From primary school, junior high school, high school to university and even work, everyone has tried to write papers, which can cultivate our scientific research ability. Do you know how to write a paper correctly? The following is a paper I compiled for you about the gesture language of Dunhuang dancers and its integration with Buddhist culture. Welcome everyone to learn from it, I hope it will help you.

abstract:

The aesthetics of Dunhuang dance lies in the special formal beauty it marks. The S-shaped three bends embodied in its posture are the most basic cultural symbols in its own performance culture. What communicates with it is the formal beauty of gesture language. Dunhuang dance shows its mystery under the influence of Buddhist culture and the rendering of historical stage. From the murals of Dunhuang Mogao Grottoes, the inheritance and development of the spirit and material culture conveyed by Dunhuang dance gradually entered people's aesthetics and ideology. Under the influence of Buddhist culture, such thought language expression is more real and full of beauty, and the formal beauty of Dunhuang dancers' gesture language is constantly being discovered and created.

Key words:

Dunhuang dance; Culture; Gesture language: formal beauty;

Introduction:

Dunhuang, like a pearl left in the western desert, stands in the west of China with its crescent moon spring. Desert, Mogao grottoes, murals and Gobi all reflect its cultural vicissitudes for thousands of years. In the Mogao Grottoes, murals with a history of thousands of years, such as "playing the pipa", "flying in the sky", "Guanyin with six arms" and "King Kong leaving the stone", are portrayed on the ceiling and on every visible wall. Now it has gone through a long period of oxidation and wind blowing, from the initial golden color to deep brick red, which is more sacred because it carries a thousand years of history. It is the murals in the Mogao Grottoes that have inherited and developed a rich and colorful dance culture today, namely Dunhuang Dance. Influenced by the Buddhist culture of the murals in Mogao Grottoes, the characters and dance language displayed in the stage performance of Dunhuang Dance have formed a unique aesthetic. The posture, hand shape and breath shown in the dance belong to the language of Dunhuang dance, which has its own dance style and rhythmic breathing, especially the formal beauty of hand shape, showing a cultural language different from other classical dances.

First, the richness of Dunhuang dancers' gesture language.

In the language of Dunhuang dance, gestures can show various changes and expressions. Under the display of gestures, we can find the Buddhist cultural color revealed by its connotation and external image. From the perspective of extension and development, from the initial Buddhist culture and belief prayer, to the inscription on the wall by monks with dharma names, and then to the painting by folk artists in the Ten Dynasties, spiritual murals have been formed. Later, the figures and hand gestures of Dunhuang dance were extracted from murals. The figure of Dunhuang dance is an S-shaped three-way bend, which is a dance feature extracted from murals. The hand shapes of Dunhuang dance include a series of different figures, such as "Buddha's Hand", "Magic Holding Staff", "Bodhisattva Holding Flowers" and "Geisha Hand". Hand posture is also influenced by Buddhist culture in murals. It is not difficult to see from Dunhuang murals that the posture and posture of these Buddha statues are a kind of peace, tolerance, great love and its potential spirit. The language of Dunhuang dance is extracted and excavated from murals. The dance performance presented on the stage is to reproduce the characters in the portrait on the stage. In the text introduction of dance plays, the portraits from which grottoes are often marked, so that the audience can have a certain understanding and deepening of the characters, and the aesthetics are gradually recognized and improved in the performance.

