《內(nèi)蒙古大學藝術學院學報》
2013年第1期中英文論文摘要、關鍵詞
蒙古族表演藝術：游牧文化的瑰寶
李玉林著 孫曉燕譯
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010 ）
關鍵詞：蒙古族表演藝術；史詩民間；長調(diào)；呼麥；敘事民歌；馬頭琴；蒙古舞
Mongolian Performing Arts: Treasure of Nomadic Culture
Written by LI Yulin, Translated by SUN Xiao-yan
(Art College of Inner Mongolia University Hohhot010010, Inner Mongolia)
Key words:Mongolian performing arts; folk epic; long-tune; Xoomii narrative folk song; Horse-head music instrument; Mongolian dance
“黃狗”即天狼
——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：在《秘史》《史集》和《元史》保留的感生神話傳說中，《秘史》獨有的“如同黃狗一般，搖搖擺擺〔飄升〕著出去”中的“黃狗”，果真是黃狗么？蒙古有一種習俗：忌諱直接提到狼的名字。如回避不了，往往以黃狗、天狗等代之。故《秘史》中的“黃狗”指的同樣是狼、天狼。阿闌豁阿是感天狼而生孛端察兒。
關鍵詞：感生神話傳說；黃狗；忌諱提到狼名的習俗；天狼
"Yellow Dog" is the Heaven Wolf
——Re-research on the legend of Alanhua induced myth
Ardinhu
(School of Liberal Arts of Inner Mongolia Normal University, Hohhot 010022, Inner Mongolia)
Abstract:Among the induced myth legends kept in, "History Collections " and "Yuan History", only the "Secret history of Mongols" has the unique description such as "like a yellow dog, go swaying (float) out", is the "yellow dog" a real yellow dog? The Mongols have a taboo: avoiding direct mentioning of the wolf's name. If unavoidable, often say yellow dog or heaven dog to refer to the wolf. Therefore the "yellow dog" referred in the "Secret history of Mongols" is the wolf. Alanhua bore Budancar by feeling the heaven wolf.
Key words:induced myth; yellow dog; taboo of avoiding referring to the wolf; heaven wolf
解放初期內(nèi)蒙古東部地區(qū)民歌搜集活動與《蒙古民歌集》《東蒙民歌選》
王晶晶
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘 要：1949年出版的《蒙古民歌集》是中國蒙古族歷史上第一部民歌集，1952年出版的《東蒙民歌選》是建國初期最具影響的蒙古族民歌集。這兩部民歌集，都是在安波的直接主持下完成的。1947年，冀察熱遼魯迅藝術文學院在赤峰建立，時任院長的安波，與年輕教師許直和學員胡爾查，在魯藝蒙古族學員、宣傳隊成員和內(nèi)蒙古自治學院蒙古族學員以及當?shù)啬撩裰姓归_調(diào)查，搜集大量民歌，并于1949年編輯出版了《蒙古民歌集》。時隔兩年之后，安波與許直在此基礎上進行進一步的翻譯和充實，于1952年編輯出版了《東蒙民歌選》。兩部民歌集，對后來蒙古族民歌的搜集、整理、研究、傳播、創(chuàng)作，產(chǎn)生了深遠的影響。
關鍵詞：《蒙古民歌集》；《東蒙民歌選》；安波；“小魯藝”；許直；胡爾查
The Folk Songs Collection Activities in the Early Liberation Period of Eastern Inner Mongolia and "Mongolia Folk Songs" and "Collection of Eastern Folk Songs"
WANG Jing-jing
(Art College of InnerMongolia University, Hohhot 010010, Inner Mongolia)
Abstract:"Mongolia Folk Songs"published in 1949 is the first Mongolia folk song collection in Chinese history; "Collection of Eastern Folk Songs"published in 1952 is the most influential one. And in the two folk songs collections, were done under the An Bo's direct leadership. In 1947, Jichareliao Lu Xun Art School was set up in Chifeng, An Bo, the Dean did field work with his students and colleagues, investigating in the local herdsmen, collecting a large number of folk songs, and in 1949 published the "Mongolia Folk Songs". Two years later, based on this, An Bo and Xu Zhi further translated and substantialized, edited and published the "Eastern Mongolian folk songs" in 1952. Two folk songs collections produced far-reaching effect to the later collection, collation, research, communication, creation of Mongolian folk songs.
