《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報》
2014年第4期中英文論文摘要、關(guān)鍵詞
莫爾吉胡《弦樂四重奏1號•Ⅰ樂章》創(chuàng)作特色管窺
張雅然
（內(nèi)蒙古師范大學(xué)音樂學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:音樂作品的表演形式多種多樣，弦樂四重奏是其中很重要的一種音樂體裁。莫爾吉胡先生這首《弦樂四重奏1號》，集中體現(xiàn)出其音樂創(chuàng)作上的許多特點(diǎn)。本文通過較為系統(tǒng)的分析，對其主題創(chuàng)作、曲式結(jié)構(gòu)、調(diào)式和聲、音樂織體形態(tài)和演奏技巧發(fā)揮等諸方面的音樂元素，進(jìn)行了較為深入的闡述與研究，從中得出一些“弦樂四重奏”民族化方面的創(chuàng)作經(jīng)驗(yàn)，對內(nèi)蒙古“草原樂派”音樂創(chuàng)作具有一定的啟發(fā)意義。
關(guān)鍵詞：莫爾吉胡；四重奏；主題旋律；多聲部織體；曲式結(jié)構(gòu)
On Creative Features of Meregjih’s “First Movement
of String Quartet No. 1”
ZHANG Ya-ran
(Conservatory of Muisc, Inner Mongolia Normal University, Hohhot, Inner Mongolia, 010010)
Abstract: In the various performances of musical works, string quartet is a very important kind of music genre. Meregjih’s song “String Quartet No. 1” embodies many characteristics of his music creation. Through a systematic analysis, this article makes a more in-depth exposition and research on its theme creation, musical structure, tuned harmony, musical structure and shape, performance skills, and other aspects of musical elements, and draws some creative experience of nationalization of “strings quartet”, and has certain enlightening significance to Inner Mongolian “Prairie Music”.
Key words: Meregjih; String quartet; Theme melody; Multi-voice texture; Musical structure
“每日練習(xí)”與身體機(jī)能和音樂技能的增長
Jason Dovel1 著，王增鑫2 譯，李 銳3 校
（1,3.肯塔基大學(xué)藝術(shù)學(xué)院，肯塔基州萊克星頓市，美國 40506
2.內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特市 010010）
摘 要:每個小號演奏者應(yīng)該保持“每日練習(xí)”（Daily Routine）有諸多原因。在文中我會一一列出。希望這篇文章能夠幫助讀者對“每日練習(xí)”形成正確認(rèn)識，并對自己的個人練習(xí)和進(jìn)展有所幫助。文中提到的教材都很值得一試，然而還有很多其他教材可供選用，作者鼓勵大家嘗試不同教程，并尋求和發(fā)展一套適合自身的“每日練習(xí)”，以最大限度地幫助自己從前一天的演奏中恢復(fù)，為每天的演奏做好準(zhǔn)備。
關(guān)鍵詞：每日練習(xí)；身體機(jī)能；音樂技能；小號演奏
Achieving Physical and Musical Skills Through a Daily Routine
Written by Jason Dovel1 Translate by Wang Zeng-xin2 Proofread by Li Rui3
(1, 3. Art College of Kentucky University, Lexington, Kentucky, USA 40506
2.Art College of Inner Mongolia University，Hohhot，Inner Mongolia 010010)
Abstract: There are many reasons why a trumpet player should have a daily routine. I will list them one by one in the article. It is hoped that this brief introduction to the concept of a daily routine will be valuable to the reader in their development of their own regular practice regimen. While the books and studies mentioned in the article are quite valuable, they are certainly not the only books available. This author encourages us to experiment with many different trumpet method books and seek to find a daily routine that best helps us prepare for our day of playing, recover from prior days of playing.