The "bergamot" in the posture of Dunhuang dancers is depicted in such portraits. The shape of the "bergamot" in the posture is that the thumb and middle finger are pinched relatively, and the other fingers stand up to see the outline of the hand pinched by two fingers. Much like the phoenix eye, corresponding to the mural, it presents a unique formal beauty in the dance, which contains a certain Buddhist language. In the interpretation of the formal beauty of gesture language, in the different changes and evolution of gestures, we can see the original ecological Buddhist cultural form of Dunhuang dance from the beginning to the present. The influence of Buddhist cultural thought and the aesthetics of Buddha statues in Dunhuang murals have formed the authenticity and reproducibility of gestures such as "worshipping hands" and "flying hands" in Dunhuang dances, as well as the "flying" and "Bodhisattva geisha music" of Buddha statues in murals. In terms of dance creation, Dunhuang's gesture language is the biggest emoticon in dance performance. The use and expression of gestures, in a certain aesthetic and ideological sense, formed an independent aesthetic value. From the external formal beauty, the gesture of figure mapping promotes the inner feelings and thoughts of dance performance to a certain extent. For example, the dance Guanyin with a Thousand Hands [1] Guanyin with a Thousand Hands, also known as Guanyin with a Thousand Eyes and a Thousand Arms, is one of the four great bodhisattvas in Chinese folk beliefs. Avalokitesvara is the left servant of Amitabha. Together with Amitabha and Bodhisattva (the right servant of Amitabha), they are called the "Three Saints of the West". Avalokitesvara with a thousand hands is taken from the image of Avalokitesvara with a thousand eyes and a thousand arms in Buddhist culture. Dance movements mostly express the inherent formal beauty with arms and gestures and are created in the dance formation. Just like gloating, the dance culture on the hand is vividly displayed, and the visual impact brought by "thousand hands" to the audience is felt in the change of gestures. Due to the influence of Buddhist culture, the formal beauty of Guanyin with a thousand hands can be appreciated and revered. Among the different gesture languages of Dunhuang dance, there is also a musical instrument, such as "filament dance", "rebound pipa" and "drum pipa". This is closely related to the characters created in the dance. When props are held in the hands of dancers, the sense of form of dance will be more distinct under specific shaping. It still reproduces the inside story of Buddhist culture in the context of gesture language, showing the internal formal beauty such as blessing and belief, as well as the external beauty of aestheticism and classicism.

Second, look at the representation of gesture language in Buddhist culture from the aesthetic point of view of Dunhuang dance.

The aesthetic vision of Dunhuang dance is the great love, tolerance and "flying" spirit in the mystery and inner breath of Dunhuang in the desert. What is indispensable to support aesthetic cultural elements is the connotation of "gesture" expression and display. In the dance Tian Fei Geisha Music, the same gesture was named Tian Fei Geisha Player. Influenced by Buddhist culture, the dance language image on the gesture complements the portraits of many "Tian Fei" bodhisattvas, which is a refined and beautified gesture. In the process of shaping characters and spirits, the gesture language is silent but powerful, such as the figure "King Kong Lux" in Dunhuang Dance, whose dance movements are healthy and powerful, and the gesture form is "devil's hand" or "fist". From the form of gesture, this gesture "King Kong Lux" is based on the portrait in the mural, and it has been introduced in detail in the history of Buddhist culture: [2] The Buddhist protector, King Kong Jimmy, also known as King Kong Lux, is the guardian who uses the diamond pestle to protect the law in the Buddha country, and the French will swear to be a King Kong Lux who is close to the Buddha and defends Buddhism. King Kong Lux, handed down from later generations, is the protector who was sworn down to earth in this French meaning. Later, he became the captain of 500 King Kong and was called "Secret King Kong" or "King of Hages". Later, it was divided into two, and it was divided into two King Kong Lux, who were specially guarding the mountain gate and were called "two generals".