Key words:"Mongolia Folk Songs"; "Collection of Eastern Folk Songs"; An Bo; Little Lu Xun Art School; Xu Zhi; Hurcha
蒙古族烏日汀哆節(jié)奏之美初探
路廣
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘 要：每個民族和地區(qū)的音樂都有著各自不同的節(jié)奏特征，這也反映了人們對律動美的多樣化追求。由于烏日汀哆的節(jié)奏具有自由和隨意這一特征，因此它通常被劃分到非均分律動型范疇。但是，非均分律動型節(jié)奏并不意味著沒有節(jié)奏感，而是其打破了傳統(tǒng)節(jié)拍那種強弱交替的規(guī)律性，從而體現(xiàn)出一種具有廣義性的對稱結構及協(xié)調(diào)性的節(jié)奏特征，正是這種節(jié)奏才使得烏日汀哆呈現(xiàn)出了隨性自由的美學原則。本文將借助李世相教授概括的烏日汀哆的節(jié)奏特點對其進行審美心理方面的分析。
關鍵詞：烏日汀哆；節(jié)奏；審美特征；審美心理
An Approach to the Mongolian Urdindu’s Rhythm Beauty
LU Guang
(Film and Television Drama Department, Art College of Inner Mongolia University Hohhot 010010, Inner Mongolia)
Abstract:Every national and regional music has its own different rhythm characteristics, it also reflects the diversification of the rhythm beauty of people's pursuit. Due to the free rhythm at will of the Uridindu, this feature is usually classified into non -uniform rhythm type category. However, the non uniform rhythm does not mean that there is no sense of rhythm, but it breaks the rules of traditional beat of the strong-weak alternation, which reflects the symmetry structure and coordination of a generalized rhythm features, it is this rhythm that presents the aesthetic principles of freedom of Urdindu. This article analyses the aesthetic psychology of Urdindu rhythm characteristics generalized by by Professor Li Shixiang.
Key words: Uridindu; rhythm; aesthetic features; aesthetic psychology
近現(xiàn)代科爾沁民歌產(chǎn)生的
社會背景和文化淵源
薩日娜
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘要：近現(xiàn)代科爾沁民歌是近現(xiàn)代科爾沁音樂風格時期產(chǎn)生、發(fā)展的代表性音樂形態(tài)之一。它的產(chǎn)生與當時科爾沁地區(qū)的社會歷史背景、生產(chǎn)生活方式的轉變、文化的重構與整合和蒙古族豐厚的民間口頭文化底蘊有著密切的淵源關系。
關鍵字：科爾沁民歌；社會背景；文化底蘊；
The Social Background and Cultural Origins of the Generation of Modern Horchin Folk Songs
Sarana
(Art College of Inner Mongolia University, Hohhot 010010, China )
Abstract: Modern Horchin folk song is one of the representative music form in the development modern Horchin musical style. Its generation has a close relationship to social and historical background, the change of production and life style, cultural reconstruction and integration in Horchin and the rich Mongolian folk oral culture.
Key words: Horqin folk song; social background; culture inside; editing and chanting.
莫爾吉胡鋼琴獨奏曲《賽馬》解析
烏黎
（內(nèi)蒙古師范大學音樂學院，內(nèi)蒙古呼和浩特010022）
摘 要：莫爾吉胡鋼琴獨奏曲《賽馬》調(diào)式調(diào)性豐富，情感意境多樣，而且充滿了史詩性、深沉性、激情性和動力性，對其從音樂表現(xiàn)內(nèi)容和技術角度加以分析，可以更好地詮釋作品。
關鍵詞：莫爾吉胡；鋼琴音樂；《賽馬》
Analysis of Mergjih's Piano Solo " Horse Race "
WU Li
( Piano Department, Music School of Inner Mongolia Normal University, Hohhot 010022, China )
Abstract: Mergjih's piano solo " Horse Race " has rich diversity of mode and quality , with emotional mood, and full of epic, profundity, passion and power. This article analyzes it from the music contents and technical point of view to better interpret the work.
Key words: Mergjih; piano music; " horse race "
試論蘇雅蒙古四胡的演奏藝術
李蕾
（內(nèi)蒙古電視臺，內(nèi)蒙古呼和浩特010010）
摘 要：技法精湛的蒙古四胡青年演奏家蘇雅，曾在內(nèi)蒙古自治區(qū)內(nèi)外專業(yè)大賽中多次獲獎。在不斷的學習探索和表演實踐中，她廣泛吸納蒙古四胡大師孫良、常鐵鋼、吳云龍、趙雙虎等不同流派、風格的精華，融會貫通后逐漸形成了自己獨特的演奏風格——高貴端莊、干凈利落、沉穩(wěn)細膩、柔美雅致，富有濃郁的草原韻味和獨特的蒙古族神韻。
關鍵詞：蒙古四胡；蘇雅；演奏理念；藝術風格
On the Art of Mongolian Sihu Playing
LI Lei
(Inner Mongolia TV station, Hohhot 010010, Inner Mongolia)
Abstract:the young Mongolian Sihu player,Syuye with exquisite techniques has won many awards in competitions inside and outside the Inner Mongolia Autonomous Region. In her continuous studying and performing practice, she widely absorbs Mongolian Sihu Maestro Sun Liang, Chang Tie-Gang Wu Yunlong, Zhao Shuanghu, from different genres, styles, and gradually formed her own unique style of performance-noble and dignified, smooth and clean, calm, gentle and elegant, full of rich grassland flavor and unique nationality of Mongolian charm.
