#健���

[fusudesu]

[kanyoko]

[chinesehanfu]

[China] Tries to restore the famous dance during the China Tang and Song Dynasties< Zhezhi Dance/柘枝舞>

The blogger tried to restore the dance by referring to the movements in many related reliefs and murals from the Tang Dynasty to the Five Dynasties, combined with the Tang Dynasty records of the dance.

< Zhezhi Dance/柘枝舞>

is a type of well-known "Jian dance/健舞"from the Tang and Song dynasties. The ancient "Yudiao" (羽调) has a piece titled "Zhezhi Qu" (柘枝曲), and the Shang Diao (商调) has "Qu Zhezhi" (屈柘枝), from which the dance takes its name. It originated from Talas (a region in modern-day Kazakhstan, once under the jurisdiction of the Tang Dynasty's Anxi Protectorate). Initially, it was a solo dance performed by women. The most popular form during the Tang Dynasty was the "Double Zhezhi Dance/《双柘枝舞》," performed by two young girls wearing red and purple silk robes, with Hu-style(胡人/Foreigner style) hats adorned with golden bells. They would dance in time with the beat of the Hu drums, their slender waists swaying in harmony with the ringing of the bells and the dance movements, creating a pleasant sound as they turned.

Zhang Xiaobiao/章孝标's poem 《Zhezhi /柘枝》includes the line "Zhezhi first appears, the drumbeat calls," and Bai Juyi/白居易's poem 《Zhezhi Ji/柘枝妓》 has the line "Three drumbeats strike, urging the painting drum." The dance features rich variations in movement, being both vigorous and lively, as well as graceful and charming. The sleeves of the dancer's costume alternately droop and lift, as described in the poem with phrases like "lifting sleeves amidst the busy drum" and "long sleeves sweeping into the embroidered train." The rapid and intricate footwork causes the golden bells worn by the dancer to produce a clear, crisp sound. Spectators are amazed by the dance's lightness and flexibility. As the dance nears its end, there is a deep bending motion of the waist.

-------- Annotation >Yudiao(羽调) & Shang Diao (商调)<

The Chinese pentatonic scale, or pentatonic mode, is a scale system commonly used in Chinese music. Ancient China named these five notes Gong, Shang, Jiao, Zheng, and Yu（宫、商、角jué、徵zhǐ、羽） in sequence, which is roughly equivalent to the singing notes in Western music notation. Noun (do), (re), (mi), (sol), (la).

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In the Song Dynasty, it evolved into a group dance, and the official music included "Zhezhi Troupe" (柘枝队). There were many variations of the dance in the past, though most of the original songs were lost by the Song period. Despite this, the dance still flourished. Since the Yuan Dynasty, the dance itself disappeared, and the name "Zhezhi Ling" (柘枝令) only survives in the lyrics and music.

Along with the Hu Xuan Dance (胡旋舞) and Hu Teng Dance (胡腾舞), Zhezhi Dance was one of the three major Western Region dance styles that were immensely popular during the Tang Dynasty, often performed to welcome foreign envoys gathering in Chang'an China.

【Historical Artifact Reference】:

China Five Dynasties and Ten Kingdoms Period Brick Carving Relics from Tomb Of Feng Hui 冯晖墓

< "Jian dance/健舞 & Ruan Wu/软舞>

Jianwu (健舞) is one of the categories of court music and dance in the Tang Dynasty, specifically referring to a type of martial dance. It signifies a dance style characterized by vigorous, forceful movements and a lively rhythm, in contrast to the "soft dance" (软舞).

The Tang people categorized the various small-scale entertainment dances and musical performances popular in the palace, noble households, and among the general populace based on their stylistic characteristics into "soft dance" and "martial dance" (jianwu). Originally folk dances and Hu music, these were later reorganized and adapted by the court's music and dance troupes, often performed at feasts. The music for these dances typically used elaborate wind instruments and fast string instruments. According to the "Fangfang Ji" (放坊记) and "Yuefu Zalu" (乐府杂录), soft dances included pieces like "A Liao" (阿辽), "Jianqi" (剑器), "Zhezhi" (柘枝), "Hu Xuan" (胡旋), "Hu Teng" (胡腾), "Huang Zhuang" (黄獐), "Da Weizhou" (大渭州), "Fu Lin" (拂菻), "Damo Zhi" (达摩支), and "Ling Da" (棱���).