Defend the Buddha country and Buddhism from being infringed forever. It can be seen that in the process of shaping dance, the colorful depiction of Buddhist culture makes the characters more clear, three-dimensional and real. The hand posture and diamond posture with the "devil's hand" further enhance the aesthetic feeling of the dancers. The king kong hand presented in the dance is the power type with five fingers open. As a protector, the strength of the palm can show the specificity of the character and the power of the protector. Another example is the word "flying" in Dunhuang murals, which is defined as flying or flying fairy, and can also be said to be the representative of the technical terms in Dunhuang murals and Dunhuang dances. In shaping the image of Tian Fei, due to the diversity of Tian Fei's image, the gestures of the characters can be described as various, such as "Lotus Hand", "Finger of a Deer", "Scattered Palm" and a series of language gestures such as holding a pipa, silk and Xiao Di. In the creation of Dunhuang dance works, the usability of Dunhuang dance is very important when it is used to shape characters. Just like the words "King Kong Lux" and "Flying", there are obvious differences in gestures between them. In Dunhuang dance, there is also the image of the lotus boy, also known as the "lotus boy", which is recorded in Buddhist scriptures as the biological son of Buddha Sakyamuni. There is already a folk custom of children's life, and there is a blessing from the beginning of picking lotus flowers and playing lotus children on Tanabata. The gestures in the dance are "orchid finger" and "deer finger", which can show the boy's playfulness and cuteness in the characterization, and the degree of discrimination is also very clear. In the inheritance and development of dance, sign language is created by drawing on the nourishment of culture. The establishment of figure dance image in Dunhuang dance is almost entirely reflected in the murals of Mogao Grottoes. They come out of the painting with their own specific dance image and dynamic posture, and form vivid people, or dancers, on the stage. In the modeling of stage performance, gestures say different words in the freeze frame and have different interpretations of characters. In the fusion of music and clothing background, it is like a veil of history, waiting for people to uncover, watch and explore.

Thirdly, the integration of Buddhist culture and Dunhuang dancers' gesture language.

With its unique cultural symbols, Dunhuang Dance tells the story of the pearl of the sea under the rule of the Belt and Road. It often makes people cry when it comes out of murals and is presented on the stage. Because Dunhuang dance bears the historical belief and spirit, it gives people a strong visual impact. Based on the study and description of the murals in Mogao Grottoes, the Buddhist culture is integrated with the posture of Dunhuang dancers. The gesture language expression of Dunhuang dancers is similar to that of Buddhist handprints. In the process of consulting Dunhuang handprints, we can discover the same breath of the two, that is, spiritual culture. The information conveyed by the murals in Mogao Grottoes contains a long history. In this context, dance and culture are combined to tell this historical context through body language. On the stage, the integration of Dunhuang dance and Buddhist culture has contributed to the creation of excellent works of art such as avalokitesvara with a thousand hands, wonderful sound bouncing and lotus step by step. The gesture language contained in the work is the crowning touch of the whole dance. The description of gestures by Buddhist handprints in books, the description of gestures and the blending of images in Dunhuang dances, and the expression of internal and external images through a body language on the other hand. While we appreciate it, we can touch the spirit under the culture. We stand in the murals of Mogao Grottoes, we stand on the stage of Dunhuang dance performance, we unveil the mysterious veil of Dunhuang dance under the influence of Buddhist culture, and finally, we understand the words and emotions told by gesture language. The combination of Dunhuang dance and Buddhist culture seems to be an inter-generational dialogue with the murals of Mogao Grottoes. The extension and inheritance of gesture language is an element symbol accumulated in dialogue, which can bring different cultural and emotional cognition. When we see different gestures such as "worshipper" or "bergamot" in the dance, we internalize the symbolic external image and form the transmission of the meaning of Dunhuang dance. From this perspective, the formal beauty of Dunhuang dancers' gesture language is like a meaningful poem and an immortal myth.

The contextual color of Dunhuang dance, bearing thousands of years of history, stands in the rolling rings, continues to inherit and construct, and comes out in the murals of Mogao Grottoes. Under the influence of Buddhist culture, Dunhuang dance has the same cultural atmosphere and connotation, and has been captured and created by people, forming a representative artistic expression. Under the performance form of Dunhuang dance, the elements of gesture language support its whole spirit. It is this unique artistic element that makes the characters natural and stereoscopic. It is the structure itself that determines the generation of elements, and it is also the integration of Buddhist culture and Dunhuang dance, which promotes the composition of gesture language. We stand in the long river of years, look back at history, explore and create different beauty. When we stood in front of the murals in Dunhuang Mogao Grottoes and felt the remains of the sea again, we felt the familiar atmosphere. We should feel the great beauty brought by great love with reverence like painters who have gone through thousands of years.

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