Key words: Cdaily routine；physical instrument ；musical technical；trumpet playing
功能性轉(zhuǎn)換與拙樸之美的強(qiáng)化
——論榮昌傳統(tǒng)夏布工藝文化及其當(dāng)代創(chuàng)新發(fā)展
李雪艷
（南京曉莊美術(shù)學(xué)院，江蘇省南京市 210013）
摘要：榮昌夏布的織造工藝有著悠久的歷史，并在傳統(tǒng)生活中發(fā)揮著衣飾帷帳等植物性纖維織物的重要日用功能；其獨(dú)特的漿漂工藝使夏布輕薄細(xì)密，色澤瑩潤的優(yōu)良品質(zhì)得以最終實(shí)現(xiàn)；榮昌夏布材質(zhì)、肌理、工藝場景特有的拙樸之美，在當(dāng)代夏布創(chuàng)新工藝發(fā)展中得以強(qiáng)化，并賦予夏布扇、畫以沉靜、古樸的風(fēng)格；夏布現(xiàn)代日用品的功能性轉(zhuǎn)向，返璞歸真的生活理念、傳統(tǒng)與時尚結(jié)合的設(shè)計(jì)理念將被不斷呈現(xiàn)。
關(guān)鍵詞：榮昌夏布；漿漂工藝；拙樸之美；當(dāng)代創(chuàng)新
Functional Transformation and Strengthening of Simple Beauty
——Rong-chang County Traditional Linen Craft Culture and Its Contemporary Innovation and Development
Li Xue-yan
(Colleg of Fine Arts ,Nanjing Xiaozhuang University,Nanjing,Jiangsu,210017)
Abstract: Grass linen weaving technique has a long history in Rong-chang County , and it Plays an important part,such as Clothes, mosquito nets and other plant fiber fabric in traditional daily life. Special jiang-piao craft makes the grass cloth light, thin, dense, smooth and look shining. The unique natural beauty of material, texture and workplace about Rongchang linen, has been strengthened through contemporary innovation and development, and it gives fans and Paintings simple style simultaneously which is made by grass cloth .The design concept of functional transformation , simple life philosophy, and combination of traditional and modern fashion appears continuously.
Key words: Rong-chang County traditional linen;Jiang-Piao craft ; Simple beauty;Contemporary innovation
川東北木雕“牛王菩薩”的文化意蘊(yùn)
李東風(fēng)
（西華師范大學(xué)美術(shù)學(xué)院，四川 南充 637002）
摘 要:牛成為民間的保護(hù)神，淵源于遠(yuǎn)古的動物圖騰信仰，后來演變?yōu)閯游锷?。秦代已有祭牛神的風(fēng)俗。川東北地區(qū)有供奉“牛王菩薩”的習(xí)俗，大多為20-40公分左右的木雕造像，木雕作品的菩薩和牛，形象生動、姿態(tài)各異。造像把對牛的圖騰崇拜和佛教菩薩信仰結(jié)合在一起，其文化意蘊(yùn)已經(jīng)不是單一的宗教祭祀，是農(nóng)耕文化的體現(xiàn)。是道教、佛教、原始圖騰崇拜的綜合體，充分傳達(dá)出中國民俗文化的特點(diǎn)，具有表達(dá)農(nóng)耕文化的符號意義。迄今為止川北的南部縣每年都有牛王會。
關(guān)鍵詞：牛王菩薩；牛圖騰崇拜；摩醯首羅天；老子像；民俗信仰；法器
Cultural Implications of Wood Carving “Cattle King
Bodhisattva” in Northeast Sichuan
LI Dong-feng
(Fine Arts Department, China West Normal University, Nanchong, Sichuan, 637002)
Abstract: Cattle became folk patron God from an animal totem belief, and later it evolved into an animal god. There was a custom of offering sacrifice to Cattle God in Qin. “Cattle King Bodhisattvas” were enshrined in northeastern Sichuan which were mostly around 20-40 cm wooden carvings. Carvings of Buddha and cattle were vivid with various shapes. Carvings combined the cattle totem worship with the Buddhist Bodhisattva beliefs, whose cultural implication was not a single religious worship but a manifestation of farming culture and a complex of Taoism, Buddhism, primitive totem worship, which fully conveyed the characteristics of Chinese folk culture with the expression of symbolic significance farming culture. So far, “Cattle King Festival” is celebrated in Southen County in North Sichuan every year.
