《內(nèi)蒙古大學藝術學院學報》
2013年第2期中英文論文摘要、關鍵詞
“孛兒只斤”（藍眼睛）——天狼種的標志
——阿闌豁阿感生神話傳說再研究
阿爾丁夫
(內(nèi)蒙古師范大學文學院，內(nèi)蒙古 呼和浩特 010022)
摘 要：“孛端察兒成了孛兒只斤氏”。“孛兒只斤”，拉施特的解釋是“藍眼睛”的意思。布里亞特蒙古人直到上世紀后期尚將狼稱為“藍眼睛”，并非由于成年狼的眼色在黑暗中看上去呈藍色，而是源于未出滿月的狼崽眼上蒙著一層灰膜，看上去“藍汪汪的”。拉施特將“藍眼紅發(fā)”歷史化，固不足取，但他將“孛兒只斤”（藍眼睛）同阿闌豁阿感生神話傳說之間的關系視作因果關系，則難能可貴。事實上，“孛兒只斤”（藍眼睛）——正是天狼種的標志。
關鍵詞：孛端察兒 ；孛兒只斤氏 ；藍眼睛 ；天狼種的標志
"Bojigin" (Blue Eyes) ——A Sign of Sirius
—— Re-study of Alanhua's Totem Ingravidation Legend
Ardinhu
(School of Liberal Arts of Inner Mongolia Normal University, Hohhot 010022,Inner Mongolia)
Abstract: " Budancar" turned into "Bojigin" . Rashid's explanation is "blue eyes". Up till to the late last century, Buryat Mongols called the wolf "blue eyes", not because the color of the adult wolves' eyes look blue in the dark, but the reason is that baby wolves' eyes younger than one month are covered with a layer of grey film which looks "blue". It is not acceptable that Rashit explains the "blue eyes and red hair" from the point of view of history, but it is praiseworthy that he relates "Bojigin" (Blue Eyes) with Alanhua's totem ingravidation legend. Actually, "Bojigin" (Blue Eyes) is a sign of sirius.
Key words: Budancar; Bojigin; blue eyes; a sign of Sirius
40年代蘇尼特右旗女子學校及其音樂教育
薩出拉
（內(nèi)蒙古大學藝術學院音樂系，內(nèi)蒙古 呼和浩特 010010）
摘 要：1941年德穆楚克棟魯普（簡稱德王）在蘇尼特右旗建立了家政女子學校。翌年再建一所興蒙女子小學。兩所女子學校直至1947年幾乎招滿了當?shù)貙W齡女孩。此外還向西土默特地區(qū)招進四個女孩。最終兩所學校因戰(zhàn)亂只有兩個班結(jié)業(yè)而解散。40年代蘇尼特右旗女子學校雖說起步相對較晚，可它在短短的幾年學校教育中卻實現(xiàn)了民間傳統(tǒng)文化傳承思維方式和現(xiàn)代新式教育科學性思維方式的結(jié)合。它是基于傳統(tǒng)游牧生活之上的民族化、生活化的現(xiàn)代新式女子教育空間。同時它也是特定時期的政治文化語境中的民族使命。因此它重視現(xiàn)代普適性知識的同時更加重視本土化的、地方性知識。它提倡一種民族化的、生活化的教育。其音樂教育尤為獨特。無論是音樂課的口傳心授、歌舞結(jié)合式教學方式還是其學校歌曲詞曲的編創(chuàng)特點無不體現(xiàn)它對傳統(tǒng)文化與音樂思維方式的尊重與傳承，體現(xiàn)注重實踐能力、即興創(chuàng)造能力和趣味性等教育特征。
關鍵詞：女子學校；音樂教育；教育特征
Sunid Right Banner Girl's School and Its Music Education in 1940s
Sachira
(Music Department of Art College of Inner Mongolia University Hohhot 010010,Inner Mongolia)
Abstract: Demchugdongrub (referred to as King De) built a housewifery school for girls in 1941 in Sunid Right Banner. And the next year another Xingmeng girl's primary school was set up. The two girls' schools had enrolled almost all the local girls at school age until 1947 in addition to the four girls from West Tumud area. Finally the two schools and dissolution were all dismissed due to the war chaos. Although the Sunid Right Banner school started relatively late in 1940s, it achieved the combined of the folk cultural heritage of thinking mode and the modern educational scientific way of thinking within a few years. It is the education space based on traditional national nomadic life for the modern women. At the same time it was also the national mission in the specific period of political and cultural context. Therefore it valued great importance to modern universal knowledge at the same time, paid more attention to the localization, local knowledge. It advocated a kind of national and living education. Its music education was very unique. Whether it is music, song and dance combination type oral teaching that inspires true understanding within the school teaching methods or songwriters creative characteristics are reflected in its traditional culture and music thinking respect and inheritance, emphasizing practical ability, creative ability and interest of improvisation education characteristics.