Ruan Wu（soft dance）/软舞

Ruanwu (软舞) specifically referring to a type of graceful and elegant dance. It signifies a dance style characterized by graceful, delicate, and flowing movements, in contrast to "martial dance" (健舞).

The Tang people categorized the various small-scale entertainment dances and musical performances popular in the palace, noble households, and among the general populace based on their stylistic characteristics into "soft dance" and "martial dance" (jianwu). These dances, originally folk dances, were adapted by the court's music and dance troupes and were often performed at feasts. The movements of soft dance were light, graceful, and elegant, resembling either a startled swan or a flying swallow. According to the "Yuefu Zalu" (乐府杂录), the main soft dances included "Liangzhou" (凉州), "Lüyao" (绿腰), "Suhexiang" (苏合香), "Qu Zhezhi" (屈柘), "Tuan Yuan Xuan" (团圆璇), "Ganzhou" (甘州), "Chui Shou Luo" (垂手罗), "Hui Bo Yue" (回波乐), "Lanling Wang" (兰陵王), "Chun Ying Zhuan" (春莺啭), "Ban She Qu" (半社渠), "Jie Xi" (借席), and "Wu Ye Ti" (乌夜啼).

Next time I will make a post to share to the Tang Dynasty "soft dance/软舞" restored by Choreographer：@李诗荟

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"Taiping Yue": Ji《太平乐》· 急 (Great Peace Music: Quick), an instrumental movement in the Dashi mode (Chinese: Dashi diao, 大食调, equivalent to the Mixolydian mode on E), dating back to China's Tang Dynasty, as reconstructed by Bilibili user "männlichkeit," c. January 24, 2020. As the final movement of the suite "Taiping Yue," this piece is known by the title "Hehuan Yan" (合欢盐, Happy Together Song). According to musicologist Steven G. Nelson, this suite probably had its origins as a military dance, perhaps of the pozhen yue (破阵乐, literally "destroying the formations") type, in Tang China, which was transmitted to the Japanese court by the early 8th century, then arranged into a suite in the Japanese court of the mid-9th century.

In the context of the piece's title, the term "yan" (塩), which usually means "salt" in Chinese, refers to a particular type of poetic song popular during the Tang period (a synonym for "qu" 曲, meaning "piece"); "yïr" or "yır" means "song" in Turkic languages.

This reconstruction is based primarily on the version of this piece as found in "Sango Yōroku"『三五要録』, the most important and extensive collection of Tang-era scores for 4-string pipa; this collection was compiled by the Japanese nobleman Fujiwara no Moronaga (藤原師長, 1138-1192) shortly after 1177 (c. 1180), during the late Heian period (794-1185).

In Japan's tradition of Tōgaku (唐楽, court music of Chinese origin), this dance suite movement is called "Taiheiraku": Kyū《太平楽》· 急 (たいへいらく：きゅう), with the movement title being pronounced "Gakka-en"《合歡塩》(がっかえん). Its mode is called Taishiki-chō (大食調) in Japanese.

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🧚🏻‍♀️Dancer & Choreographer：@李诗荟

👗Hanfu：@君子山岚

Venue Provider：@包意凡

Lighting Design：@大彤寶殿的彤寶

Music ：@männlichkeit（BiliBili）/@dbadagna（Youtube）

🔗Full Video on Xiaohongshu App：https://www.xiaohongshu.com/explore/674995190000000008005fc6?

__________________

[nunafilms]

What Comes After Love | Episode 1 사랑 후에 오는 것들 dir. Moon Hyun Sung

[shihlun]

Mitsuo Yanagimachi

- Fire Festival

1985

[bjorn-k]

私もです

[suminomiyyas]

Tsudaken with his Blue-Eyes in today Jumpfes 2025

[shijiujun]

Rosmei Newest Danmei EN Titles Licensed (Manhua & Novel)

Older news, but Rosmei has also updated their latest licenses, including several manhuas and novels, think it was December too that they announced.