Key words: Cattle King Bodhisattva; Cattle totem worship; Mahesvara; Laozi sculpture; Folk beliefs; Dharma-instruments
蚺蛇與甘工鳥：黎族造物的圖騰與禁忌
袁曉莉
（海南大學(xué)藝術(shù)學(xué)院，海南 ?？?nbsp; 570228）
摘 要:人類在面對自然的壓力與生存的威脅時，會求助于超自然的神靈來保護(hù)自己，它可能是對人類生存有力的某種動植物，抑或是使人無比畏懼的生靈。而蚺蛇在黎族先民的生活中，同時扮演了這兩個角色。對于穿梭于山區(qū)密林和跋涉于河流的黎族人來說，蛇是重要的圖騰代表，他們以印記與象征的方式將蛇形掛在門楣上、戴在脖頸上、織繡在衣服上、刻畫在身體上，神圣之情狀以種種物象而表達(dá)，得其保佑而世代相傳；而鳥也是黎族人在生存悠關(guān)的動植物中建立起的血親與氏族標(biāo)志。鳥紋是黎族衣飾、頭飾、以及文身上最為多樣、最集中的反映黎族審美智慧的藝術(shù)形象，尤其是各方言的甘工鳥，都是黎族古老神話投射出的黎族社會從蒙昧走向文明的見證，是黎族先民在萬物有靈的認(rèn)識基礎(chǔ)上，通過幻想與神秘認(rèn)知而對自然現(xiàn)象與生存狀態(tài)進(jìn)行的感性加工。這不僅體現(xiàn)了黎族先民圖騰文化觀下的集體意識，為巫術(shù)的產(chǎn)生、發(fā)展以及祖先崇拜奠定了精神基礎(chǔ)，而且用一種特殊的思維方式表達(dá)出原始記憶中的人與自然、人與社會之間的關(guān)系。同時，對于圖騰的崇拜也必然生出相應(yīng)的禁忌，它是以限制為手段，調(diào)節(jié)發(fā)展了黎族內(nèi)部個人與集團(tuán)之間的統(tǒng)一關(guān)系。
關(guān)鍵詞：黎族；圖騰；禁忌；蛇；鳥
Pythons and Gan Gong birds: Totem and Taboo of
Li People 's Creation
Yuan Xiao-Li
(College of the Arts, Hainan University ,Haikou, Hainan,570228)
Abstract: Human in the face of natural pressure and threats to their existence, turn to the supernatural gods to protect themselves, gods may be some animals and plants that are effective for helping human survival, or living creatures that make human extreme fear. While the pythons play the two roles at the same time in Li ancestors’ life. For shuttling in the mountains and wading in the rivers of Li people, snakes are the important representatives of totem. To mark and symbol of the way , Li people will be the shape of a snake hanging on the lintel, worn on their neck, weaved and embroidered on their clothes, tattooed their bodies, and passed on from generation to generation. Birds are also Li people's consanguinity and Clan symbol. Bird patterns is artistic image that is the most diverse, and the most concentrated reflection of Li's aesthetic wisdom in clothing, headwear and tattoo, especially the five major dialects of the Gan Gong birds, are the ancient myths in the projection of the Li society from barbarism to civilization witness; Bird patterns is Li people based on the old animistic world view, through the fantasy and mystery cognitive , worked on the perceptual processing for natural phenomena and survival situation. This not only reflects the collective consciousness of Li ancestors totem culture perspective, laid the foundation of spirit for the generation and development of witchcraft, and ancestor worship, but also through a special way of thinking expresses the relationship between man and nature, man and society in the original memory. At the same time, the totem worship will surely bring forth the corresponding taboo, it is based on the limit of the method, adjust and develop Li people's internal unity relations between individual and group.
Key words: Li People; Totem; Taboo; snakes; birds
侗族傳統(tǒng)民居色彩象征研究
趙巧艷
（廣西師范大學(xué)漓江學(xué)院管理系，廣西 桂林 541006；
中國社會科學(xué)院民族學(xué)與人類學(xué)研究所博士后流動站 北京 100081）
摘 要:通過對色彩符號與象征蘊(yùn)義的理論梳理，提煉出侗族基于對色彩的心理反應(yīng)和情感反應(yīng)在傳統(tǒng)民居上所形成的一整套色彩象征體系。然后以這套系統(tǒng)中五種基本顏色——紅、白、黑、黃、青（綠）為剖析對象，分別對侗族傳統(tǒng)民居色彩象征意義傳遞的兩個媒介物——建造儀式和空間區(qū)隔中的色彩運(yùn)用及意義表征進(jìn)行闡釋。結(jié)論表明，無論儀式場域的色彩運(yùn)用，還是橫向空間或者縱向空間的色彩區(qū)隔，它們最后的象征意涵都是一致的，很好地表達(dá)了侗族傳統(tǒng)民居所追求的幸福美滿人生目標(biāo)。
關(guān)鍵詞：侗族；傳統(tǒng)民居；色彩象征
Study on Colour Symbol of Traditional Dong Dwellings
Zhao Qiao-yan
(Department of Management, Lijiang College, Guangxi Normal University, Guangxi Guilin 541006； Post-doctoral Research Station of Institute of Ethnology and Anthropology, Chinese Academy of Social Sciences, Beijing 100081)
Abstract: Through theoretical comb about colour signs and their symbolic meanings, the article epurated a comprehensive colour symbolic system of Dong in traditional dwellings on the basis of psychological and emotional reaction for colours. Then, five fundamental colours in this system, which are white, black, red, cyan (green, blue) were chosen as analytic objects. The article interpretated respectively in detail the colour application and signification representation of two meaning intermediaries in traditional Dong dwellings. The conclusion indicates, whether the colour application in ritual field, or colour separation in horizontal or vertical space room, the final symbolic significance of colour are the same, that is the pursuit for a happy and satisfactory living aim of house owners via the dwelling.
