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“东方”作为独特的地域概念与文化概念有其丰富的内涵,“东方”以及“东方美学”视野的形成,一方面呈现出应对“西方”话语时,非西方文化的弱势焦虑,另一方面呈现出将复杂的“东方”进行简化的美学叙事的趋势。正是东方美学的“简化”逻辑,让我们格外关注“东方”内部舞蹈形态的丰富性和差异性,以避免减损东方各国多样化的审美经验。东方舞蹈的两大美学形态及其内部的复杂区分也对东方舞蹈研究提出了美学层面与形态层面的双重要求。
“Oriental ” has its rich connotation as a unique geographical concept and cultural concept, the formation of “Oriental ” and “Oriental Aesthetics ” ’s vision, on the one hand presents the response to “Western ” discourse, Cultural anxiety on the one hand and on the other hand the trend of simplifying the aesthetic narrative of the complicated Orientalism. It is the “simplification” logic of Eastern aesthetics that gives us extra attention to the richness and diversity of the forms of dance in the “East” to avoid detracting from the diverse aesthetic experiences of the East. The two major aesthetic modalities of the oriental dance and its complicated internal distinction also put forward the dual requirements of aesthetic and morphological aspects of oriental dance.