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《手之舞之:中国古典舞手舞研究》作者通过对中国古典舞的身韵、汉唐、敦煌流派的手舞进行概述，阐述了手舞的生活依据和文化基础，分析了中国手语、中国佛教中的手印、中国戏曲艺术的手形对中国古典舞手舞的影响，深入探讨了中国古典舞手舞中蕴含的审美模式和文化意义，并在进行中国古典舞手舞研究的同时，对手舞研究的研究方法的首次探索，为手舞的研究建立了体系，积累了经验。《手之舞之:中国古典舞手舞研究》对某一舞种的微语言进行分析从而开启了一个新的研究领域的方法，也是值得在其他舞种手舞的研究中继续发挥作用。

内容简介

《手之舞之——中国古典舞手舞研究》这本书是以青年舞蹈家刘岩博士论文作为基础的学术成果。书的封面是中国戏曲舞蹈中的兰花指，该书以这一动作为突破口探究世界上各国的手舞文化、探究宇宙的规律。书中有刘岩亲自示范的众多手型，以图文并茂的形式展示了舞蹈中的灵韵。这部书里涉及了佛教、道教、戏曲、印度舞蹈手舞的文化。添补了中国古典舞研究的空白。是首部系统研究手舞的学术著作。

作者简介

刘岩，1982年出生，中国青年舞蹈家，毕业于北京舞蹈学院古典舞系本科，中国艺术研究院舞蹈学专业博士。“文华奖”和“五个一工程奖”获得者，2008年奥运会开幕式中唯一独舞《丝路》的A角演员，在彩排中不幸坠台，导致双腿残疾。之后凭借自己强大的毅力攻读了中国艺术研究院舞蹈学专业博士学位。

目　　录

Abstract
Introduction
Research Status of Hand Dance in ChineseClassical Dances
1.1 The Existent Forms of Chinese ClassicalDances
1. Basic Hand Shapes of the School of ShenYun of Chinese Classical Dances
2. Basic Hand Shapes in the Han-Tang Schoolof Chinese Classical Dances
3. Basic Hand Shapes in the School ofDunhuang of Chinese Classical Dances
4. Modes of Motion of Hand Dance in ChineseClassical Dances
5. Practices of Hand Dance of ChineseClassical Dances in Training
1.2 A Case Study of Hand Dances in theDance Creation of Chinese Classical Dances
1. Tang Mancheng: The Typical Applicationof Hand Dances in the Shen Yun School in Ru Ci Duo Jiao (So Rich in Beauty)
2. Sun Ying: An Analysis of the Hand Dancein the Han-Tang, School from Stepping Dance to Tong Que Ji
3. Gao Jinrong: The Application of TypicalHand Dances in The Rain of Flowers on the Silk Road, the Predecessor of theDunhuang School
The Realistic Basis from Life and CulturalBasis of the Hand Dance in Chinese Classical Dances

Abstract
Introduction
Research Status of Hand Dance in Chinese
Classical Dances
1.1 The Existent Forms of Chinese Classical
Dances
1. Basic Hand Shapes of the School of Shen
Yun of Chinese Classical Dances
2. Basic Hand Shapes in the Han-Tang School
of Chinese Classical Dances
3. Basic Hand Shapes in the School of
Dunhuang of Chinese Classical Dances
4. Modes of Motion of Hand Dance in Chinese
Classical Dances
5. Practices of Hand Dance of Chinese
Classical Dances in Training
1.2 A Case Study of Hand Dances in the
Dance Creation of Chinese Classical Dances
1. Tang Mancheng: The Typical Application
of Hand Dances in the Shen Yun School in Ru Ci Duo Jiao (So Rich in Beauty)
2. Sun Ying: An Analysis of the Hand Dance
in the Han-Tang, School from Stepping Dance to Tong Que Ji
3. Gao Jinrong: The Application of Typical
Hand Dances in The Rain of Flowers on the Silk Road, the Predecessor of the
Dunhuang School
The Realistic Basis from Life and Cultural
Basis of the Hand Dance in Chinese Classical Dances
2.1 The Realistic Basis from Life of Hand
Dance
1. The Main Means of Expression of Sign
Language
2. Nouns and Verbs in Sign Language
3. Various Sentence Patterns in Sign
Language
2.2 The Cultural Basis for Hand Dance in
Chinese Classical Dances
1. An Analysis of the Hand Dance Movements
in Grotto Statues and Unearthed Cultural Relics
2. The Preaching and Singing Culture of the
Temples in Tang Dynasty
3. A Case Study of Thousand-handed
Bodhisattva Avalokite?vara (Guānyīn)
2.3 The Gestures and Movements in Dances of
Chinese Traditional Operas
1. The Materials of Movements in the Hand
Dance of Liyuan Opera
2. The 53 Moves in Mei Lanfang School of
Peking Opera
3. The Extraction and Application of Hand
Movements in Liyuan Opera
The Artistic and Cultural Features of Hand
Dance of Chinese Classical Dances
3.1 The Characteristics of Artistic
Expression of Hand Dance of Chinese Classical Dances
1. Artistic Representation: The Features of
Narrative Hand Movements
2. Artistic Presentation: The Features of
Lyrical Hand Movements
3.2 The Characteristics of Cultural Symbols
of Hand Dance of Chinese Classical Dances
1. Basic Modes of Hand Dance of Chinese
Classical Dances
2. Cultural Features of Hand Dance of
Chinese Classical Dances
Conclusion
Bibliography
Appendix
Acknowledgements