Key words: Dong nationality; traditional dwellings; colour symbol
淺議大理小鎮(zhèn)商鋪與當(dāng)?shù)啬镜癜l(fā)展的關(guān)系
胡 凌
（云南大學(xué)民族研究院，云南 昆明 650504）
摘 要:在劍川木雕的產(chǎn)業(yè)化發(fā)展模式下，工藝品的作坊式生產(chǎn)和集鎮(zhèn)商鋪銷售不僅是一種補(bǔ)充，更是該手工藝文化的精華所在和希望所在。本文通過對劍川縣商貿(mào)重鎮(zhèn)甸南的木雕商鋪的例說與簡述，大略表明了木雕個體生產(chǎn)者和從業(yè)人員的生存狀況與行業(yè)發(fā)展趨勢。希望能夠讓更多人關(guān)注到非產(chǎn)業(yè)化的手工藝加工領(lǐng)域，對現(xiàn)有發(fā)展模式有所調(diào)整。
關(guān)鍵詞：木雕；手工藝；發(fā)展；作坊
Shallow Discussion on The Relationship Between Dali's Shop
and Local Woodcarving Development
Hu ling
(National Institute of Yun Nan University,Kunming, Yunnan, 650504)
Abstract: In the industrialization development, the mode of producing handicrafts in workshops and selling them in the town’s shops is not only a supplement, but also the essence and hope for Jianchuan woodcarving. Through some cases and a brief introduction for these woodcarving handicraft shops in Diannan town of Jianchuan county, Dali, this paper roughly shows the living conditions of individual woodcarving producers and other participants and the development of this handicraft. We hope to attract more attention to handmade production as a possibility of deindustrialization, to change the existing main development way.
Key words: Woodcarving; Handicraft; Development; Workshop
魯錦織造技藝的田野調(diào)查報告
張彥芬
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:魯錦作為魯西南地區(qū)特有的一種民間織造技藝，以其織造工藝的復(fù)雜性、渾厚質(zhì)樸的實(shí)用性、色彩艷麗的審美性及所蘊(yùn)含的吉利祥瑞的民俗寓意得以傳承發(fā)展。但在現(xiàn)代化的沖擊下，民眾的生活方式及各種價值觀念的檀變加上外來文化的影響，魯錦逐漸失去了生存與繁榮的土壤，面臨著保護(hù)與搶救的嚴(yán)峻挑戰(zhàn)。隨著政府相關(guān)部門的重視，魯錦織造技藝于2008年被列為國家級非物質(zhì)文化遺產(chǎn)保護(hù)名錄。
關(guān)鍵詞：魯錦；織造技藝；藝術(shù)特征；傳承
Fieldwork Report on the Weaving Technique of Lu Brocade
ZHANG Yan-fen
(College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: As a unique folk weaving art in the southwest region, Lu Brocade inherited and developed on the basis of its complexity of the process, rustic practicality, colorful aesthetic and implied auspicious folk meaning. However, under the impact of modernization, change of various people’s lifestyles and values and the influence of foreign culture made Lu Brocade gradually lose the soil of survival and prosperity, and faced severe challenges of the protection and rescue. With the attention of the relevant government departments, weaving techniques of Lu Brocade was listed as national intangible cultural heritage protection in 2008.
