User:Lu Jiahui - Revision history

Lu Jiahui at 07:23, 15 June 2025

2025-06-15T07:23:56Z

Lu Jiahui: /* 参考文献 */

2025-06-15T07:07:17Z

参考文献

Lu Jiahui: /* Reference */

2025-06-15T07:05:06Z

Reference

Lu Jiahui at 06:20, 15 June 2025

2025-06-15T06:20:32Z

Lu Jiahui: /* Ancient Chinese Art of Illusions */

2025-06-15T06:16:41Z

Ancient Chinese Art of Illusions

Lu Jiahui at 05:40, 15 June 2025

2025-06-15T05:40:09Z

Lu Jiahui: /* 幻术的起源与发展 */

2025-06-15T05:32:59Z

幻术的起源与发展

Lu Jiahui: /* 幻术的起源与发展 */

2025-06-15T05:31:26Z

幻术的起源与发展

Lu Jiahui: /* Origins and Development of Illusion Arts */

2025-06-15T05:30:56Z

Origins and Development of Illusion Arts

Lu Jiahui: /* Functions and Impact of Illusion Arts */

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Functions and Impact of Illusion Arts

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 [11]Zhang T Y. From China to the Big Top: Chinese Acrobats and the Politics of Aesthetic Labor, 1950–2010[J]. International Labor and Working-Class History, 2016, 89: 40-63.
 =中国古代幻术=
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 [11] 张天佑. 从中国到大舞台：1950 至 2010 年中国杂技演员与审美劳动的政治[J]. 《国际劳工与工人阶级历史》，2016 年，第 89 期：40 - 63 页。

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	[10] 列子. 列子·汤问[M]. 北京: 中华书局, 1990.		[10] 列子. 列子·汤问[M]. 北京: 中华书局, 1990.
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		+	[11] 张天佑. 从中国到大舞台：1950 至 2010 年中国杂技演员与审美劳动的政治[J]. 《国际劳工与工人阶级历史》，2016 年，第 89 期：40 - 63 页。

← Older revision		Revision as of 07:05, 15 June 2025
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	[10] Liezi. Liezi: Tang Wen [The Liezi: Chapter of Tang Wen][M]. Beijing: Zhonghua Book Company, 1990.		[10] Liezi. Liezi: Tang Wen [The Liezi: Chapter of Tang Wen][M]. Beijing: Zhonghua Book Company, 1990.
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		+	[11]Zhang T Y. From China to the Big Top: Chinese Acrobats and the Politics of Aesthetic Labor, 1950–2010[J]. International Labor and Working-Class History, 2016, 89: 40-63.

	=中国古代幻术=		=中国古代幻术=

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 Lu Jiahui 202470081578
 =Introduction=
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 =中国古代幻术=
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 =简介=

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	=Ancient Chinese Art of Illusions=		=Ancient Chinese Art of Illusions=
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	=Introduction=		=Introduction=

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 . What can the incorporation of illusion elements in literary works such as Journey to the West and Strange Tales from a Chinese Studio reveal about people's attitudes toward illusion arts in ancient China?
 =Reference=
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 幻术的核心在于“虚实相生”“巧中藏拙”。它不仅展现了中国古人对自然法则和人类感知极限的探究，也是一种关于“现实”与“幻想”的哲学反思。时至今日，幻术的传统技艺依然在中国杂技、魔术等领域延续发展，并融入现代舞台艺术之中，继续发挥着独特的文化价值。
 =术语=
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 . 虚实相生：Interplay between illusion and reality
 =参考文献=

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 =幻术的起源与发展=
 中国古代幻术的发展源远流长。先秦时期，幻术已初现端倪，当时方士们为满足统治者对神秘力量的追求，表演诸如 “吐火”“自解绳索” 等技艺，这些表演带有浓厚的巫术色彩，与宗教信仰紧密相连。《列子·汤问》中记载了著名幻术师燕国的“偃师”，他制造了可以行动、歌唱、眨眼甚至挑逗宫女的“木人”，震惊了周穆王。
 秦汉时期，随着国力强盛与文化交流增多，涮熟迎来发展契机。宫廷之中，幻术表演频繁，如“鱼龙曼延”，通过大型道具与复杂场景，呈现出鱼变巨龙、巨兽舞动的奇幻场景，展现出高超的艺术水准（马聪敏，姚羽佳，2024）。