Manhuas:

敖敖待捕 A Tale of Two Dragons

一骗丹心 To Love a Liar

小王子 My Little Prince

请与我同眠 Bedtime Fairy Tales

不健全关系 Pathological Lovers (Fave of mine!)

Novels:

吞海 Tunhai - Named as Hunt for the Leviathan (Poyun Breaking the Clouds is also licensed under Rosmei)

尾钩 Tailhook (Sequel to The Approach, which is licensed under Haitang)

君有疾否 JYJF

我乘风雪 Beyond the Snowstorm (A fave, smut filled too haha - and with gorgeous couple art for the cover)

紫金寺夜话 Tales of Zijin (JUST SMUT THRU AND THRU this is a really really rare one apparently the author doesn't even have a Weibo and she hasn't been in the public for a while. I have the CN print for this from 2-3 years back and it's one short and thin and beautifully coptic-stitch bound novel - pairing is a monk x demon)

望春冰 Love at First Thaw

[lunarriviera]

under the skin meta: The Monologue™ (part 1)

[spoilers for s2 in general and ep 20 in specific—which, trust me, you really don't want to watch out of order. it's worth waiting for this one.]

if you’ve seen The Monologue, you understand. this is why tan jianci fans are somewhere on a spectrum from chronically bitter to unendingly distraught about never not yet getting to see him play gu yun in sha po lang/winner is king. if uts were a north american prestige drama, tjc would have just handily won an emmy. as it is he’ll probably just be in a bunch of romcoms and do more goofy stuff on hi6, and that’s fine too. i guess we’ll always have “wet the bed.”

where was i oh right The Monologue. this will be long but it’s possibly the most glorious moment in this entire drama so here we go.

to build up to it, tho, we need backstory: namely, season two's gradual unraveling of shen yi. we know he can’t sleep well and has ghastly nightmares about a little girl he didn’t save, mostly because he didn’t consciously know she was in any danger. in her red dress, like the little girl in schindler’s list, she stands out, tragic amidst the desaturation, and shen yi makes a variety of horrified faces about having failed her. (horrified faces seem to be his main ones this season, which is partly what makes The Monologue so exciting.)

anyway shen yi has already been pretty thoroughly harrowed by this particular case as it is, having been the one to figure out (of course) the serial murderer’s ritualistic pattern and motive. shen yi turns his most Horrified Face to du cheng to warn him that the next victim's in danger, and they have this exchange, which will be important later.

(what du cheng says is 别担心, which also gets translated as "rest assured"—like, don't let your heart be uneasy. i got this.)

so du cheng takes off to save the victim, and shen yi goes back to his office to do…actually, what does he think he’s going to do? some paperwork, a little light filing, maybe sharpen some pencils? instead he predictably goes into a glass-shattering fugue state, and imagines the little girl. this begins the monologue scene, even though it all takes place in shen yi’s head. pls indulge me by watching it again, bc i assume you’ve already seen it anyway, and my god it’s such a gorgeous piece of face journey that ALSO sets up what’s to follow.

in some ways this compressed little piece is even better than what comes after. the way he FLIES to her and FALLS to his knees, just rushes up to her stammering and devastated and PROMISING he'll save her this time. honestly it destroyed me, i watched it like 5 times in a row before i could even move on. the unheld-back generosity of this brief performance, the way he’s completely focused on her and then just FALLS APART, it snapped my heart like a carrot stick.

me, a fangirl: SHEN YI SHEN YI NO BB NO PLS SOMEONE HELP HIM me, film nerd: huh fascinating never seen an actor's lips shake before

so now he understands what he needs to do. what he MUST do. having had this revelation, shen yi shows up at the killer’s door, creepy-smiling at him and barging inside. and then he delivers The Monologue, ten solid nearly-uncut minutes of sheer batshit insanity.

shen yi rants. he raves. he paces and pivots and gestures, he thinks aloud, he surmises and expostulates and revises and reverses and exclaims and delivers each conclusion with rabid glee. he scowls and shouts and is sinister and grins and is just one thousand fucking percent unhinged.

