对敦煌舞体系的认识

时间：2025-04-19

敦煌舞教学与学术研讨

对敦煌舞体系的认识

贺燕云

（北京舞蹈学院，北京１０００８１）

【内容提要】敦煌舞自成体系，体现在三方面：源自于客观存在的古代敦煌壁画舞姿体系；经过创造性“复活”具有独立美学特征的舞蹈语汇和韵律，有别于戏曲、武术舞蹈基础上形成的中国古典舞；具有深厚的历史背景和文化内涵。敦煌舞的出现，引发了舞蹈学界对中国古典舞多元多样性存在与发展的认识。北京舞蹈学院近年来把敦煌舞教学和研究作为加强中国古典舞学科建设的重要组成部分，有计划的扶持，体现了对中国古典舞发展的深入思考和预见。笔者在教学体系上，把敦煌舞定位成“中国古典舞敦煌风格性舞蹈表演训练课”，以古典舞基本功为基础，重点训练对敦煌舞独特舞姿形态、典型舞蹈语汇和舞蹈韵律的掌握与把控，强调从静态到动态的转化，避免以动态回归静态的模拟；强调领悟舞蹈意境，获得心神与动作技巧自然贯通的游送感。敦煌舞教学与研究前景广阔，需进一步将训练中的动作规格化、抽象化、高度艺术化；深入探究敦煌舞蹈的历史文化内涵，认清其在中国舞蹈史中的位置；明确敦煌舞的独特美学表现，避免把特指的敦煌舞类型和一般意义上仅以敦煌为题材的其他舞蹈品类混淆。

【关键词】敦煌舞体系；美学特征；教学训练

【中图分类号】J702 　　　【文献标识码】A　　　　【文章编号】1008-2018(2009)01-0017-06

View on Dunhuang Dance System

He Yanyun

(Beijing Dancer Academy, Beijing 100081, China)

Abstract: Dunhuang dance has its own system comprising three aspects: the dancing system originated fromDunhuang ancient Murals; the dancing vocabulary and rhythm with unique aesthetic characteristics, “revived” throughcreative construction, which differ from those of Chinese classical dance formed on the basis of Chinese local operasand martial arts; profound historic background and cultural contents. The emergence of the Dunhuang dance hasaroused interests in diversity and development of the Chinese classical dance. In recent years, teaching, researchingand supporting with plans the Dunhuang dance in BDA has played an important part in strengthening the disciplineconstruction of the Chinese classical dance, embodying the deep thought and vision of the development of theChinese classical dance. In teaching system, the writer located the Dunhuang dance as ‘a performance training courseof Chinese classical dance in Dunhuang style’. Based on basic skills of the Chinese classical dance, the course focusesmainly on training the unique dancing postures, the typical dancing vocabulary and the mastering of the dancingrhythm, stressing transition from static state to moving state and avoiding the imitation from moving state to staticstate. Also emphasized is the understanding the artistic conception of dance to enable easy and natural communicationbetween soul and movements. The teaching and research of Dunhuang dance have a bright future. First, furtherdevelopment should enable movements in training to be formalized, abstract, highly artistic,and given names. Second,research should be conducted into the historic and cultural connotation of the Dunhuang dance, clearly understandingits status in the Chinese dancing history. Third, the unique aesthetic expression of the Dunhuang dance should beclarified to avoid confusing types of Dunhuang dance with other dance works with Dunhuang as thematic materials.

Key words: Dunhuang dance system; aesthetic features; teaching practice

【作者简介】贺燕云，女，北京舞蹈学院舞蹈教育研究所，国家一级演员。

２００９年第１期　　　　北京舞蹈学院学报　一、引言

“首届敦煌舞教学与学术研讨会”是北京舞蹈学

院中国古典舞系和敦煌吐鲁番学会舞蹈专业委员会联

合举办的，它体现了舞蹈学院中国古典舞学科建设把

敦煌舞列入教学科研体系、探索古典舞多元多样性存

在与发展的重要意图，同时汇报了近些年来敦煌舞教

学与科研的新成果。作为汇报者之一，笔者感到特别

兴奋，主要有两点：一是请到了多位资深的专家、学

者，使我们能够直接听取各位前辈和专家的宝贵意

见，提高对敦煌舞艺术本身和敦煌舞教学、表演及学