Chinese Dance Cultural Relics Illustrated Dictionary

Author: Liu Enbo (Compiler)
Publisher:
Publishing Date: 2002-12-01
Features: Mr. Liu Enbo and I were classmates at Beijing Huwen Middle School. After graduation, he demonstrated exceptional talent and pursued studies at the Central Academy of Drama and the Dance Teacher Training Class under the Ministry of Culture, dedicating his life to dance. In the 1950s and 1960s, he worked as a researcher and editor at Beijing Dance School and the China Dance Workers' Association, achieving remarkable results. By the 1970s, he joined the Dance Research Institute of the Chinese Academy of Arts, engaging in research and data organization, publishing extensively and winning numerous awards. Recently, at an alumni gathering, we reconnected. As a complete outsider to this field, my admiration for such a renowned Chinese dance expert was natural. To my surprise, Mr. Liu Enbo had recently compiled a new work, The Illustrated Catalogue of Dance Archaeological Relics in China, which intersects with my area of expertise. He repeatedly asked me to write a few words, and with some hesitation, I agreed.
As is well known, the study of archaeological artifacts has always been inseparable from the history of art. Archaeology, which evolved from ancient studies of artifacts in the West, clearly demonstrates this connection. In fact, the precursor to Chinese archaeology, the traditional discipline of epigraphy (the study of inscriptions on metal and stone), was no different. Epigraphy flourished in the Northern Song Dynasty and reached its peak in the Qing Dynasty. Outstanding collectors, researchers, and connoisseurs in this field all possessed a high level of artistic cultivation. Reading their catalogues and treatises not only provided knowledge about artifacts but also offered artistic refinement, a tradition that remains valuable to uphold today. It must be recognized that the full understanding and appreciation of many artifacts are impossible without an artistic perspective. The study of archaeological artifacts and the history of art are indeed mutually supportive and inseparable. The Illustrated Catalogue of Dance Archaeological Relics in China serves as an excellent example. Through long-term efforts and in-depth research, Mr. Liu Enbo has compiled a systematic history of Chinese dance using archaeological imagery. Due to the expert analysis, appreciation, and interpretation of artifacts provided by dance scholars in the book, it is essential reading not only for art enthusiasts but also for those interested in archaeology.
The term "dance" originates from the Liji·Yueji (Record of Rites·Music). The Yueji is traditionally attributed to Confucius' seventy disciples, including Master Gongsun Ni (also known as Master Xunzi), though some scholars suggest it was written by Liu De, the Prince of Hejian during the Western Han Dynasty. In the chapter Shiyi, Zeng Gongzi asks about music, and Shi Yi replies: "Singing is prolonged speech. When one delights in it, they speak. When speech is insufficient, they prolong it. When prolongation is insufficient, they sigh. When sighing is insufficient, they dance and stomp with their feet." Later, the Mao Shi Xu (Preface to the Mao Commentary on the Book of Songs) expands on this idea: "Poetry is the expression of the mind. When it resides in the heart, it is called 'zhi' (intention). When it is spoken, it becomes 'shi' (poetry). When emotions move within and are expressed in speech, and speech is insufficient, one sighs. When sighing is insufficient, one sings in a prolonged manner. When prolonged singing is insufficient, one does not know but dances and stomps with their feet."
Referring to the recently discovered Chu bamboo slips Xingzhi Ming Chu (The Nature of Life and Destiny), we learn that the ancients believed dance arose from human nature and was directly linked to rites, music, and poetic education. This perspective is a central tenet of traditional Chinese culture, making The Illustrated Catalogue of Dance Archaeological Relics in China highly recommended for all readers interested in traditional culture.
Another outstanding strength of The Illustrated Catalogue of Dance Archaeological Relics in China is the beauty of its illustrations and the excellence of its printing. For this, we extend our gratitude to Shanghai Music Publishing House.