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前　　言

Introduction
Having developed up till now, the ChineseClassical Dance has already formed its own training methods, teaching systemsand stage performance of dance choreography. However, how to further developthe disciplinary system of Chinese Classical Dances, enrich stage creation andproduction, and enhance aesthetic expressiveness has always been a topic thatthose researchers and lovers of Chinese Classical Dance who have always focusedand cherished it are reflecting on and pursuing after. With the basic inductiveand analytical approaches, the author has drawn on some important views onchoreoecology and weaved several core ideas of dance anthropology into theresearch methods of this study. With objective and meticulous analysis of thestatus quo and a comparative study of other hand dances in the world, theauthor aims to explore the basis constitution and cultural implications of handdance of Chinese Classical Dance in order to deepen the understanding of itsnature.
1. Concepts Applied Hereafter

Introduction
Having developed up till now, the Chinese
Classical Dance has already formed its own training methods, teaching systems
and stage performance of dance choreography. However, how to further develop
the disciplinary system of Chinese Classical Dances, enrich stage creation and
production, and enhance aesthetic expressiveness has always been a topic that
those researchers and lovers of Chinese Classical Dance who have always focused
and cherished it are reflecting on and pursuing after. With the basic inductive
and analytical approaches, the author has drawn on some important views on
choreoecology and weaved several core ideas of dance anthropology into the
research methods of this study. With objective and meticulous analysis of the
status quo and a comparative study of other hand dances in the world, the
author aims to explore the basis constitution and cultural implications of hand
dance of Chinese Classical Dance in order to deepen the understanding of its
nature.
1. Concepts Applied Hereafter
I. Chinese Classical Dance
The term of Chinese Classical Dance widely
acknowledged by China’s dancer circle refers to the type of dance established
in Beijing Dance Academy in 1950s. With nearly 60 years’ development, Chinese
Classical Dance has evolved from the monotonous pattern of class training at
the very beginning to an important dance force integrating class training with
artistic production and stage performance today. Especially since the
implementation of Reform and Opening-up Policy, Chinese Classical Dance has
undergone a breakthrough in its development. Three schools have formed including
the Shen Yun School crystallized by the Shen Yun class in Beijing Dance Academy
and its representative dances, the Han-Tang School embodied in the training
class of Han-Tang classical dance in Beijing Dance Academy and its
representative dances, and the Dunhuang School highlighted in the Dunhuang
dance course and related choreography and performances. These three schools are
characterized by their own respective dance language system. In the analysis of
dance forms from the perspective of choreoecology, Master Zi Huajun put forward
that such analysis should be based on studies of the law of man’s body
movement. The most underlying unit of dance form is its very starting point.
According to Zi Huajun, “dance movement is the smallest morphological unit
naturally classified of dance form.”1 Dance movement is composed of factors
such as rhythm, breathing, steps, prominent motion parts, etc. In her analysis
of the upper body (hand, forearm and upper arm) of the prominent parts2
(prominent motion parts) from the choreoecological perspective, Zi Huajun
stated that “generally speaking, the absolute motion amplitude of the upper
body is possibly larger other body parts. In people’s daily life, when engaged
in activities such as working, attacking and defending, the upper body plays an
irreplaceable role no matter people are bare-handed or handling tools. It is a
symbol that has made man man, rather than animal. Among the upper body
language, the most special one is gesture which is an important means to complement
human languages. Compared to the more delicate and colorful facial expression,
gesture is more externalized and able to enhance messages conveyed. These parts
should not be overlooked in our observation and analysis of dance movement.”3
Based on above-mentioned understanding, the hand dance of Chinese Classical
Dance studied here is defined as the hand dance form in the three schools of
Chinese Classical Dance. There is dance movement of upper body in any type of
dance. Hand dance refers to the hand dance form constituted by fingers, palms,
and wrists. Meanwhile, movements formed by forearm, elbow, upper arm and
shoulder are often related with dance movement of hand. In other words, hand
dance refers to the dance movement led by hands, and with hand movement as
means of expression and purpose of performance. All elements in the three
schools of Chinese Classical Dance incorporated within the above-mentioned
category are taken into consideration of this study. This belongs to the same
category that Zi Huajun put forward as “upper body” in her choreoecology.
Certainly, the dance form of upper body in
Chinese Classical Dance is particularly rich. As for those parts beyond the
scope of direction leading, expressive function and performing purpose of hand
dance, we can justifiably refer to them as arm dance or upper body dance.

