记载，汉高祖刘邦的宠妃戚夫人因擅“翘袖折腰”之舞而深受帝王恩宠。可见“翘袖折腰”舞姿在汉代舞蹈中的盛行程度绝非一般。