Key words: Lu Brocade; Weaving technique; Artistic characteristic; Heritage
內(nèi)蒙古河套面塑的田野調(diào)查
劉雅超
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:產(chǎn)生于內(nèi)蒙古自治區(qū)西部的河套面塑藝術(shù)，是內(nèi)蒙古農(nóng)耕文化和游牧文化交融互動的民間藝術(shù)碩果，黃河河套得天獨(dú)厚的地理?xiàng)l件為面塑提供了優(yōu)質(zhì)的面粉，作為河套面塑藝術(shù)發(fā)源地的杭錦后旗地區(qū)，恰處于黃河河套的中心區(qū)域。2010年，河套面塑被杭錦后旗人民政府評定為非物質(zhì)文化遺產(chǎn)項(xiàng)目，隨后又入選巴彥淖爾市級的非物質(zhì)文化遺產(chǎn)保護(hù)名錄。本文通過對河套地區(qū)的地理人文環(huán)境的分析和對河套面塑工藝制作過程的展示分析，來突顯河套面塑的藝術(shù)特色及因種種原因面臨的發(fā)展困境。
關(guān)鍵詞：內(nèi)蒙古；河套；面塑；環(huán)境
Fieldwork on Hetao Dough Figurines in Inner Mongolia
LIU Ya-chao
(College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 0100010)
Abstract: Produced in Hetao in the west Inner Mongolia Autonomous Region, dough figurines art is folk art achievement of Inner Mongolian farming culture and the nomadic culture. The unique geographical conditions of Hetao provides high-quality wheat flour for dough figurines. As the birthplace of Hetao dough figurines, Hangjinhouqi area locates just in the central region of Hetao of Yellow River. In 2010, dough figurines are assessed as intangible cultural heritage project by the People’s Government of Hangjinhouqi area, and then are selected for Bayannuoer municipal intangible cultural heritage protection list. Based on the analysis of geographical and cultural environment of Hetao area and the fabrication process of Hetao dough figurines, this article highlights the artistic features of the Hetao dough figurines and the various reasons of the difficulties in development.
Key words: Inner Mongolia; Hetao; Dough figurines; Environment
美洲地區(qū)“蹲踞式人形”巖畫的分類與內(nèi)涵闡釋
張嘉馨1 孫曉勇2
（1.中央民族大學(xué)民族學(xué)與社會學(xué)學(xué)院中國巖畫研究中心，北京 100081
2.蘭州大學(xué)藝術(shù)學(xué)院 甘肅 ，蘭州 730000）
摘 要:遠(yuǎn)去的人們已經(jīng)沉默，但留下的巖畫還在訴說著久遠(yuǎn)而生動的故事，展現(xiàn)著史前先民對外在世界和內(nèi)在自我的認(rèn)知與解讀。本文通過對美洲大陸蹲踞式巖畫的梳理和內(nèi)涵挖掘，探討蹲踞式巖畫與當(dāng)?shù)仫L(fēng)俗、神話、天地觀念之間的內(nèi)在邏輯關(guān)系，在每個地區(qū)獨(dú)特性的基礎(chǔ)上抽象出蹲踞式巖畫這一世界性語匯的“通識”意義。
關(guān)鍵詞：美洲大陸；蹲踞式巖畫；象征意義；比較分析
Stages and Connotation of Squatting Rock Art in American Area
Zhang Jiaxin1 Sun Xiao-yong 2
(1.Minzu university RARAC Beijing 100089;2.Lanzhou university Lanzhou 730000)
Abstract: Though many people have gone, the left rock art is telling the remote and vivid stories which are presenting the perception and interpretation of ancient people on the external world and inner self. This paper, through sorting out squatting type rock art of American continent and exploring its connation, is aiming at discussing the internal logic relationship between squatting rock art and local customs, myths and concepts of heaven and earth and abstracting the “generally-recognized” meaning of squatting-type rock art as a kind of global vocabulary.
Key words: American continent; squatting rock art; symbolic meaning; comparative analysis
城鎮(zhèn)化進(jìn)程中巨野農(nóng)民畫發(fā)展的
人類學(xué)闡釋
邢楠楠
（山東大學(xué)，山東 濟(jì)南 250101）
摘 要:農(nóng)民畫是中國傳統(tǒng)民間美術(shù)的代表，是生發(fā)于農(nóng)村并以農(nóng)民為創(chuàng)作主體而得以呈現(xiàn)的民間藝術(shù)形式。通過對山東省巨野縣五個傳統(tǒng)農(nóng)民畫村落的田野調(diào)查，并以巨野董官鎮(zhèn)劉官屯村、城關(guān)鎮(zhèn)洪廟村和獨(dú)山鎮(zhèn)王劉村為個案，調(diào)研山東省農(nóng)民畫的歷史和村落發(fā)展現(xiàn)狀，探討農(nóng)民畫藝術(shù)形式的保護(hù)及產(chǎn)業(yè)的發(fā)展的問題，以巨野農(nóng)民畫為例的人類學(xué)闡釋旨在探索城鎮(zhèn)化進(jìn)程中傳統(tǒng)民間美術(shù)的保護(hù)及發(fā)展策略。
關(guān)鍵詞：巨野；農(nóng)民畫；人類學(xué)；城鎮(zhèn)化；民間美術(shù)
Anthropological Interpretation of Juye Peasant
Paintings Development in the Process of Urbanization
XING Nan-nan
(Shandong University, Jinan, Shandong, 250101 )
Abstract: Peasant painting is representative of Chinese traditional folk art, which is presented as a folk art form, develops in rural areas and puts farmers as creative subjects. Through fieldwork of five traditional peasant painting villages in Juye County, Shandong Province and taking Liu Guan-tun village Juye Dongguan town, Hongmiao village Chengguan Town and Wangliu Village Dushan Town as a case, this article investigates the history of peasant paintings in Shandong and village development Status and discusses the protection of art form of peasant painting and the development of industries. The anthropological interpretation of Juye Peasant painting aims to explore the protection and development strategies of traditional folk art in the process of urbanization.
