Introduction: Sleeve dance is a very unique style in China's dance. As this dance form, it runs through the development of ancient dance in China, and typically reflects the unique cultural connotation and aesthetic taste of China dance. Its origin can be traced back to the distant primitive dance, and the development of sleeve dance has a long history. In the process of contemporary reconstruction, China classical dance has also explored this dance tradition. In the field of practice, it is mainly to study and sort out the sets formed in the Ming and Qing Dynasties and left in the art of traditional Chinese opera, create some plays and form a set of teaching materials. However, I think that the artistic style, artistic bearing and artistic pursuit of sleeves in Ming and Qing Dynasties can not completely cover the aesthetics presented by other sleeve dance styles. Firstly, this paper briefly reviews the history of sleeve dance. By comparing the similarities and differences between sleeve dance in Han Dynasty and sleeve dance in Ming and Qing Dynasties, it shows that the traditional style of sleeve dance is rich. We must make full use of the ancient sleeve dance resources in practice and research, explore and reshape the sleeve dance culture in China and reproduce the glory of sleeve dance. Let's briefly review the development of sleeve dance in China dance culture.

First, the development of sleeve dance

As early as Shang Dynasty, there was a certain connection between female music and witchcraft dance, so the original sleeve dance form became an important dance form in female music. Therefore, the original, crazy and mysterious aftertaste of witch dance remains in this sleeve dance form. From the evolution and development of female music, we can see the development track of sleeve dance form. Later, the form of sleeve dance development also confirmed the context of this aesthetic development. Han Feizi in the Warring States Period once wrote: "As the saying goes,' Long sleeves are good at dancing'." Proverbs, as the saying goes, became proverbs in the Warring States period, which on the one hand shows the popularity of sleeve dance, and on the other hand shows the long history of sleeve dance. However, it also proved that the worship of opponent dance was better than the concern of foot dance at that time. Han dynasty is the most prosperous period of sleeve dance, and towel sleeve dance is the main representative. Its form is mainly long sleeves, which is common in the Han Dynasty, which is enough to illustrate this point on many Han stone reliefs. Sleeve dance reached a considerable peak in the Han Dynasty and became a typical dance form that can represent the aesthetic culture of music and dance in the Central Plains. From then on, until the Tang Dynasty, sleeve dance was no longer a generalized dance that was widely circulated and dominated as in the Han Dynasty, but scattered like a trickle and merged into "thousands of songs and dances", which became a form flashing in various dance styles and names. Sleeve dance in the Five Dynasties and Ten Kingdoms period basically inherited the tradition of Sui and Tang Dynasties, but the luxurious color of sleeve dance faded a lot. With the gradual decline of the cultural development peak in the prosperous Tang Dynasty, the sleeves born out of traditional Chinese opera appeared for the first time in the Song Dynasty. Because of their unique performance style, they were deeply loved by people and widely spread in the dance field, so the newly budding opera sleeves created their unique artistic status. It was not until the Ming and Qing Dynasties that sleeves finally developed to a relatively mature stage.

Through the introduction of sleeve dance above, we have a general understanding of the evolution of sleeve dance in the whole ancient dance history. It can be seen that the development of sleeve dance in ancient China is rich and varied, and the styles, styles and aesthetics of sleeve dance displayed in different dynasties are also different. So we can't just focus on the sleeves of the Ming and Qing Dynasties. Let's further understand the two most representative periods of sleeve dance, namely, sleeves in Ming and Qing Dynasties and sleeves in Han Dynasty.

Second, the "sleeve" in Han Dynasty

Han Dynasty is an era of great development and prosperity of culture and art (including dance art). However, after the form of sleeve dance was basically formed, it ushered in the peak of development in the Han Dynasty. In the image data of music and dance in Han Dynasty, almost all the images of female music and dance are sleeve dance images with "thin waist and long sleeves". The sleeve dance in the Han Dynasty is basically a long-sleeved shape, so we call it "sleeve" in the Han Dynasty.

