Chinese classical dance, originating in ancient China, has a long history with profound influence. Combining with a wealth of movements and modeling extracted from martial arts and drama, it particularly emphasizes on the role of eyes，breathing, rhythm and sense of style during the show. The intoxicating beauty of Chinese classical dance derives from the unique blend of Eastern delicacy and force.

Body rhythm, body positioning and dancing skills are the three most significant elements of Chinese classical dance. As the soul of Chinese classical dance, the body rhythm distinguishes among different dances and dancers. Rooting in the fertile soil of traditional culture, Chinese classical dance puts great value on the integration and unification of body and mind.

Behind every piece of classical dance, lies a fraction of history grand and magnificent or poignant but mild. Each classical work owns a vivid and beautiful name. The moving Green Pavilion Waiting for the Rain《萋萋长亭》， the cheerful Dancing to the Beat 《踏歌》，the powerful Calling of the Emperor《秦王点兵》, the breathtaking Ode to the Lotus Flower 《爱莲说》, The Dance in Feathery Clothing and the elegant Fan as Paintbrush《扇舞丹青》, are all famous for their connotation.

Traditional Chinese instruments are widely used in classical dance, including Guzheng, Erhu, Pipa and so on. All classical in design，the dancer’s costume varies in accordance with the specific style of the dance.

Chinese classical dance is a revival of the ancient dance, a resuscitation of opera dance. With its charm, we witness traditional Chinese dance coming back to life. Its aesthetic principle reveals a continuation of Chinese culture, and develops a school of their own on the world stage.

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Han Tang dance, also Chinese Classical Dance, is an incredibly refined and expressive dance form originated from the Chinese court dance tracing back to the Han and Tang Dynasties. Created 1500 years ago, Han Tang dance depicts the story of battle, victory, love & celebration.

In 1979,  Sun Ying (孙颖, 1929—2009), Chinese classical dance professor at the Beijing Dance Academy,  instigated reform in the field of Chinese Classical Dance, the official national dance form of the People's Republic of China. In creating the Han-Tang style of Chinese classical dance , Mr Sun challenged accepted notions of Chinese ness within the field, especially the idea that Chinese indigenous theater, or xiqu, should serve as the primary foundation for a distinctively Chinese national body aesthetic. While his alternative vision of Chineseness produced extensive controversy, this controversy is not antithetical to the historical aims and assumptions of Chinese classical dance. Since the founding of the field in the early 1950s, practitioners of Chinese classical dance have treated Chineseness as a subject for creative invention, interpretation, and debate.

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