Key words: girl's's schools; music education; education features
民族音樂學一席談
——安東尼·西格爾給亨利·金斯伯里的復函
安東尼·西格爾（Anthony Seeger）著 周麗青 譯 羅易扉 校譯
(美國加利福尼亞大學洛杉磯分校 90024)
摘 要：民族音樂學學科的設立與否一直是學界的爭論？設立此學科或許不一定是必須的，但是至少有一點是肯定的，那就是民族音樂學不應該被音樂社會學(sociomusicology)所取代。多年以來，關于民族音樂學，我最喜歡的一點便是各類關于民族音樂的會議。因為來自不同學術背景的人，帶著他們各類關于音樂表演以及方法論問題集聚一地，盛況空前地討論問題。
關鍵詞：民族音樂學；語言學；學科領域
On the National Musicology
——Reply to Anthony Seagal from Henry Kingsbury
Written by Anthony Seeger,
Translated by Zhou Li-qing, Proofread by LUO Yi-fei
(University of California at Losangeles, 90024,the United States)
Abstract: It has been an academic debate whether or not to set up the national musicology subject. The establishment of this subject may not be necessary, but at least one thing is sure that national musicology should not be replaced by sociomusicology. Over the years, what I like best is the various national musicology conference. Since people from different academic backgrounds gather to discuss issues on musical performances and methodology.
Key words: ethnomusicology; linguistics; disciplines
論長調(diào)與馬頭琴的同構(gòu)關系
布林
（內(nèi)蒙古電視臺，內(nèi)蒙古 呼和浩特市 010010 ）
摘 要：蒙古族的烏曰汀哆與馬頭琴是游牧文化的雙胞胎姊妹藝術。一個是聲樂，一個是器樂，兩者旋律旋法及其審美本質(zhì)特征最大差異只在于有無唱詞之別。烏曰汀哆與馬頭琴的諾古拉、塔希拉嘎基本一致;然而，本文主張不能把塔希拉嗄隸屬于諾古拉范疇。諾古拉與塔希拉嘎無論從其詞意乃至聽覺效果,表現(xiàn)技巧皆不同，在烏曰汀哆與馬頭琴演唱演奏藝術中把諾古垃塔希拉嘎兩者的概念定義分別確立，以利準確傳承與保護。
關鍵詞：烏曰汀哆(長調(diào))；馬頭琴；諾古拉；塔希拉嘎；游牧文化姊妹藝術
On the Isomorphism Relation between Long-tune
Songs and Horse-head Musical Instrument
Buren
(Inner Mongolia TV station, Hohhot City, 010010, Inner Mongolia)
Abstract: Mongolia Urdinduu and horse-head musical instrument are twin sister art in nomadic culture. One is vocal music, and the other is the instrumental music and the maximum difference is whether it has lyrics inthe aesthetic characteristics. Urdinduu is basically identical to Nugula and of horse-head musical instrument; however, this paper argues that Tashilag does not belong to the Nogola category. They are different in its meaning and sound effects, performance skills. We should separately define the two concepts concerning performance to facilitate accurate inheritance and protection.