we have never, ever seen shen yi like this before, and thank god, because he would scare people on the regular, and he’s scary enough as it is. why do you think he wears all those baggy pastels and smiles so sweetly. why do you think he tries to pass as an unassuming twink, it’s because if people knew what was really going on inside his head half the time, they’d be screaming crying passing out. (tho the beauty of shen yi is: he also really is just an unassuming twink.)

anyway there i was, like a bonehead, stupidly trying to screenrecord this scene before i realized it would be like fifty gig of fire emoji, and then my hands fell limply at my sides, bc it dawned on me what was actually happening. sort of like that moment in “free churro” when you realize bojack horseman really is going to keep giving this heartbreaking eulogy for the length of the entire episode.

because The Monologue is virtuoso. it's tour de force. this is the kind of thing they play at the oscars during your "in memoriam" clip reel. this is what undergrads copy for their audition pieces. this is some heath ledger shit. it's jack nicholson in the shining, al pacino in scarface. this is about one inch away from brando.

as a result of all this, shen yi has the serial killer (whose name is ge yutian by the way) eating out of his goddamn hand within like half a minute, absolutely spellbound—which is the entire point. if shen yi doesn’t convince him, all of this glorious sorcery is for nothing.

(the guy who plays ge yutian is good too, a perfect scene partner for this. he picks up every cue and lets tjc have all the room he needs.)

just a few more notes on the performance, both tjc's and shen yi's:

1. where it really goes off the rails is when shen yi shrieks, DAMN POLICE! and ge yutian JUMPS in alarm. this not only made me laugh (him being so bonkers that he actually frightens a serial murderer!) but is also the moment when The Monologue stops being "aw haha such a fun thing for an actor to get to do" and “…jesus christ what the fuck am i watching." look how i couldn't even get a non-potato screencap. it's from this point on that shen yi is possessed.

2. because he has to show that he identifies with ge yutian, that the killer can and should trust him because they think alike. but that’s just the old “FBI profiler eventually becomes his prey” cliché, so there’s more to it. he also has to convince ge yutian that his ideas, shen yi's, are ge yutian's ideas, from the inside out—and therefore he's the right candidate for the sheng role. and finally, that it's precisely his ability to act, to be a strong performer, that makes him the right choice. that it’s shen yi who’s most suitable, thanks to his convincing mimesis of ge yutian’s highly suspect “thought process."

3. to really pull this off, even as shen yi builds him up (cf. ge yutian clapping enthusiastically, enthralled by this flattering vision), he also has to tear him down. so he plays two roles at once: ge yutian and an unknown theatre critic—who’s also shen yi, because he’s still the righteous officer of the People’s Police, here to inform ge yutian that his vision is sick and twisted, and not anything his gentle-hearted lover would have wanted, not her way of being in the world.

4. finally i would argue that shen yi's admittedly shaky s2 state here suddenly seems a lot more bolted-on. a few viewers have worriedly described The Monologue almost as some kind of psychotic break but honestly i read it as so very controlled and so very deliberate. while he’s desperate (must save victim this time. must not fuck it up again.) he’s not deranged. he absolutely knows what he’s doing.

i'm sorry to say part 2 will follow. but to conclude for now:

• actors are witches. • 16:9 can no longer contain tjc’s talent this man needs 1.85:1 • you hardly ever get to see someone just NAIL IT TO THE WALL like this, what a time to be alive • (and these were long takes too. there wasn't that much editing. that was all him. and you can see three uncut minutes of it here) • pls watch under the skin for some unexpectedly fine acting as well as ofc crime drama, ensemble comedy, weird art historical facts, and captain du cheng (jin shijia), who alternates between being a giant goofball and an aloof occasionally scary badass. also they’re in love.

[chanpotei]

Pyon pyon 🐇

[nathsketch]

Lord Xiang Liu for this evening 😘🤍

It’s so chilly here today, I think we are finally getting ready for some Winter winds ❄️

Happy weekend! 🩵

[fusudesu]

[mechadeimos]

[holespoles]

Kennosuke Shinseki ‘Octopus Tako−kichi's walk.’, 1947.

