Міфопоетична символіка лотоса в хореографічній культурі Китаю

Abstract

The purpose of the research Modern China is becoming increasingly important in international relations, but many components of the country's cultural heritage remain unknown outside its borders. Therefore, it is necessary to study the original dance traditions of Chinese dance in all the richness of its forms and regional cultural contexts. Methodology. The study used the hermeneutic method as an apparatus for interpreting symbolism, which occupies an important place in the national theater and entertainment arts of China. In addition, historical, cultural, and art history methods were used. The noted methodology makes it possible to reveal and analyze certain patterns of application of ideas and images of Eastern artistic culture regarding ideological models of Chinese society in specific historical conditions, that is, bring their understanding closer to the corresponding plot motifs and ideological sources of a certain period. Scientific novelty. The analysis of mythopoetic symbolism (parallels with mythology, theosophy, Ukrainian poetic tradition) is combined in the work with practical recommendations for performing certain techniques of lotus dance (“Hehua y”) as a soloist or female choreographic team for an adequate embodiment of the figurative sphere of Chinese dance. Conclusions. The figurative symbolism of the lotus and its dance interpretation in the works of Chinese choreographers shows the genetic relationship between mythology and the art of dance, which in the lotus dance reveals the symbolism of nobility, desire for light, spiritual growth and the soul's ability to achieve perfection. Thus, the dance, in which one often sees only the decorativeness of the plastic design and some external features of the national spectacle, should be considered in a more organic and inherent true national traditions.