Key words:Urdinduu ; horse-head musical instrument; nugula; Tashilaga; nomadic culture sister arts
淺論蒙古族三弦演奏技巧與蒙古族民間音樂內(nèi)涵的關系
李錫波
（河北藝術學院，河北 石家莊050011）
摘 要：2012年11月11日，中央音樂學院舉辦了蒙古族三弦音樂周國際研討會，本人受組委會邀請有幸參加了研討會，大會期間傾聽、觀摩了各位與會專家、學者對蒙古族三弦的講座及演奏，其中由中央民族大學研究員烏蘭杰、內(nèi)蒙古大學教授楊玉成、蒙古國國立文化藝術大學教授烏云其木格等等，進行的三弦講座使我感觸頗深、受益匪淺。民族樂器——三弦，隨著蒙古人民的日常生活，經(jīng)歷了漫長的傳承和發(fā)展過程，現(xiàn)已成為蒙古民族音樂文化長河中，絢麗燦爛的器樂種類。隨著時間的流淌，蒙古三弦越來越受到廣大人民群眾的喜愛與傳承，同時也受到業(yè)內(nèi)、業(yè)外人士的青睞與認可。蒙古族人民歷來以能歌善舞熱情豪放立足于我國的多民族之林，蒙古族把三弦、四胡、馬頭琴、竹笛稱為蒙古民族的“四大件”樂器。本文通過文字闡述，對蒙古族三弦及三弦在蒙古民歌伴奏中的演奏技法進行了剖析。
關鍵詞：蒙古；三弦；演奏；長調(diào)；短調(diào)；技巧；心理
The Relationship between Mongolia Sanxian Playing Skills
and Mongolian Folk Music Connotation
LI Xi-bo
(Hebei Art Institute, Shijiazhuang 050011, Hebei)
Abstract: On November 11, 2012, Central Conservatory of Music held the International Seminar Mongolia Sanxian Music Week. I was invited to participate in the seminar, during the general assembly, listened to, observed, the playing and lecturesgiven by all the experts, scholars of the Mongolia Sanxian, among which there are Minzu University of China researchers Wulanjie, Inner Mongolia University professor Yang Yucheng, professor Uyunqimg from Mongolia National University of the Arts culture and so on. I have deep impression on three lectures with much benefit. National instruments --, along with the Mongolia people's daily life, the long inheritance and development of, Mongolia have become the national music culture, magnificent and splendid music types. As time goes by, Mongolia Sanxian increasingly favored and inherited the broad masses of the people's favor and recognition, and also gort recognition of many people. Mongolian people have always been good at singing and dancing among China's nationalities, three-stringed,Sanxian ,four-stringed musical instrument and horse-head musical instrument and bamboo flute are the four main musical instruments of Mongolian nationality. This paper analyzes Mongolia Sanxian and the playing techniques
Key words: Mongolia; Sanxian; performance; long-tune; short -tune; skills; psychology
淺論蒙古高音四胡樂曲的素材
來源及其構(gòu)成
包愛玲
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古 呼和浩特 010010）
摘 要：民歌、民間歌舞、說書調(diào)、民間器樂曲是蒙古高音四胡的曲目及其曲調(diào)素材來源。本文將蒙古高音四胡原有的曲目及其素材與現(xiàn)有的曲目做比較，力求窺探作曲家是如何運用這些素材進行改編、創(chuàng)作四胡音樂的，其素材在樂曲中的作用和地位以及表現(xiàn)特征。
關鍵詞：蒙古高音四胡；民歌；說書調(diào)；民間器樂曲；民間歌舞
Mongolia High Pitch Four-stringed Musical Instrument
and the Source of Its Tune Material
BAO Ai-ling
(Art College of Inner Mongolia University, Hohhot 010010, InnerMongolia)
Abstract: Folk songs, folk dance, storytelling tune, folk instrumental music are the sources of Mongolian high pitch four-stringed musical instrument and its tune material. This paper compares the original music with nowadays existing ones, trying to find out how the composer use these materials in adapted music creation, the role and characteristics status of the material in the music and performance.