新関健之助 「たこきちのさんぽ」1947年

[nunafilms]

What Comes After Love | Episode 1 사랑 후에 오는 것들 dir. Moon Hyun Sung

[isthepame]

Japan U-20 National Team

Starting Players

10 糸師 冴 ITOSHI SAE

A player who has garnered worldwide attention, even being selected as one of the “New Generation World 11.” It’s rumoured that he hasn’t participated in Japan’s national team activities because he had already dismissed Japanese football, given his exceptional and overwhelming skill. However, he has recently shown an interest in “Blue Lock” and participated in an exhibition match.

ESP: Un jugador que ha atraído la atención mundial, llegando incluso a ser seleccionado como uno de los “11 del Mundo de la Nueva Generación.” Se rumorea que no ha participado en las actividades de la selección nacional japonesa porque ya había desestimado el fútbol japonés, debido a sus habilidades excepcionales e imponentes. No obstante, recientemente ha mostrado interés en el “Blue Lock” y participará en un partido de exhibición.

2 オリヴァ・愛空 OLIVER AIKU

The Japanese U-20 national team is referred to as the “Diamond Generation” largely thanks to his impenetrable defensive skills. As a centre-back, he not only applies pressure across the entire pitch but also, in moments of critical danger, shuts down strikers with a free-form approach that defies conventional logic.

ESP: La selección japonesa sub-20 es conocida como la “Generación Diamante” en gran parte gracias a sus habilidades defensivas impenetrables. Como defensa central, no solo ejerce presión en todo el campo, sino que, en momentos de peligro crítico, detiene a los delanteros con un estilo de movimiento libre que desafía la lógica convencional.

11 閃堂秋人 SENDOU SHUTO

The ace of Japan’s U-20 national team, playing as centre-forward.

Despite his youth, he is already a regular forward in Japan’s top domestic league, enjoying both high recognition and exceptional skill. In a team focused on defence, he stands out as the top scorer, earning strong trust from his teammates.

ESP: La estrella de la selección japonesa sub-20, desempeñándose como delantero centro. A pesar de su juventud, ya es delantero titular en la liga principal de Japón, destacando tanto por su notoriedad como por su habilidad excepcional. En un equipo enfocado en la defensa, sobresale como el máximo goleador, ganándose la plena confianza de sus compañeros de equipo.

8 超健人 CHOU KENTO

A left winger who excels at using his height to his advantage. His reliable playstyle aligns perfectly with the team’s strategy of solid defence and swift counterattacks. In particular, during counter plays, he demonstrates outstanding coordination with the right winger, Kitsunezato, becoming a key source of goals for Japan’s U-20 national team.

ESP: Un extremo izquierdo que destaca por aprovechar su estatura al máximo. Su estilo de juego confiable encaja perfectamente con la estrategia del equipo, basada en una defensa sólida y contraataques rápidos. En especial, durante las jugadas de contraataque, demuestra una excelente coordinación con el extremo derecho, Kitsunezato, convirtiéndose en una fuente clave de goles para la selección japonesa sub-20.

9 狐里 輝 KITSUNEZATO TERU

A nimble right winger. Unlike Chou on the opposite side, he plays a distinct role, with his runs behind the defence posing a serious threat to opposing teams. Without holding onto the ball for too long, he keeps the play moving forward with a quick passing tempo, making him an indispensable “lubricant” in Japan’s U-20 team.

ESP: Un ágil extremo derecho. A diferencia de Chou en el lado opuesto, cumple un rol distinto, y sus desmarques en profundidad representan una amenaza seria para los equipos rivales. Sin retener demasiado el balón, mantiene el juego en avance con un ritmo rápido de pases, lo que lo convierte en una pieza indispensable, un verdadero “lubricante” en la selección sub-20 de Japón.

6 若月 樹 WAKATSUKI TATSUKI

The defensive midfielder for Japan’s U-20 national team. His intense, watchful playstyle is symbolised by the dark circles under his eyes, as he constantly scrutinises the opposition’s movements. When the opponents alter their attacking approach, he’s the first to notice and sound the alarm for the entire team, serving as their primary “sensor.”

ESP: El mediocampista defensivo de la selección sub-20 de Japón. Su estilo de juego, marcado por una observación constante de los movimientos del rival, se refleja en las notables ojeras bajo sus ojos. Cuando los oponentes cambian su enfoque de ataque, es el primero en darse cuenta y alerta a todo el equipo, actuando como el “sensor” principal del conjunto.

