Spatial Consciousness in Chinese and Western Dance: Perspectives from Ceramic Imagery

A spatial awareness is a fundamental aspect of dance, reflecting deep philosophical ideas and aesthetic values across different cultures. While existing studies often focus on theatrical or biomechanical analyses, few explore how material cultural artifacts, such as pottery and porcelain figurines, reveal spatial differences in dance. This study addresses this gap by comparing Chinese pottery figurines from the Neolithic to Tang dynasties with Western Meissen porcelain dancers from the 18th century onward, applying a three-dimensional framework of “Movement Scheduling Space—kinetic space—expressive space.” Drawing on Confucian principles of “Harmony between Heaven and Humanity” and Christian notions of transcendence, the research examines how cultural traditions shape the spatial expression in dance. The findings show that Chinese dance emphasizes inward, upper-body movements extending from two-dimensional to one-dimensional space, reflecting a centripetal, earthly orientation. In contrast, Western dance expands from two-dimensional to three-dimensional space, emphasizing outward, lower-body movements symbolizing transcendental aspirations. Additionally, Chinese dance focuses on subtle hand gestures, while Western dance highlights expressive foot movements. By integrating artifact-based analysis with cultural and philosophical interpretation, this study offers a fresh approach to comparative dance philosophy, providing valuable insights for the reinterpretation of traditional aesthetics in modern choreography.