在中国古典舞的课程训练及作品呈现之中，水袖作为一种历史悠久的服饰化道具与中国古典舞身韵相结合，形成了中国古典舞水袖这一中国传统舞蹈形式的重要组成部分，实现了具有独立性的舞蹈肢体语言的表现。文本从水袖的表现性作为切入点，首先对水袖进行历史溯源，探讨水袖在戏曲艺术中的程式性变化，梳理中国古典舞水袖的学科建设进程。再以三个展示了水袖不同表现性且具有一定代表性的舞蹈作品为例，探究水袖在中国古典舞作品之中在塑造人物形象、营造意象意境、传达情感思想上的表现性功能。最后由作品生发出水袖在中国古典舞审美意蕴中“虚实相生”的辩证美学和“舞以象和”的审美理想，进而完成在中国古典舞作品中水袖的表现性探究。

In classical Chinese dance training and presentation, the water sleeve, as a historical costume prop, is combined with the body rhythm of classical Chinese dance, forming an important part of the traditional Chinese dance form of the water sleeve, and realizing the expression of independent dance body language. The text takes the expressiveness of the water sleeve as an entry point, firstly traces the history of the water sleeve, explores the programmatic changes of the water sleeve in the art of opera, and sorts out the disciplinary construction process of the water sleeve in Chinese classical dance. Taking three representative dance works that demonstrate the different expressiveness of the water sleeves as examples, we explore the expressive functions of the water sleeves in Chinese classical dance works in shaping characters, creating imaginative contexts, and conveying emotional thoughts. Finally, we will explore the dialectical aesthetics of the water sleeve in the aesthetic meaning of Chinese classical dance, which is "the creation of reality and emptiness", and the aesthetic ideal of "dance with image and harmony", and then complete the exploration of the expressiveness of the water sleeve in Chinese classical dance works.