Key words: Mongolian high pitch four-stringed musical instrument; folk songs; storytelling tune; folk instrumental music; folk dance and song
從洞經(jīng)音樂到“納西古樂”
——麗江洞經(jīng)音樂的本土化與身份重構(gòu)
楊杰宏
（中國社會科學院民族文學研究所， 北京 100732）
摘 要：麗江洞經(jīng)音樂由原來的“道教音樂”先后嬗變?yōu)?ldquo;文人音樂”“雅樂” “麗江古樂”“納西古樂”等不同名稱，從中折射出不同時代的語言對這一族群藝術身份的不同定位。從麗江洞經(jīng)音樂的本土化最終結(jié)果來看，不同族群之間的文化融合與認同，既有利于消除社會階層的對立與族群鴻溝，也有利于族群及其文化的重構(gòu)與地方文化的多樣性發(fā)展，由此也闡明了洞經(jīng)音樂作為一種文化藝術在族群文化重構(gòu)中的意義與功能。
關鍵詞：洞經(jīng)音樂；納西古樂；族群身份；文化認同
From the Dongjing Music to "Naxi Ancient Music"
—— The localization and identity reconstruction in Lijiang Dongjing music
YANG Jie-hong
(Ethnic Literature Institute of Chinese Social Sciences Academy, Beijing 100732)
Abstract:Lijiang Dongjing music has evolved from the original "Taoist music" into a "music" and "scholar music", "ya music", "Lijiang ancient music" "Naxi ancient music" and other names, from which reflects the different positioning identity of different group of art language. From the localization result of Lijiang Dongjing music, we see that culture and identity between different ethnic groups, is conducive to eliminate the opposition and ethnic division of social class, and it is also helpful to the development of reconstruction of ethnic and cultural diversity and local culture. This paper also clarifies the significance and function of Dongjing music as a cultural art in reconstruction of the culture of ethnic groups .
Key words: Dongjing music; Naxi ancient music; ethnic identity; cultural identity
辛滬光交響詩《嘎達梅林》的節(jié)奏特征
鞏賀凱
（內(nèi)蒙古民族歌舞劇院，內(nèi)蒙古 呼和浩特 010050）
摘 要：節(jié)奏是音樂重要的組成要素，通過節(jié)奏可以將調(diào)式音列中的各音組合成具有一定意義的音調(diào)，并賦予其活力。翻閱交響詩《嘎達梅林》的總譜，我們會發(fā)現(xiàn)節(jié)奏的合理安排以及豐富變化是這首作品的一個主要特點，作曲家辛滬光憑借其對音樂的準確把握，將不同的節(jié)奏型進行合理安排，使樂曲真實的再現(xiàn)了嘎達梅林英勇起義的那一段歷史故事。
關鍵詞：辛滬光；交響詩；嘎達梅林；節(jié)奏型
The rhythm feature of Xin Hu-guangs Symphonic Poem "Gadamerin"
GONG He-kai
(School of music, Inner Mongolia Normal University, Hohhot 010022, Inner Mongolia)
Abstract: Rhythm is an important element of music, through which the music tone sound can be combined into a certain meaningful tone, and show vitality. Reading Symphonic Poem "Gadamerin", we will find the reasonable arrangement of rhythm and rich change is one of the main characteristics of this piece, the composer Xin Hu-guang uses her accurate grasp of the rhythm of music, f reasonably arranges the different types so that the music reflects the real historical story of heroic uprising of Gadamerin.
