“传统”与“当代”的关系问题是近年来关于中国古典舞争论的焦点之一。从艺术发展的一般规律来看,传承基础上的“当代化”是艺术发展的必由之路,而“古典”是一个具有相对性的历史概念。在表象断裂的背后,传统历经周折如江河之流绵延下来,古典即如沿途之景,也在不断重建之中渐成名胜。“中国古典舞”缘起于新的经济基础建立之后的文化反思,是特定历史文化的产物。业已形成的“中国古典舞”是面向时代、面向观众的舞蹈艺术,身韵、汉唐、敦煌诸派皆已在传统文化之流上找到了各自的位置,且其注入时代思潮、吸收其他舞蹈元素发展自身,符合艺术发展的必然规律。中国古典舞的当代发展有赖于自觉的文化寻根与理性的当代化。历史文化意义上的中国古典舞复原工作则需要由研究者主导去做。 The relationship between “tradition” and “contemporary” is one of the focuses of the controversy over classical Chinese dance in recent years. From the general law of art development, “Modernization ” based on inheritance is the only way for the development of art, “Classical ” is a relative historical concept. Behind the appearance of the rupture, the traditional twists and turns such as rivers stretches down, the classical is like the scenery along the way, but also continue to rebuild into a succession. “Chinese classical dance ” originated from the cultural reflection after the establishment of a new economic foundation, is the product of a specific historical and cultural. The formed “Chinese Classical Dance” is the dance art facing the times and facing the audience. The body rhyme, Han and Tang Dynasties and Dunhuang factions have all found their own position in the flow of traditional culture, and they are infused with the thoughts of the times and absorbed Other dance elements to develop themselves, in line with the inevitable law of the development of the arts. The contemporary development of Chinese classical dance relies on the root of conscious cultural roots and the rational modernization. In the historical and cultural sense, the restoration of Chinese classical dance needs to be led by researchers.