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 秦汉时期，随着国力强盛与文化交流增多，涮熟迎来发展契机。宫廷之中，幻术表演频繁，如“鱼龙曼延”，通过大型道具与复杂场景，呈现出鱼变巨龙、巨兽舞动的奇幻场景，展现出高超的艺术水准（马聪敏，姚羽佳，2024）。
-[[File:The Flowing Illusion of Fish and Dragons.jpg|center|200px]]
+[[File:The Flowing Illusion of Fish and Dragons.jpg|center|300px]]
 魏晋南北朝时期，社会动荡促使宗教发展，幻术与佛、道两教深度融合。佛教仪式中运用幻术吸引信徒，道教方术中的 “画符驱鬼”“点石成金” 等也包含幻术元素，推动幻术在民间广泛传播。
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 隋唐时期是古代幻术的鼎盛阶段，宫廷设立专门机构管理幻术表演，艺人数量众多、技艺精湛。“入壶舞” 中，艺人进入小小壶中却展现出广阔天地，令人称奇。
-[[File:Entering the Pot Dance.jpg|center|200px]]
+[[File:Entering the Pot Dance.jpg|center|300px]]
 宋元明清时期，相关记载幻术的书记也开始出现，如明代《神仙戏术》，详细记录了众多幻术技术与表演方法。

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 The art of illusion in China has a long and storied history. In the pre-Qin period, rudimentary forms of illusion already existed. During this time, Fangshi (occultists) performed tricks such as fire-breathing and rope-escape acts to satisfy the rulers' fascination with mysterious powers. These performances were steeped in mysticism and closely linked to religious belief. The Liezi, in its "Tang Wen" chapter, recounts the story of a famous illusionist from the State of Yan known as Yanshi, who crafted a mechanical wooden figure capable of walking, singing, blinking, and even flirting with palace maids, leaving King Mu of Zhou in awe.
-[[File:fire-breathing.png|center|200px]]
+[[File:fire-breathing.png|center|300px]]
 During the Qin and Han dynasties, as national strength increased and cultural exchange flourished, illusion arts entered a new development phase. In the royal courts, elaborate illusion performances became common. One renowned act was "The Flowing Illusion of Fish and Dragons"(鱼龙曼延), in which large-scale props and intricate staging produced spectacular scenes of fish transforming into dragons and giant beasts dancing, displaying exceptional artistry (Ma Congmin & Yao Yujia, 2024).
-[[File:The Flowing Illusion of Fish and Dragons.jpg|center|200px]]
+[[File:The Flowing Illusion of Fish and Dragons.jpg|center|300px]]
 In the politically turbulent Wei, Jin, and Northern and Southern Dynasties, the rise of religious practice gave new momentum to illusion arts. Buddhist rituals incorporated illusions to attract believers. Daoist alchemy featured illusion-like practices such as "talismans to exorcise spirits" and "turning stones into gold," accelerating the popularization of illusions among the public.
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 The Sui and Tang dynasties marked the golden age of illusion arts. The imperial court established special agencies to manage illusion performances, employing numerous skilled artists. A particularly famous act, “Entering the Pot Dance”, involved performers entering a seemingly tiny pot, only to reveal a vast world inside—an astonishing feat.
-[[File:Entering the Pot Dance.jpg|center|200px]]
+[[File:Entering the Pot Dance.jpg|center|300px]]
 During the Song, Yuan, Ming, and Qing dynasties, written records about illusions began to appear, such as the Ming-era text Shenxian Xishu (神仙戏术), which detailed various illusion techniques and performance methods.

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 =Functions and Impact of Illusion Arts=
 Ancient Chinese Art of Illusions serves multiple functions. Culturally, they provided rich inspiration for literature, painting, and opera. Works such as "Journey to the West", with Sun Wukong's 72 transformations, and "Strange Tales from a Chinese Studio", featuring fantastical scenarios, are steeped in elephants of illusions. Painting from various periods also depict illusion performances in dynamic detail.
 Socially, the art of illusions is a vital form of entertainment enjoyed by both the nobility and common folk. These performances not only brought joy and amazement but also served as a bridge for cultural exchange. Foreign illusion techniques introduced into China were absorbed and adapted, enriching local traditions with new forms and content.