Key words: Xin Hu-guang; symphonic poem; Gadamerin; rhythm
從兒童鋼琴曲《安代傳說》
看民族音樂語言的現(xiàn)代闡釋
楊玉蓉
（內(nèi)蒙古師范大學音樂學院，內(nèi)蒙古 呼和浩特市 010010）
摘 要：安代舞是蒙古族傳統(tǒng)民間歌舞，節(jié)奏熱烈歡快。其最早源于蒙古族薩滿教，即：博教。關于蒙古族安代文化，以及安代音樂、舞蹈的理論成果較為豐富，為研究蒙古族民間歌舞藝術提供了理論依據(jù)。以“安代”為題材創(chuàng)作的鋼琴作品還不多見，本文以蒙古族的安代文化研究為線索，以《兒童鋼琴曲集——安代》中的10首《安代傳說》為例，解析曲作者將蒙古族的安代文化傳統(tǒng)觀念融入兒童鋼琴曲《安代傳說》，將蒙古族的安代文化傳統(tǒng)與西方傳統(tǒng)復調(diào)創(chuàng)作技法創(chuàng)造性的結(jié)合。旨在通過兒童鋼琴音樂教育，向世界介紹中國蒙古民族的民間音樂魅力，使其煥發(fā)時代的氣息。
關鍵詞：安代研究；兒童鋼琴曲；10首《安代傳說》；創(chuàng)作技法
Viewing the National Musical Language from the Modern Interpretation of the Children's Piano Music " Andai Legend"
YANG Yu-rong
(School of Music, InnerMongolia Normal University, Hohhot 010010, Inner Mongolia)
Abstract: Andai dance is the Mongolia traditional folk songs and dances with warm and lively rhythm. It originated from Mongolian Shamanism. There are rich theoretical results about Mongolian Andai culture, Andai dance and music, providing the theory basis for the research of Mongolia folk song and dance art. The piano works with the theme of Andai are rare. This article, taking the cultural research on Mongolia Andai culture as a clue, and chooses the 10 " Andai Legend" from the Children's Piano Music ---Andai to analyze how the composer melted the Mongolia nationality Andai cultural tradition into the piano song " Andai Legend", and give analysis of the creative combination of the Mongolia nationality Andai tradition and western traditional polyphony creation technique. Aiming at children's piano music education, it introduces China's Mongolian ethnic folk music to the world, making it full of the spirit of the times.
Key words: Andai research; piano music for children; 10 "Andai legend"; composing techniques
鋼琴協(xié)奏曲《安岱》主題之分析
華夏
（內(nèi)蒙古師范大學音樂學院，內(nèi)蒙古 呼和浩特 010022）
摘 要：鋼琴協(xié)奏曲《安岱》是我國蒙古族作曲家莫爾吉胡先生首創(chuàng)的民族樂器與鋼琴相結(jié)合的作品。該作品運用科爾沁草原上的民間歌舞“安代”作為題材進行創(chuàng)作，對于繼承和發(fā)展民族民間音樂起到了巨大的推動作用。本文對于作品主題進行分析，進一步發(fā)掘其音樂作品中流露出的民歌素材。
關鍵詞：莫爾吉胡；鋼琴協(xié)奏曲；《安岱》；主題
Analysis of theme of the Piano Concerto"Andai "
HUA Xia
(School of Music, InnerMongolia Normal University, Hohhot 010022, Inner Mongolia)
Abstract: The Piano Concerto "Andai" is created by the Mongolian composer Meregjihu with the combination of national instrument. This work uses the Horchin folk song and dance "Andai" as the theme creation, has played a great role in promoting the inheritance and development of folk music. This paper analyses the theme of the work and further explores folk song elements in his music works.