7 颯 波留 HAYATE HARU

A defensive midfielder known for his height, which he uses effectively to intercept the starting points of the opposition’s attacks. Avoiding high-risk moves, he focuses on stalling the play when possession is lost, giving the defence time to reorganise. He plays a crucial role in controlling the pace of the game.

ESP: Un mediocampista defensivo conocido por su altura, que utiliza eficazmente para interceptar los puntos de inicio de los ataques rivales. Evita movimientos arriesgados y se centra en frenar el juego cuando se pierde la posesión, dando tiempo a la defensa para reorganizarse. Cumple un papel crucial en el control del ritmo del partido.

5 蛇来弥勒 DARAI MIROKU

The left-back for Japan’s U-20 national team. He sports body paint on his head and arms that resembles tattoos. Skilled at reading the opponent’s moves in advance and shutting them down, he doesn’t fall for the same attacking pattern twice. When his team is on the offensive, he slips behind the opposition’s defence.

ESP: El lateral izquierdo de la selección sub-20 de Japón. Lleva pintura corporal en la cabeza y los brazos que simulan tatuajes. Es hábil para anticipar los movimientos del oponente y bloquearlos, de modo que el mismo patrón de ataque no funciona en repetidas ocasiones. Cuando su equipo está al ataque, se infiltra por detrás de la defensa rival.

3 仁王和真 NIOU KAZUMA

A centre-back for Japan’s U-20 national team. Known for his rough, physical style of defence, he overwhelms the opposing attack. In particular, he displays an exceptional strength in ball duels, unusual for a Japanese player, and his signature move, the “Doberman Charge,” repels offensive plays with force.

ESP: Un defensa central de la selección sub-20 de Japón. Conocido por su estilo defensivo rudo y físico, es capaz de dominar a la ofensiva rival. En especial, muestra una fuerza inusual para un jugador japonés en las disputas por el balón, y su movimiento característico, la “Carga Doberman,” repele los ataques con potencia.

4 音留徹平 NERU TEPPEI

The right-back for Japan’s U-20 national team. His agility is among the best in the team, with impressive acceleration that allows him to reach top speed almost instantly. He covers the entire pitch, from the backline to the front, playing a crucial role in both attack and defence, serving as the unsung workhorse of the team.

ESP: El lateral derecho de la selección sub-20 de Japón. Su agilidad es de las mejores en el equipo, destacándose por una aceleración impresionante que le permite alcanzar la velocidad máxima casi al instante. Recorre todo el campo, desde la línea de fondo hasta el ataque, desempeñando un papel crucial tanto en defensa como en ofensiva, siendo el caballo de batalla no reconocido del equipo.

1 不角源 FUKAKU GEN

The goalkeeper for Japan’s U-20 national team. As the final barrier in a team built on strong back-line play and swift counterattacks, his greatest strength is his reliable decision-making. He shares a strong foundation of trust with centre-back Aiku When moving to the offensive, he initiates counterattacks with pinpoint long passes.

ESP: El portero de la selección sub-20 de Japón. Como último baluarte en un equipo que se basa en una sólida línea de fondo y rápidos contraataques, su mayor fortaleza es la confiabilidad en sus decisiones. Comparte una base de confianza sólida con el defensa central Aiku. Al pasar a la ofensiva, lanza los contraataques con precisos pases largos.

Substitute Player

13 士道龍聖 SHIDOU RYUSEI

A striker recruited from “Blue Lock” to join Japan’s U-20 national team, specialising in ultra-attacking play. His goal-scoring instincts within the penalty area are sharper than anyone else’s, and he possesses astonishing physical ability, able to shoot from any position. As an outlier among the otherwise pure-hearted team, he has the potential to spark unknown chemical reactions.

ESP: Un delantero reclutado desde “Blue Lock” para unirse a la selección sub-20 de Japón, especializado en un estilo de juego ultrafocalizado en el ataque. Su instinto para el gol dentro del área penal es más agudo que el de cualquiera, y posee una capacidad física asombrosa, capaz de disparar desde cualquier posición. Como un elemento extraño entre un equipo de ideales puros, tiene el potencial de provocar reacciones químicas desconocidas.