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2.1 The Realistic Basis from Life of HandDance
Sign language is an important tool for thedeaf to communicate. As a language, it has been increasingly applied in variouskinds of communications among this group of people. Although deprived of theability to communicate orally, they gradually have developed this unique mediumfor communication, sign language, throughout the long history of humancivilization. Its importance for their survival and life is self-evident. Itsconnections and combination with body movement in dancing is not by chance atall. “Dance, this old art form full of youth and vigor, has been passeddown until today along with the ceaseless and never-ending human cultural evolution.During the process that human beings have created culture and have beenrecreated by it, they have gradually developed this category of art withindependent character and aesthetic value which has an irreplaceable socialfunction.” The ways of being and of presenting of the body movement of humanbeings themselves as a medium determines that dance is one of their oldestartistic forms. It has long been valued as “the mother of human arts”. From itsexposition at the very beginning of On Chinese Dances by Zi Huajun, dance isnot only a self-entertaining activity, but also a means of expression to conveymessages and emotions. Usually, people use medium such as languages and wordsto express emotions and convey information. As for the art form of dance, themedium of expression is the body of the dancer. Just to express more “effectivebody language information”, the choreographer should think about diligently howto construct a richer and more accurate movement itself and how to help theperformer express his or her own ideas or emotions after those are combinedwith artistic and aesthetic appreciation. The deaf with various needs toexpress themselves have continuously developed and enriched the movementcontent of sign language. “As an instinctive desire of individuals for theirliving space or domain, people’s sign language first expressed friendly andsincere messages and yearnings for those from the same group or sharing thesame social network. Reaching out hands forward embodies this friendliness andsincerity.” With regard to expression, although there are some differencesbetween the movements applied in sign language by the deaf and those used bythe dancers, they share some elements in common to some extent.