Key words: Meregjih; Piano Concerto; "Andai"; theme
青海熱貢“六月會”儀式音樂敘事解讀
——以同仁縣隆務鎮(zhèn)四合吉村“六月會”為例
曹婭麗 邸莎若拉
（青海民族大學， 青海 西寧810007）
摘 要：本文對青海熱貢“六月會”儀式音樂做了精細地記錄和描述分析；既關注六月會與儀式音樂的敘事形態(tài)，包含獨特的古老民歌、咒語、預言以及各種敘事，又梳理、分析并強調(diào)儀式音樂有著獨自的結(jié)構(gòu)和審美特點，并致力于對這些特點的揭示和發(fā)掘。試圖闡述六月會敘事性和儀式音樂形態(tài)。從而為進一步研究中國少數(shù)民族儀式音樂和構(gòu)建其理論奠定基礎。
關鍵詞：六月會；儀式；音樂敘事
Interpretation of the Music Narration of the Qinghai Regong
" June Ceremony"
—— A case study of " June Ceremony" of Siheji Village, Longwu Town, Tongren County
Cao Yali Di Sha ruo-la
(National University of Qinghai, Xining 810007, Qinghai)
Abstract: This paper makes a fine record and description of " June Ceremony" in Regong of Qinghai province, not only pays attention to the narrative form of the music containing the unique ancient folk songs, incantation, prophecy and various narration, and carding, analysis and emphasis of the ritual music, and tries to reveal the structure and aesthetic features. It attempts to illustrate the the narrative and ritual music form so as to further study Chinese ethnic ritual music and lay the foundation for the theory building.
Key words: " June Ceremony"; ceremonies; music narration
寶雞官村壽峰寺清末壁畫調(diào)查研究
李強
（寶雞文理學院美術系，陜西省 寶雞721013）
摘 要：寶雞官村壽峰寺，始建于明成化年間，寺內(nèi)的古建筑保留有清末壁畫與建筑彩畫，壁畫保存面積大，表現(xiàn)內(nèi)容豐富。壽峰寺壁畫繪畫手法精湛，人物造型生動，堪稱民間壁畫的精品。與其它地區(qū)寺觀壁畫比較，在人物塑造，線條的形式風格，內(nèi)容題材的表達上都有其歷史傳承與地域特色，值得保護并加以研究。
關鍵詞：壽峰寺；建筑壁畫；佛教
An Investigation of Fresco in the Shoufeng Temple of Baojiguan Village, in the late Qing Dynasty
LI Qiangn
(Fine Arts Department of Baoji University of Arts and Sciences, Baoji 721013, Shaanxi Province)
Abstract: Shoufeng Temple of Baojiguan Village was built in the Ming Dynasty, the ancient temple building retains frescos and architectural painting in Qing Dynasty, with large area of fresco preservation with rich content. Shou Feng temple fresco painting is exquisite with vivid characters, called folk fresco boutique. Compared with the temple frescos in other areas, they have the historical and geographical features in characters, lines in the style, content and expression of theme worthy of protection and research.
Key words: Shoufeng Temple, architectural fresco; Buddhism
內(nèi)蒙古錫林郭勒盟烏珠穆沁草原熏皮蒙古袍制作的田野調(diào)查
——以熏制皮料為主要考察內(nèi)容
塞娜
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古 呼和浩特 010010）
摘 要：服飾不僅體現(xiàn)了一個民族的生活習慣和審美需求，同時也蘊含了豐富的歷史意義。做為非物質(zhì)文化遺產(chǎn)的烏珠穆沁熏皮袍，在經(jīng)歷了幾百年歷史后走到今天，已經(jīng)出現(xiàn)瀕臨滅絕的困境。本文通過調(diào)查和采訪當?shù)厥止に嚾肆私饬搜さ闹谱鞴に嚭蛡鞒鞋F(xiàn)狀以及面臨的問題。
關鍵詞：烏珠穆沁熏皮袍；手工藝；文化遺產(chǎn)；傳承
The Field Work of the Mongolian Smoked Leather Gown Making
of Ujumqin Grassland of Xilingol League of Inner Mongolia
——Take smoked leather as the main investigation content
Saina
(Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract:The dressing not only reflects a nation's living habits and aesthetic requirements, but also contains rich historical significance. As the intangible cultural heritage, Ujumqin gown, hundreds of years of history till today, has been in the endangered plight. This article gets to know about the production process and the status quo of inheritance of smoked skin and interviews the local craftsmen for investigation.
