袖舞自春秋战国时期出现，发展至今仍生生不息的为中国古典舞的创作提供思维路径。水袖因其具备服饰及道具的特殊属性，存在较强的表现性。又因其自身记载着千秋万代累积形成的风格性，逐渐形成独特的审美意识形态。 故此我们可知悉水袖在中国古典舞中的地位可见一斑。在中国传统文化的大背景之下，水袖对戏曲艺术中的“袖功”进行归纳提取，形成近代水袖技法，并遵循传统哲学、美学理念进行作品创作。笔者通过对袖舞作品《靛蓝水迹》进行个案分析，于创作背景、水袖技法、精神内涵等方面深入探讨。为弘扬中国优秀传统东方文化，开阔中国古典舞的创作路径而不断发展。作品以继承、传承为创作前提，以创新为基本目标，从现代人的视角出发看待民族性艺术的发展，为日后传统艺术的进步铺展开一条实践性与理论性相结合的道路。

 Sleeve dance was started during the Spring and Autumn Period and the Warring States Period, and it has been continuously evolving to provide a path of thinking for the creation of Chinese classical dance. The sleeves are highly expressive because of the specialty of costumes and props. It gradually formed a unique aesthetic ideology because of accumulated style of generations. Therefore, the evident status of water sleeves in Chinese classical dance is demonstrated. Under the background of traditional Chinese culture, Water Sleeve summarized and extracted the "sleeve skills" in the art of opera, formed modern techniques following traditional philosophies and aesthetic concepts to create works. Through a case analysis of the sleeve dance work "Indigo Water Marks", the author has an in-depth discussion on the creative background, the technique of the sleeve dance, and the spiritual connotation. In order to stimulate the continuous development of Chinese classical dance, this work takes inheritance and passage along generations as the premise of creation and utilizes innovation as the basic goal. Besides, this work views the development of national art from the perspective of modern people, laying out a road that combines practicality and theory for further improvement of traditional art.