中国古典舞之“气”并非仅仅是一个舞蹈呼吸问题。在中国古代，气是解释宇宙、人、舞之本源的概念。传统气论思想的产生与发展为以身体为媒介的舞蹈艺术搭建了从宏观宇宙的时空观聚焦至人身体之构成的本体论基础。在古典舞学科发展史中，气经历了向武术戏曲学习到形成自身体系化审美要求的过程。从五六十年代叶宁先生所讲的“气是动作的内部技术”、王萍老师的“气归之于神就是韵味儿”，方传芸老师所强调的“精气神”，到了70年代以李正一、唐满城老师为代表的老一辈教员们在实践之中继续深刻认识到气在具体动作中的配合关系，从而向实践的深处走去。在训练原理上中国古典舞将丹田作为气产生的源头，强调气带动动作时与腰部发力之间的配合关系，由此丹田作为气之源头与腰作为动作发起之源头在身体躯干的核心处一齐汇集，大大加强了腹、腰部对于舞蹈动作产生的统领作用。同时古典舞气之律具有动态性、对立统一性、生命性的本质特征，形成以阴阳对立统一、循环为规律的运动法则。由此本文第一、二章以中国传统气论思想为本体，讨论了古典舞之气的本体依据，古典舞之气的历史生成过程以及其基本运用规律。

同时，中国古典舞气的训练在本质上是意识引导气在身体中的运化以及其与动作的配合。由此本文中的“气化”的身体意识，是试图以“气化”一词的基本内涵，即以道为本，在宇宙间、身体中的大化流行，为舞蹈生命形态提供思想内涵。在第三章中着重讨论古典舞如何将气运用至全身，从而进一步为气韵的生成提供身体准备。

而气化的身体意识是气息向气韵生成的中间环节，本文在第四章讨论了气的训练与意识需要在整体意象中否定自己融入有机整体，达到心、意、气、力、形的统一，从而形成“气韵生动”的审美理想。同时由于“气韵生动”作为一美学范畴是古典舞对传统书画审美范畴的借用，由此第四章同时讨论了“气韵生动”在舞蹈中的具体内涵。

The "qi" of Chinese classical dance is not only a problem of breathing. In ancient China, qi is the concept that explains the origin of the universe, human beings and dance. The emergence and development of the traditional qi theory set up the ontological foundation for the body-mediated dance art from the macroscopic view of time and space to the composition of human body. In the history of classical dance, Qi experienced the process of learning from martial arts and drama to form its own systematic aesthetic requirements. From Mr. Ye Ning's "Qi is the internal technology of movement" in the 1950s and 1960s, teacher Wang Ping's "Qi is the charm of God", teacher Fang Chuanyun emphasized the "spirit of spirit", to the older generation of teachers represented by Li Zhengyi and Tang Mancheng teachers in the 1970s, they continue to deeply understand the cooperation relationship of qi in specific actions. So continue to go deeper into practice. In terms of training principle, Chinese classical dance takes dantian as the source of qi and emphasizes the coordination relationship between qi driven movement and waist force. Therefore, Dantian as the source of qi and waist as the source of movement are brought together at the core of the body, which greatly strengthens the leading role of abdomen and waist for dance movements. At the same time, the law of Qi of classical dance has the essential characteristics of dynamic, unity of opposites and life, forming the movement law with the unity of opposites and circulation of yin-yang. Therefore, the first and second chapters of this paper take Chinese traditional qi theory as the ontology, discuss the ontology basis of the qi of classical dance, the historical generation process of the qi of classical dance and its basic application law.

At the same time, the essence of Chinese classical dance qi training is the consciousness to guide the movement of qi in the body and its cooperation with the movement. Therefore, the body consciousness of "gasification" in this paper is an attempt to provide ideological connotation for the dance life form by taking the basic connotation of the word "gasification", that is, taking Tao as the foundation and becoming popular in the universe and the body. In the third chapter, we discuss how to apply qi to the whole body in classical dance, so as to further provide physical preparation for the generation of qi rhyme.

In Chapter 4, this paper discusses the need of qi training and consciousness to negate themselves into the organic whole in the whole image, so as to achieve the unity of heart, mind, qi, force and form, thus forming the aesthetic ideal of "vivid qi rhyme". At the same time, as an aesthetic category, "vivid air rhyme" is borrowed from the traditional painting and calligraphy aesthetic category, so the fourth chapter also discusses the specific connotation of "vivid air rhyme" in the dance.