There are rich images of sleeve dance in Han dynasty portrait bricks, and long sleeves and thin waist are more natural and moving in Han dynasty sleeve dance. As far as the "dance sleeve" in Han Dynasty is concerned, its forms are rich and colorful, including solo dance and duet. In the duet, there are men's and women's long sleeves, women's long sleeves, women's folded sleeves, men's robe sleeves and men's gown small sleeve's duet, which are different in form and lifelike. For example, a thin-waisted dancer on a Han Dynasty stone relief in Nanyang, Henan Province, dances with long sleeves at the moment of jumping, one sleeve is lifted and the other sleeve is dragged to the ground, and the posture is stretched.

Image: 201005051604038128b.jpg.

Another painting (see Figure 2) shows a short robe with a thin waist, legs dancing in a lunge, and left and right hands dancing in the same direction. There are a pair of dance images with thin waist and long sleeves on the Han Dynasty stone relief in Peixian County, Jiangsu Province, which are gentle and graceful. Another image of sleeve dance in Peixian county is a long skirt of a thin waist dancer standing on the ground, dancing with his sleeves turned back, while a man is dancing with his sleeves hanging down. It can be seen that the most common gesture in Han portraits is the long-sleeved gesture. There are also differences in the shape of long sleeves in Han portraits, which can be roughly divided into two types: one is thin long sleeves and the other is angular wide long sleeves. In thousands of Han Dynasty sleeve dance images, dancers wear long-sleeved dance clothes, such as willow branches drooping, snowflakes rolling, or swallows flying in the air, so that even today we can't help but be carefree and fascinated.

These Han portraits are the unique conditions for us to study the sleeves of the Han Dynasty. When doing homework for remedial classes, imitate an image on a stone carving in China in the dance. Although the simulated movements are the same in dance form, they look different from those on the stone relief. Later, I learned that it was not the action, but that we didn't make the gesture of dancing on the stone relief in the Han Dynasty. This is what we often say, as long as the spirit is similar, it is easy for us to make and understand all kinds of dances on stone reliefs in the Han Dynasty. By the Han Dynasty, it had its own unique aesthetic style. Our study is not only action, but also style. With these unique and rich resources and our understanding of the aesthetic style at that time, under the guidance of the teacher, we studied and created a unique style of sleeve dance in Han Dynasty, and the choreographed dance presented us with a brand-new look different from the style of water sleeve dance.

Through the above description of the sleeve dance in Han Dynasty, we can see that the main function of the sleeve dance in Han Dynasty is to regard the sleeve as a part of the body and an extension of the body. Sleeves dance with the body, so that when dancing, the audience can feel a long line visually. Sleeves will make the dance more feminine and stretch, giving the audience a strong visual experience. Sleeves naturally move with the arm, without deliberately letting the sleeves dance out of skills. The sleeve dance in Han Dynasty shows a feeling of simplicity and simplicity, which is the biggest difference from the sleeve dance in Ming and Qing Dynasties in artistic style. In terms of artistic temperament, the sleeves of the Han Dynasty show us the simple, heavy and atmospheric feeling of the Han Dynasty. The dance on the stone reliefs in the Han Dynasty is enough to illustrate this point. Those gestures with long sleeves and a sense of dance are all formed in the process of movement. In terms of aesthetic style, it inherited the dance form of "thin waist and long sleeves" of Chu dance. At the same time, it also inherited the mysterious and primitive charm of Chu culture. Such as drum dance and sleeve dance, fully demonstrated its artistic style and aesthetic atmosphere in the Han Dynasty, which is both selfless and unique.

Third, the "water sleeves" in the Ming and Qing Dynasties

In the Song Dynasty, another incarnation of sleeve dance appeared for the first time, that is, sleeves in traditional Chinese opera, that is, white silk decorated and lengthened in front of sleeves of traditional Chinese opera characters. It integrates singing, reading, doing and playing in the art of traditional Chinese opera, and becomes not only a highly concise means of expression, but also a unique skill. Shuixiu dance emphasizes sleeve method, that is, sleeve method. The sleeve methods of water sleeve are: shaking sleeve, lifting sleeve, winding sleeve, taking out sleeve, kissing sleeve, closing sleeve, pushing sleeve, punching sleeve, grasping sleeve, lapping sleeve and embroidering. In performances, actors use different sleeve techniques to describe characters and express emotions. If you cover your face with sleeves to show your sadness, you can show your inner passion with sleeves. Sleeve workers mainly show the performance skills of actors and play a role in adding luster. It not only develops the sleeve as a special skill, but also serves the performance of characters and plots in China traditional operas. On the one hand, the sleeves of traditional opera have undergone some variations on the basis of traditional sleeve dance aesthetics; On the other hand, their performance skills tend to be complex and their means are greatly enriched.