Key words: Juye; Peasant painting; Anthropology; Urbanization; Folk arts
宋代至清代梅瓶局部造型設(shè)計(jì)特征
及其演變
李 航
（景德鎮(zhèn)陶瓷學(xué)院陶瓷美術(shù)學(xué)院，江西 景德鎮(zhèn) 333403）
摘 要:梅瓶是中國古代陶瓷器型的代表，也是國人文化審美的體現(xiàn)。本文運(yùn)用圖像學(xué)的研究方法，對梅瓶的口部、頸部、肩部等局部特征進(jìn)行分析研究，得出梅瓶在造型功能上呈現(xiàn)出由盛酒的實(shí)用器向插花的陳設(shè)器轉(zhuǎn)變的規(guī)律特征,并揭示出造型演變背后的不同朝代的審美變遷。
關(guān)鍵詞：梅瓶；局部；設(shè)計(jì)；演變
The Local Design Feature of MeiPing and its Evolution from
Song Dynasty to Qing Dynasty
LI Hang
(Ceramic Fine Arts Department,JingDeZhen Ceramic Institute, Jingdezhen,Jiangxi,333403)
Abstract: As a unique folk weaving art in the southwest region, Lu Brocade inherited and developed on the basis of its complexity of the process, rustic practicality, colorful aesthetic and implied auspicious folk meaning. However, under the impact of modernization, change of various people’s lifestyles and values and the influence of foreign culture made Lu Brocade gradually lose the soil of survival and prosperity, and faced severe challenges of the protection and rescue. With the attention of the relevant government departments, weaving techniques of Lu Brocade was listed as national intangible cultural heritage protection in 2008.
Key words: Lu Brocade; Weaving technique; Artistic characteristic; Heritage
中國北方草原青銅飾牌構(gòu)圖藝術(shù)探析
郭冬梅
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:中國北方草原青銅飾牌藝術(shù)是北方草原早期游牧文化的重要遺存，本文試從飾牌造型之構(gòu)圖和形象兩方面分析草原飾牌的構(gòu)圖藝術(shù)。從實(shí)用的視角分析飾牌構(gòu)圖滿、繁的原因；從取景的視角、大小對比與節(jié)奏方面分析其構(gòu)圖形象。因?yàn)闃?gòu)圖是涵蓋幾乎所有造型藝術(shù)之重要因素，所以對中國北方草原青銅飾牌構(gòu)圖的研究，有利于比照和啟迪對其它中國北方草原造型藝術(shù)門類的深入研究。
關(guān)鍵詞：中國北方草原；青銅飾牌；構(gòu)圖；形象
The Analysis of China's Northern Grasslands Bronze Decoration Art
Guo Dong-mei
(College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: China's northern grasslands bronze decoration art is one of the most important remaining northern prairie in the early nomadic culture. This article analyzes from two aspects of grassland decoration art , one is modelling composition ,the other is image. From the perspective of practical ornaments composition to analyze why it is full and numerous. From the perspective of view, size and rhythm to analyze the composition and image. Because the composition almost covering all of the important factors in the plastic arts, so the study of China's northern grasslands bronze decoration art is advantageous to the comparison and enlightenment to the further study of other Chinese northern prairie plastic arts categories.
