《民族藝術(shù)》2013年第3期目錄
解寧寧 當(dāng)代書法與傳統(tǒng)人文思想——鐘明善先生與當(dāng)代書家精神生態(tài)
饒宗頤 我的學(xué)術(shù)自述——以敦煌學(xué)為例
邵曉峰 中流自在心——饒宗頤先生的治學(xué)之道
邢 文 梅花-太極：明代理學(xué)畫的宇宙觀及定山莊公的書法
葉舒憲 玉人像、玉柄形器與祖靈牌位——華夏祖神偶像源流的大傳統(tǒng)新認識
蕭 梅 音樂與迷幻
傅 謹 名伶史料與曲律的演化——中國戲曲文獻的體與用研究之一
廖明君 劉悅笛 走向全球與回歸本土的“生活美學(xué)”——劉悅笛博士訪談錄
方李莉 藝術(shù)人類學(xué)視野下的新藝術(shù)史觀——以中國陶瓷史研究為例
時勝勛 中國當(dāng)代藝術(shù)：從歷史敘事到中國現(xiàn)代性
范丹姆向麗 審美人類學(xué)導(dǎo)論
王懷義 鳳凰之鳴：樂教傳統(tǒng)的神話起源
陳 錚 “顧愷之”考辨
朱仙林 整理國故運動與中國現(xiàn)代神話學(xué)——以對《山海經(jīng)》的認知轉(zhuǎn)變?yōu)橹行?/p>
汪曉云 臺灣歌仔戲發(fā)生學(xué)研究
陳志勇 戲曲行業(yè)“二郎神”信仰的生成與消歇
單曉杰 王建朝 哈密木卡姆（山區(qū)版本）探究
戴 璐 漢代藝術(shù)中的九尾狐形象研究
楊愛國 古代藝術(shù)品中三魚爭頭圖探析
穆寶鳳 元代山西屯留M1號壁畫墓中的圖像構(gòu)成探究
梁惠娥 王中杰 女書“三朝書”探析
黃國樂 “胸有成竹”與古代繪畫的三重境界
楊渝 楊悅 清末旗裝藝術(shù)與民國旗袍的傳承關(guān)系
楊 杰 從龐薰琹的藝術(shù)道路看中國藝術(shù)家對現(xiàn)代藝術(shù)的態(tài)度與選擇
王 冰 從“齊韶”覓雅樂典范
Contemporary Calligraphy and Chinese Traditional Humanistic Ideas——Mr.Zhong Mingshan and Contemporary Calligrapher’s Spiritual Ecology………………………………………………………………Xie Ningning
My Academic Statement
——Taking DunHuang Study as an Example…………Rao Zongyi
A Free Spirit in the World—— The Research Method of Mr. Rao Zongyi
………………………………………………………………………Shao Xiaofeng
Wintersweet－Taichi：The Cosmology of LiXue Painting of Ming Dynasty and Zhuang Dingshan’s Calligraphy………………………………………Xing Wen
Statue of Jade、Handle-Shaped Aritifact and Ancestor’s Spirit Tablet—— A New Research within the Rich Tradition of Studing the Origin and Development of HuaXia Ancestral God Idols…………………………………………………Ye Shuxian
Music and Illusion………………………………………………Xiao Mei
Historical Data on Divas and the Evolution of QuLü （the Law of Chinese Traditional Opera)——A Study of the Body and the Function of Literature on Chinese Opera……………Fu Jin
Living Aesthetics: Acting Globally and Returning Locally——An Interview with Dr. Liu Yuedi………………………………………………………Liao Mingjun and Liu Yuedi
A New Concept of Art History in the Perspective of the Anthropology of Art——Taking the History of Chinese Ceramics as an Example………………Fang Lili
Chinese Contemporary Art：From Historical Narrative to Chinese Modernity…………………………………………………………Shi Shengxun
The Anthropology of Aesthetics: An Introduction……………Writted by Wilfried van Damme, translated by Xiang Li
The Song of Phenix: the Mythological Origin of the Tradition of Music Education ………………………………………………………Wang Huaiyi
An Interpretation of GuKaizhi……………………………………Chen Zheng
The Movement of Clearing up National Cultural Heritage and Chinese Modern Mythology——Focusing on the Cognitive Change to ShaiHaiJing……………………………………………………………Zhu Xianlin
A Study of the Origin of Ke-tsai Opera………………………Wang Xiaoyun
The Emergence and Fading of Belief in the God Erh-lang in the Field of Chinese Drama…………………………………………………Chen Zhiyong
A Research of Hami Mukam（which Prevalent in the Mountain Area of Hami）………………………………Shan Xiaojie and Wang Jianchao
A Study of the Image of the Nine-tailed Fox in Han Dynasty Arts
……………………………………………………………………………Dai Lu
An Analysis of the Image of “Three Fish Fight for Head” in Chinese Traditional Artworks………………………………………………Yang Aiguo
A Research of the Image Formation of the Mural Tomb in the No. M1 of ShanXi TuLiu of Yuan
Dynasty………………………………………………………………Mu Baofeng
An Analysis of “San Chao Shu”（Nü Shu）
……………………………………………………… Liang Huie and Wang Zhongjie
“Having a Ready Plan Or Design In One’s Mind”（“Xiao You Cheng Zhu”） and Three Levels of Chinese Traditional Painting ………………………………Huang Guole
On the Inherent Relationship Between Manchu Attire in the Late Qing Dynasty and Cheongsam in the Republic of China………………………YangYu and YangYue
A Study of Chinese Artists’ Attitude and Choice to Modern Art：The Example of Pang Xunqin ……………………………………………………………Yang Jie
Searching for the Model of Ya Yue（Elegant Music） from “Qi Shao”
…………………………………………………………………… Wang Bing
Clear the Mind and Heart to Realize the Dao Much More is Meant Than Implied Meaning ……………………………………………………………Sun Xianhua
（翻譯：李修建，審訂：范丹姆）