"Sleeve" in Ming and Qing Dynasties is another stage of the development of sleeve dance, however, it is combined with traditional Chinese opera, which can also be said that sleeve dance is a branch from this road. Water show is a kind of traditional opera and dance in China. It is not only a form in dance, but also a skill and expression. The development of water show in traditional Chinese opera has greatly enriched the sleeve technique (that is, sleeve is developed as a special technique), which serves the performance of characters and plots in traditional Chinese opera. The water show in Chinese drama focuses on the sleeve method, and they emphasize how to play the sleeve. Sleeve has gradually matured in the development of contemporary dance in China for more than ten years, and has formed a set of teaching materials. The focus of the textbook is how to train sleeve skills. In terms of artistic style, the national drama Shuixiu pursues sleeve skills. In the development of these decades, I have been paying attention to how to make Shuixiu's sleeve skills more brilliant. From the artistic style and aesthetic pursuit alone, it is enough to prove that it cannot represent other sleeve dance styles of China ancient dance. For example, the sleeves of the Han Dynasty pay attention to the charm of the whole dance in the Han Dynasty-simple and heavy feeling, and sleeves only help the body to highlight this charm. As I said, the resources of water sleeves in the Han Dynasty are much richer than those of water sleeves, but we don't focus on them.

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Through the rich dance forms and written records on the stone reliefs in the Han Dynasty, we can draw a conclusion that the use of sleeves in the Han Dynasty lengthened people's limbs, greatly expanded the expressive force of the body and made the expression of emotions more vivid. The formal beauty produced by the movement of sleeves can completely bring people into a non-material realm. However, the sleeves of the Han Dynasty did not deliberately make a fuss about the sleeve method, but emphasized the charm and form of a dance, showing more flavor of the times. Shuixiu dance is mainly separated from China traditional opera. The production of water show is entirely for the characters in Chinese drama, and its performance still emphasizes how to express this water show. Therefore, the difference between sleeve sleeves in Han Dynasty and sleeve sleeves in Ming and Qing Dynasties lies in extending limbs, emphasizing dance forms and characteristics of the times, and displaying sleeve skills and emphasizing the feelings of opera characters. But the aesthetic characteristics and artistic styles presented to us are also quite different.

In addition, "sleeve" and "sleeve" have many similarities. As early as the Han Dynasty, the technique of twisting sleeves in long sleeve dancing was recorded in stone reliefs. This is the same as the sleeve method of Shuixiu, lifting the sleeve and rowing the sleeve. Sleeves are used to make the dance more feminine, the posture is more stretched, and the viewer has a strong visual feeling. The function of sleeves is to make the expression of emotions more vivid through sleeves.

To sum up, we can see that sleeve dance and sleeve dance both represent the development of sleeve dance in China. Although the skill of sleeve dance itself has disappeared in history, it can be seen from a large number of historical records left by ancestors that sleeve dance is a part of China's excellent dance tradition. Sleeve dance not only has strong national characteristics, but also is a professional and expressive dance form. The development of water sleeves in Ming and Qing dynasties has gradually matured in these ten years, but we can't blindly develop only one style of sleeve dance, but we should abandon more abundant other sleeve dances. Sleeve, after all, is one of the styles of sleeve dance, which cannot cover all the artistic styles and aesthetic charm of other sleeve dances. As mentioned above, the sleeves of the Han Dynasty represent the artistic characteristics and the flavor of the times of a dynasty, which is the most crucial. Study it because it is not only a unique dance form, but more importantly, it is a representative of the times. Through sleeve dance, we can show the artistic characteristics and aesthetic charm of this period. This shows that we can't just focus on the sleeves of Chinese opera, and there are more sleeve dance styles like those in Han Dynasty, waiting for us to dig them out of the dance history like gold, polish them bit by bit, and finally show dazzling light. This has played a vital role in the future development of ancient dance in China.