"Shenyun" is the general term for "shenfa" and "rhythm". "Shenfa" belongs to the external technical category, while "rhythm" belongs to the inner spirit of art. Only the organic combination and penetration of the two can truly reflect the style and aesthetic essence of Chinese classical dance. In other words, "body and rhyme" means "both form and spirit, using both body and mind, and unifying the inside and outside." This is an indispensable symbol of Chinese classical dance and the artistic soul of Chinese classical dance. Although the style source of Shenyun is obvious, it can no longer be called "opera and dance". Its transformation from opera to dance has been basically completed. It has gotten rid of the ever-changing role of the original opera and dance. However, no matter how it changes, it remains the same. This "one" and this "change" are both rare characteristics of an art, and they are also the aesthetics of an art. Essentials.
The reason why the movements performed by a mature folk dancer on the stage have aesthetic value and artistic charm is because they embody a high degree of integration of "form, spirit, energy and law", which is exactly what Chinese classical dance means. An important means of expression of dance body rhythm. "Shape, spirit, energy, and rhythm" as the basic movement elements of body rhythm highly summarize the entire connotation of body rhythm. Shape, that is, external action, includes posture and the movement lines connected by its actions. God, that is, charm and mind, is the dominant and controlling part. Jin is force, which includes the artistic processing of relationships such as weight, urgency, strength, length, hardness and softness. Law, that is, the law of movement of the action itself. The relationship between these four major movement elements is achieved through strength and law to achieve both form and spirit, as well as internal and external unity. The rule is "the heart and the mind are in harmony, the mind and the energy are in harmony, the energy and the force are in harmony, and the force and the form are in harmony." These are all incisive summaries and refinements. These words are highly unified and harmonious with the elemental movements, forming a dance aesthetic theory with Chinese characteristics.