Key words: China's northern grasslands; Bronze decoration; Composition; Image
中國當(dāng)代油畫創(chuàng)作中民間美術(shù)元素
應(yīng)用試析
——兼論民間美術(shù)元素傳承保護(hù)入課堂
敖玉楣
（呼和浩特職業(yè)學(xué)院 內(nèi)蒙古，呼和浩特 010051）
摘 要:中國民間美術(shù)作為我國傳統(tǒng)文化的重要組成部分，在當(dāng)代油畫領(lǐng)域里起著不可或缺的作用，但在深究之下，并非所有的民間美術(shù)都可應(yīng)用在油畫中。而對于目前帶有民間美術(shù)特點(diǎn)的油畫作品，我國評判標(biāo)準(zhǔn)也未能做到與時俱進(jìn)。更重要的是，培養(yǎng)高校油畫專業(yè)學(xué)生對于民間美術(shù)的認(rèn)識也僅限于紙上談兵，并未能滲透其深意。因此，筆者從以上三個方面進(jìn)行探討研究，希望能對帶有民間美術(shù)風(fēng)格的油畫創(chuàng)作起到一定積極作用。
關(guān)鍵詞：民間美術(shù)；當(dāng)代油畫；教育；發(fā)展
Application of Folk Art Elements in Chinese
Contemporary Oil Painting
——On the Heritage and Protection of Folk Art Elements into the Classroom
AO Yu-mei
(Hohhot Vocational College, Hohhot, Inner Mongolia, 010051 )
Abstract: As an important part of Chinese traditional culture, Chinese folk art plays an integral role in the field of contemporary oil painting. But getting into the depth of it, not all folk arts can be applied in the oil paintings. As for the current oil paintings with the characteristics of folk art, our criterion also failed to keep pace with the times. More importantly, the cultivation of college students for folk art painting major is limited to an armchair strategist, and failed to penetrate its meaning. Therefore, the author discusses research from the above three aspects, to hope to play a positive role to oil paintings with folk art style.
Key words: Folk art; Contemporary oil painting; Education; Development
“謀殺了上帝”之后
——京西喪禮儀式及用樂的現(xiàn)代變遷
姚 慧
（中國社會科學(xué)院民族文學(xué)研究所，北京 100081）
摘 要:本文將當(dāng)下京西喪禮儀式中的民間瑜伽焰口佛事音樂與袁靜芳的《中國佛教京音樂研究》、王海濤的《北韻佛曲》中記錄的北京瑜伽焰口儀式音樂進(jìn)行對比。在比較中、在儀式音樂現(xiàn)代轉(zhuǎn)型、快餐化與世俗化的表象背后，本文探尋并剖析了當(dāng)下京西喪禮瑜伽焰口佛事音樂所以產(chǎn)生如此嬗變的根本原因。
關(guān)鍵詞：京西喪禮儀式用樂；瑜伽焰口；嬗變；現(xiàn)代性
After Murdering the God: Modern Changes of Funeral Ritual
and Its Music in West Beijing
YAO Hui
(Institute of Ethnic Literature, Chinese Academy of Social Sciences, Beijing 100732)
Abstract: The present paper conducts a contrastive study on Buddhist music of folk Yoga Yankou Rite used in current funeral ritual in west Beijing, and that described in Study of Jing Music in Chinese Buddhism by Yuan Jingfang and in North Buddhist Tunes by Wang Haitao. Through the contrastive study, it analyzes and explores the fundamental cause of the change of the Buddhist music of folk Yoga Yankou Rite, which is featured with modern transformation and secularization.
Key words: Music of funeral ritual in west Beijing; Changes; Yoga Yankou Rite; Modernity
多媒體語境下的新型母語傳播方式
——以納西語為例
朱永強(qiáng)
（中央民族大學(xué)，北京 100081）
摘 要:作為構(gòu)成民族認(rèn)同的關(guān)鍵因素，民族語言對民族文化及民族自身的生存和發(fā)展都有著重要的意義。隨著現(xiàn)代化的推進(jìn)，民族地區(qū)少數(shù)民族語言流失已是一個不可避免的事實(shí)，在這種情況下納西語母語配音視頻的出現(xiàn)讓我們眼前為之一亮，新形勢下的母語傳承體現(xiàn)出其鮮明的時代特點(diǎn)。
關(guān)鍵詞：多媒體;納西語;傳承
The New Language Communication Method for Naxi
Language in The Multimedia
ZHU Yong-qiang
(Minzu University of China , Bei jing 10081 )
Abstract: As a key elements of national identity, national language is very important for the ethnic culture and the ethnic group . Along with the advancement of modernization, loss of minority languages in national regions is an inevitable fact, in this case, the presence of the naxi language native language dubbing video give us a bright, which reflects the distinct characteristics of The Times.
