內容摘要：The black-glazed horse figurine from Tang Dynasty stands as a crown jewel at the Luoyang Museum. Unl (http://www.casaandolini.com/news/705f8599209.html)-電影網(wǎng)站免費

The 電影網(wǎng)站免費black-glazed horse figurine from Tang Dynasty stands as a crown jewel at the Luoyang Museum. Unlike its more familiar counterparts adorned in yellow, green, and white hues – this steed shimmers with an obsidian glaze and has miraculously defied the wear of centuries. Its image as a warhorse – muscular, and imbued with strength and untamed vitality, is something deeply revered in Chinese tradition.

Photo of Shen Xubin, director and lead performer of "Tricolors Alongside the Yellow River", during an exclusive interview with Guangming Online.

First unearthed in Luoyang, the exquisite art of Tang Tri-colored Pottery embodies the enduring spirit of the Yellow River. We traveled to Luoyang to immerse ourselves in the legacy of this ancient craft, passed down through generations like the river’s rolling waves – unceasing, and enduring. The steadfast devotion of today’s Luoyang artisans to preserving this time-honored art left us deeply moved.

We experienced the entire process with our own hands – transforming raw clay into a beautifully glazed artwork. It was a journey of wonder and delight, each step offering a glimpse into the heart and soul of Tang artisans, as they imbue their emotions into these timeless treasures. It was this spirit that inspired us to infuse the same feelings into our dance performance.

Our initial visit to the Luoyang Museum did not immediately lead us to the horse. As the museum’s crowning treasure, it rests on the top floor. We began our exploration with other Tang pottery pieces, each step drawing us deeper into history, as if a hidden trove of wonders were being unearthed in front of us. When finally stood before the black-glazed horse, its vivid contours and lifelike presence took my breath away – it seemed poised to leap into motion at any moment. It left an indelible mark on me, for I was drawn to the spiritual essence it represents.

To breathe life into the horse on stage, Director Zhao Xiaogang offered me invaluable guidance. He sought to capture the horse’s very aspect – its breath, its character, as well as the enigmatic aura that surrounds it. The costumes and styling design, such as leather-like accents mimicking the horse’s saddle and bridle, are a masterful blend of historical authenticity and contemporary aesthetics which perfectly enriched the horse’s image on stage.

We paid particular attention to the fluid grace of the horse, including its ear flickering, hooves moving, and its poised stance. Our purpose was not simply to display an artifact on stage, but to infuse it with life. As Director Zhao often reminded us, “The horse figurine isn’t lifeless – it breathes, it’s alive.” Our dance seeks to convey exactly such vitality.

Photo of Shen Xubin performing in the dance production “Tricolors Alongside the Yellow River”. (Photo provided to Guangming Online)

The rehearsals were a period of careful preparation. We revisited the museum more than a few times, studying the horse and absorbing its every nuance while translating these details into dance moves that symbolize the horse’s ears, hooves, and its back. With over a millennium of history behind it, our mission was to gently awaken the horse from its long slumber. Director Zhao conceived a symbolic gesture: when I, while playing the horse on stage, transition from a still artifact to a living, breathing presence, I would lightly shake off the imagined dust of history. This delicate move serves as a bridge between past and present, drawing the audience into the world of Tang Dynasty, and allowing them to feel its spirit firsthand.

During each rehearsal, the director would emphasize a deep focus on breath, movement, rhythm, and the seamless flow of each detail. He urged us to fully immerse ourselves in the horse’s presence on stage. In the climactic moment of the dance, the horse rises and leaps, as if paying homage to the Yellow River. I could feel a surge of emotion washing over me each time I perform that part. In that moment, I feel as if I were not simply a dancer playing a horse, but rather, I have become a bearer of Chinese heritage and spirit.

Photo of Shen Xubin performing in the dance production “Tricolors Alongside the Yellow River”. (Photo provided to Guangming Online)

In “Tricolors Alongside the Yellow River,” we seek to deliver a poignant message that artifacts are not lifeless relics of the past, but living legacies of a history created by the working people, and that there is an intrinsic connection between artifacts and the people. Through dance, we wish to breathe life into these ancient creations, awakening them from the depths of history and presenting the audience an image of life that’s uplifting and resiliently enduring.

Playing the black-glazed horse in the dance has profoundly enriched my understanding of our duty as contemporary artists. We must gaze into the depths of history, draw wisdom from the past as we stride into the future. Apart from expanding our mastery of knowledge, we must carefully identify past elements and ponder which of them can be harmonized with the essence of our time. As the ancient craftsmen devoted themselves to safeguarding their artistry, we much carry forward this spirit for generations to come.

Contributed by Shen Xubin, Director and Lead Performer of “Tricolors Alongside the Yellow River”.