Key words: Ujumqin smoked leather gown; crafts; cultural heritage; heritage
湖南沙坪湘繡轉(zhuǎn)型與發(fā)展的調(diào)研報告
焦成根 謝洋慧 孫舜堯
(湖南師范大學工程與設計學院，湖南 長沙 410081)
摘 要：湘繡作為非物質(zhì)文化遺產(chǎn)，在市場經(jīng)濟環(huán)境中如何尋求再生，要通過文化研究與市場創(chuàng)新的雙軌實踐。“中國湘繡之鄉(xiāng)”沙坪作為現(xiàn)代湘繡的發(fā)源地，擁有規(guī)模最大的湘繡生產(chǎn)集群，在行業(yè)模式、人才培養(yǎng)、工藝創(chuàng)新等現(xiàn)代湘繡的轉(zhuǎn)型與發(fā)展等方面，有著較為顯著的個案研究意義。
關鍵詞：湘繡；行業(yè)；校企合作；市場經(jīng)濟；發(fā)展
Research Report of Hunan Shaping Xiang Embroidery Transformation and Development
JIAO Cheng-gen XIE Yang-hui SUN Shun-yao
(College of Engineering and Design, Hunan Normal University, Changsha410081, Hunan Province)
Abstract: As intangible cultural heritage, embroidery should seek for the revival in market economic environment through the dual practice of cultural research and market innovation. Shaping ," Chinese embroidery town" as the birthplace of the modern embroidery, has the largest industry pattern , and it has very significant research meaning in personnel training, technology innovation, transformation and development in modern times.
Key words:Xiang embroidery; industry; school-enterprise cooperation; market economy; development
顏色考古學：昆士蘭西北部宛依
彩虹的顏色及力量
保羅·S.C.塔森 著 李修建 楊小暉 譯 李修建 校
（澳大利亞昆士蘭格里芬斯大學黃金海岸校區(qū)4222）
摘 要：2002年，我們結(jié)合持續(xù)的考古發(fā)掘，對宛依地區(qū)的巖畫藝術進行了一項調(diào)查。我們記錄下了各種各樣的主題、風格、和技巧，并從宛依老人那里記錄下了相關的口述歷史，將其與考古學檔案進行了評估判斷。還記錄了大量彩虹般的圖樣，包括紅色的和紅黃兩色的，以及一條華麗而巨大的紅黃相間的彩虹蛇。我們對這些以及其他關于古人的旅行、彩色顏料的故事與使用當?shù)氐氖^作為工具和標記重要的精神場所的圖像進行了探討。一個連接橫跨澳大利亞北部和中部社區(qū)的網(wǎng)絡突顯了出來。我們的結(jié)論是：顏色在表達和維持地域關系、古人和其他群體的關系上具有根本性的作用。在將其與別的地區(qū)的原住民的顏色使用方式進行比較時，可以看出重要的地方差異。本研究強調(diào)了色彩研究對于考古學具有普遍性的價值。
關鍵詞：顏色；宛依；彩虹蛇；考古學
Color Archaeology: Queensland, the Colors of the Rainbow and Strength of Waanyi in the Northwest
Written by Paul S.C. Tason, Translated by LI XIiu-jianand YANG Proofread by Li Xiu-jian
(Queensland GriffinUniversity, Gold Coast, 4222)
Abstract: In 2002, we combined the ongoing archaeological excavation to a survey of cliff painting in Waanyi . We recorded a variety of themes, styles, and skills, and recorded the oral history related from the Waanyi old people, making evaluation and judgment with the archaeological records.