Key words: Multimedia；Naxi language ；Communication
國際視野，家國情懷，本土行動
——全球化視野下民族傳統(tǒng)體育繼承與發(fā)展的戰(zhàn)略思考
呂韶鈞
（北京體育大學(xué)，北京 100084）
摘 要:本文站在全球化的視野下，對我國的民族傳統(tǒng)體育的現(xiàn)狀及其發(fā)展進(jìn)行了深入的分析，研究認(rèn)為當(dāng)前我國的民族傳統(tǒng)體育發(fā)展處于邊緣化狀態(tài)，其民族愛國價值被忽視；文化教育價值被忽略；體育健身價值被淡化，有的甚至已經(jīng)瀕臨遺失，這不能不說是我國民族傳統(tǒng)體育的遺憾。我們應(yīng)當(dāng)重視挖掘中華民族優(yōu)秀的文化資源，塑造中華民族的核心價值觀和國家文化形象，通過國家文化戰(zhàn)略的實(shí)施，讓世界人民認(rèn)知、認(rèn)同、共享我們的優(yōu)秀文化，進(jìn)一步擴(kuò)大中國體育文化的影響力和競爭力，這也是我國民族傳統(tǒng)體育發(fā)展中義不容辭的時代責(zé)任和歷史使命。
關(guān)鍵詞：全球化；民族傳統(tǒng)體育；文化認(rèn)知；文化認(rèn)同
International vision, patriotism, and local action
——Strategic thinking of the inheritance and development of national traditional sports from the perspective of Globalization
Lv Shao-jun
(Beijing Sport University Beijing, 100084 )
Abstract: From the perspective of globalization, this paper deeply analyzes the current situation and development of national traditional sports in China. The research considers that the current development of national traditional sports are marginalized ,including that the national patriotic values are ignored; the cultural value of education is ignored; sports fitness value was weakened, and some are even on the verge of lost, which can not be said that is the regret of Chinese national traditional sports. We should attach importance to mining the excellent Chinese national culture resources, shaping the core values of the Chinese nation and national cultural identity. By the method of the implementation of the strategy of national culture, the world people can cognize, identify and share our excellent culture, to further expand the Chinese sports culture influence and competitiveness, which is also the era’s obligatory responsibility and historical mission of our national traditional sport.
Key words: Globalization; The development of national traditional sports; Culture cognition; Culture identity
藝術(shù)人類學(xué)理論研究與田野考察
本土經(jīng)驗(yàn)的拓展
——2014年中國藝術(shù)人類學(xué)國際學(xué)術(shù)研討會會議綜述
關(guān) 祎
（中國藝術(shù)研究院藝術(shù)人類學(xué)研究所，北京 100029）
摘 要:由中國藝術(shù)人類學(xué)學(xué)會、北京舞蹈學(xué)院以及《民族藝術(shù)》雜志社聯(lián)合主辦的“2014年中國藝術(shù)人類學(xué)國際學(xué)術(shù)研討會”于2014年11月1日至11月2日在京舉行。整個會議圍繞著藝術(shù)人類學(xué)理論研究以及田野考察個案研究兩個大的主題展開，內(nèi)容十分豐富，許多論文也關(guān)注到了傳統(tǒng)文化研究的時代特色，并且提出了當(dāng)代藝術(shù)人類學(xué)研究所要注意的一些方面，為現(xiàn)代學(xué)者提供了可借鑒的研究經(jīng)驗(yàn)。
關(guān)鍵詞：藝術(shù)人類學(xué)；田野調(diào)查；北京舞蹈學(xué)院
Art Anthropology Theory Research and Local Experience
Fieldwork Expansion
——Summary on 2014 China International Conference on Art Anthropology
Guan Yi
(Institute of Art Anthropology, Chinese National Academy of Arts, Chaoyang District, Beijing, 100029 )
Abstract: Co-sponsored by China Society for Anthropologies of Art, Beijing Dance Academy and the “National Arts” , the “2014 China International Conference on Art Anthropology” was held from 2014 November 1st to November 2nd in Beijing. This conference centered around two main themes: Art Anthropology research and Fieldwork on cases. The contents are very rich. Many papers are also concerned about the era characteristics of traditional cultural studies, and put forward a number of aspects which should be noted by Contemporary Art Anthropology Institute, which provides referential research experience for modern scholars.
Key words: Art Anthropology; Fieldwork; Beijing Dance Academy