2.1 The Realistic Basis from Life of Hand
Dance
Sign language is an important tool for the
deaf to communicate. As a language, it has been increasingly applied in various
kinds of communications among this group of people. Although deprived of the
ability to communicate orally, they gradually have developed this unique medium
for communication, sign language, throughout the long history of human
civilization. Its importance for their survival and life is self-evident. Its
connections and combination with body movement in dancing is not by chance at
all. “Dance, this old art form full of youth and vigor, has been passed
down until today along with the ceaseless and never-ending human cultural evolution.
During the process that human beings have created culture and have been
recreated by it, they have gradually developed this category of art with
independent character and aesthetic value which has an irreplaceable social
function.” The ways of being and of presenting of the body movement of human
beings themselves as a medium determines that dance is one of their oldest
artistic forms. It has long been valued as “the mother of human arts”. From its
exposition at the very beginning of On Chinese Dances by Zi Huajun, dance is
not only a self-entertaining activity, but also a means of expression to convey
messages and emotions. Usually, people use medium such as languages and words
to express emotions and convey information. As for the art form of dance, the
medium of expression is the body of the dancer. Just to express more “effective
body language information”, the choreographer should think about diligently how
to construct a richer and more accurate movement itself and how to help the
performer express his or her own ideas or emotions after those are combined
with artistic and aesthetic appreciation. The deaf with various needs to
express themselves have continuously developed and enriched the movement
content of sign language. “As an instinctive desire of individuals for their
living space or domain, people’s sign language first expressed friendly and
sincere messages and yearnings for those from the same group or sharing the
same social network. Reaching out hands forward embodies this friendliness and
sincerity.” With regard to expression, although there are some differences
between the movements applied in sign language by the deaf and those used by
the dancers, they share some elements in common to some extent.
China embarked upon the undertaking to
regulate the sign language for the deaf people as early as 1950s. In May 1987,
at the third National Sign Language Conference convened in Tai’an, Shandong
Province The Chart of General Sign Language for the Deaf and Mute was renamed
Chinese Sign Language. For the unity and standardization of Chinese sign
language, experts and professionals of our country have long devoted their
unremitting efforts. The book Chinese Sign Language was compiled after their
repeated siftings and careful considerations, including 3330 words. The
following analysis and research are based on 30 basic hand shapes enumerated in
this book, highlighting the hand motion itself and its function to express and
communicate. Reviewing the hand motions used in Chinese sign language in a
rational way, it is not difficult to notice that sign language itself is a
source to enrich the dance language.
1. The Main Means of Expression of Sign
Language
Due to different social conventions, sign
language varies from countries and regions. For instance, American sign
languages have formed by the 26 alphabets while Chinese sign languages have
derived from the Chinese pinyin. Therefore, the deaf people in the two
countries have developed relatively distinct sign languages. However, the sign
languages for the deaf people without linguistic competence in various
countries and regions do share many elements in common. In different parts of
China, the learning and application of sign languages are relatively unified.
But the differences caused by social conventions and regional divergence are
hard to be unified. Such as speech, both Beijing dialect and Shanghai dialect
are Chinese. But the regional accents themselves tell the differences between
the two. Thus, Mandarin has become China’s official tongue. With regard to the
sign language for the deaf, acknowledging the diversified variants caused by
social customs in different areas, Chinese Sign Language aims to unify its
learning and using.
From the communications of deaf people with
the outside world, it can be seen that they imitate the daily actions. For
example, they imitate the action of eating to express the idea of eating. By
spreading five fingers with palm facing upwards of the left hand, they imitate
the action of holding rice bowl with one hand. By holding the right hand in a
natural palm shape, they imitate the action of taking a swallow of rice. They
also imitate some pictographic movements. Take “dragon” for example. They
clench fists with both hands while reaching out the index fingers and sweep two
curves simultaneously under the nose in front of the face to imitate the palpi
of the dragon. This is the way for the deaf people to express. Sometimes, there
are different sign languages to indicate the same meaning. For example, for
convey the word of “apple” there are two different sets of hand motions. The
first one is to use the right hand to sweep a parallel line from left to right
in front of the body with the five fingers drawing close to each other and palm
facing downwards to indicate the first character of the Chinese word “apple” (pinyin: píng guǒ) since the
Chinese word of a parallel line (pinyin: píng xíng xiàn) shares
the same sound with the first character of the Chinese word “apple”. Then
clench fists while reaching out the thumbs and index fingers to form a circle
to indicate the shape of the fruit. The second set of hand motions is to use
the right hand to spread and slightly curve the five fingers just like holding
a round object in one’s hand and then place this hand against the body to
imitate the movement of rubbing. Then keep the same hand shape still and place
the right hand near the mouth to imitate the movement of eating. There are many
words like “apple” which have multiple expressing methods. The forming process
of these different methods is noteworthy. For instance, the first method
mentioned above is the sign language developed by people with linguistic
competence according to the pronouncing habit of the word “apple” while the
second one is naturally formed by the congenitally deaf-mute people.
To communicate with others in sign
language, the deaf people use many more hand motions beyond the scope of those
included in the textbook of Chinese Sign Language. Since we cannot calculate
these hand motions quantitatively, this text will put those aside for the
moment. The 30 basic hand shapes on which this text is based derive from the
Chinese pinyin. One hand shape stands for one Chinese phonetic alphabet.
However, some special education teachers of sign language do not suggest using
the 30 basic hand shapes of Chinese pinyin. The reason for this is simple: it
is very hard for the congenital deaf-dumb to learn this kind of Chinese sign language
based on pinyin since they have no concept of the ways of pronunciation of
pinyin and they find it difficult to memorize the 30 basic hand shapes. It is
thus more difficult for those congenitally deaf-dumb people to learn the
textbook of Chinese Sign Language than those with adventitious deafness. The
former find it easier to learn from the everyday movements and imitate those
into sign language to communicate with others. These two different ways are
actually the two different methods of Chinese sign languages developed in many
years. This text will not judge which method is more reasonable but to point
out that the 30 basic hand shapes are already unified and included in the
textbook and thus more representative and typical with regard to the hand shapes
applied in Chinese sign languages. The following is a graph of Chinese
alphabets in fingers and also the 30 hand shapes evolved in Chinese sign
language.

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