We also recorded a lot of patterns like rainbows, including red and yellow ones, as well as a gorgeous and huge red yellow rainbow snake. We discussed these and other stories of travel, color pigment with the use of local stone as a tool and the image marking important spiritual place. A network connecting across northern and central Australia community has been highlighted. Our conclusion is: color is fundamental in the expression and maintenance of regional relations and plays an important role in relations between the ancients and the other groups. When compared them to the colors used by other aboriginal, we can see important local differences. This study emphasizes the universal value of color research for archaeology
Key words: color; Wannyi; rainbow snake; archaeology
淺議如何培養(yǎng)在視覺傳
達設計中的創(chuàng)意思維
敖玉楣
（內(nèi)蒙古呼和浩特職業(yè)學院美術與傳媒學院，內(nèi)蒙古 呼和浩特 010010）
摘 要：在當今數(shù)字化、信息化極度發(fā)達的時代與科技飛速進步的社會中，設計師如何運用準確、直觀的視覺符號傳遞出正確、充分的信息內(nèi)容。并將其在眾多使用視覺媒介傳遞的信息中脫穎而出，使信息接受者能最大限度的獲取設計師所表達的思想以及內(nèi)容，并且使信息接受者產(chǎn)生過目不忘的感覺。這將是筆者在本文中所提出創(chuàng)意思維對于設計師的重要性，并且研究如何去培養(yǎng)視覺傳達設計中設計師的創(chuàng)意思維。
關鍵詞：創(chuàng)意思維；視覺傳達設計；設計師；表現(xiàn)手法
An Approach to How to Cultivate the Creative Thinking in the Visual Communication Design
AO Yu-mein
(School of Art and Media, Hohhot Vocational College, Hohhot 010010, Inner Mongolia)
Abstract:In the era of extremely developed the digitalization and information and in the society with rapid progress of science and technology, It is important for the designers to use accurate, intuitive visual symbols to transmit the correct, sufficient information. And they stand out in the tremendous visual media information to enable the information receivers to obtain maximum thought and content with an extraordinary retentive memory. This article points out the importance of the creative thinking for the designers and makes research onn how to cultivate the designer's creative thinking in visual communication design.
Key words:creative thinking; visual communication design; designer; expression skills
開掘心靈世界的藝術
——曹禺與奧尼爾劇作表現(xiàn)主義技巧比較
孫曉燕
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古 呼和浩特 010010）
摘 要：在藝術表現(xiàn)上，曹禺和奧尼爾都大量運用內(nèi)心世界的外向化和別具一格的象征手法，帶有表現(xiàn)主義戲劇的鮮明個性。通過面具、獨白、旁白、音響、分割演區(qū)等革新了的喜劇演出手段，描摹人物的內(nèi)心世界、展現(xiàn)心理沖突、揭示人物命運。他們善于把個人與社會的沖突放在人物的心靈內(nèi)部來進行，繞過人物的外部動作而將隱藏在背后的真實，即心理的真實直接揭示出來。奧尼爾和曹禺劇作中大量的象征意象成為他們悲劇意識的美學載體，他們兩人的悲劇具有詩的美學價值。
關鍵詞：曹禺；奧尼爾；表現(xiàn)主義；藝術技巧
The Art Digging the World of Soul
——A comparative study between Cao Yu and O'neal's expressionist skills of plays
SUN Xiao_yan
(Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract:In the artistic expression, both Cao Yu and O'neal use a large number of export-oriented inner world and have a style of symbolism with distinct features of expressionist plays. Through the mask, monologue, narrator, audio segmentation algorithm, region innovation of the comedy show, they depict the inner world of characters, show the psychological conflict, reveal the fate of the characters. They are good at describing the conflict between the individual and the society in the heart of the characters to bypass the characters, reveal the external action hidden behind the real, namely psychological truth. O'neal and Cao Yu's massive symbolic image become the carrier of their tragedy consciousness of aesthetics with the poetic aesthetic value in their tragedy.
Key words: Cao Yu; O'neal; expressionism; artistic techniques