Background, style, choreography, modern interpretations of the Dunhuang dance

Abstract

The article is devoted to one of the three main genres of Chinese classical dance, Dunhuang, reproduced from frescoes, sculptures and scores of Mogao caves in northwest China. The relevance of addressing the topic is due to the lack of works in the Russian-language choreographic and cultural space devoted to the analysis of Dunhuang dance. The general style and mood of Dunhuang art in general and dance in particular are considered. The characteristic property of duality is emphasized – energy and pacification, the desire to transmit these features to the outside: to viewers, listeners and future generations. Duality also applies to the “middle ground” as the basis of Dunhuang art, which embodied the meeting of the “upper and lower” worlds. The main choreographic features of the Dunhuang dance and descriptions of costumes and props are given. Attention is focused on the importance of Dunhuang art in the general field of Chinese culture.