Key words:Mongolian Sihu; Suye; playing concept; art style
《唱論》對聲樂教學及實踐的啟示
李嘉
（內(nèi)蒙古包頭市歌舞劇院，內(nèi)蒙古包頭市014010）
摘要：元朝燕南芝庵所著之《唱論》，是我國典籍文獻中一部比較系統(tǒng)地闡述聲樂藝術的專著，提出要樹立正確的學習態(tài)度，戰(zhàn)勝學習中的困難。在聲樂學習過程中應該根據(jù)自己的實際情況進行學習，還應該在教師的指導下確立正確的調(diào)式感并掌握具體的聲樂技巧、氣息控制和歌唱中的腔詞關系等。《唱論》不僅對今天聲樂的教學和舞臺實踐有指導意義，而且對于我們學習聲樂也有借鑒意義。
關鍵字：燕南芝庵；《唱論》；藝術歌唱氣息；腔詞關系
The Enlightenment of " Sing " to Vocal Music Teaching and Practice
LI Jia
(Inner Mongolia Baotou Singing and Dancing Theatre, Baotou 014010,China )
Abstract: The " Sing " written by Yannan Zhi'an in Yuan Dynasty is a monograph gives systematical exposition of the art of vocal music works in China, it proposed to establish a correct attitude towards learning, to overcome difficulties in learning. In the vocal learning process should learn according to their actual situation, should establish correct tonal sense and grasp the cavity term relation specific vocal skills in singing, breath control and under the guidance of teachers. " Sing not only has the guiding significance to the vocal music teaching and practice stage today, but also is of great significance for our vocal music learning.
Key words: Yannan Zhi'an; " Sing " ; breath in singing art; cavity lyric relation
成為非物質(zhì)文化遺產(chǎn)的壯族織錦
——兼論非物質(zhì)文化遺產(chǎn)的申報與保護
呂屏
（桂林電子科技大學藝術與設計學院，廣西桂林545004）
摘 要：作為一種古老而瑰麗的工藝品，壯錦是中華民族優(yōu)秀傳統(tǒng)織錦中的一個代表。結合近期的田野考察，本文將追溯壯錦的歷史，對申請非物質(zhì)文化遺產(chǎn)以及成為非物質(zhì)文化遺產(chǎn)代表作后的壯錦進行論述，進而反思非物質(zhì)文化遺產(chǎn)的申報與保護工作。
關鍵詞：非物質(zhì)文化遺產(chǎn)；壯錦；保護
The Zhuang Brocade Which Has Become Intangible Cultural Heritage
——Also on the declare and protection of intangible cultural heritage
LV Ping
(College of Art and Design of Guilin University of Electronic Technology, Guangxi Guilin 545004, Guangxi Province)
Abstract:As an ancient and beautiful handicraft, Zhuang brocade is a representative of the Chinese national outstanding traditional brocade. According to the recent fieldwork, this paper will trace the history, discuss the application of the intangible cultural heritage and intangible cultural heritage of the Zhuang brocade were so as to rethink the declaration and protection of intangible cultural heritage.
Key words:intangible cultural heritage; Zhuang brocade; protect
元代半臂的形制與淵源
張國偉
(中國絲綢博物館，浙江杭州310002)
摘 要：半臂又做半袖，到元代也稱搭護。本文通過對文獻資料中半臂史料記載的檢索、現(xiàn)存的出土半臂實物及相關傳世畫像墓室壁畫等圖像資料的整理，對元代半臂作了較系統(tǒng)的研究性梳理。提出元代半臂的三種形制，即：直領短衫式半臂、交領右衽長袍式半臂（也稱搭護）、方領對襟長袍式半臂。并對元代半臂的面料質(zhì)地、圖案色彩、裝飾特點、演變及對后世的影響提出了看法。
關鍵詞：元代；半臂 ；形制 ；工藝
The Shape and Structure and Origins of the Half Arm in Yuan Dynasty
ZHANG Guo-wei
(China Silk Museum, Hangzhou 310002, Zhejiang)
Abstract:Half arm is also called half sleeves, it was also known as Dahu in the Yuan Dynasty. Based on the records of historical literature retrieval of half arm and existing unearthed and handed down in half arm portraits and image information relevant found in the tomb murals, the article has made a systematic research on Yuan Dynasty half arm and puts forward three kinds of shapes and structures of the half arm, namely: straight collar blouse half arm, reciprocal gown half arm, square collar gowns half arm. It also gives the view and the effect of the half arm fabric texture, color, decorative pattern, evolution and characteristics of the influence later.
Key words:Yuan Dynasty; half arm shape and structure; techniques
匏：采集時代的渡水方式設計
——海南黎族日常生活中的原始水具
袁曉莉
（南京藝術學院設計學院，江蘇南京210013）
摘 要：匏具是人類水上工具邁出的創(chuàng)始性一步，它的運用對后來的筏子與獨木舟有著重要影響。以實地調(diào)研的方式，考察其形制及日常生活中的使用。制作與保護等相關內(nèi)容，探討黎族匏具的前世今生，闡釋“匏”在黎家的其他功能。
關鍵詞：海南；黎族；匏；原始浮具；容器
Pao: The Design of Water Crossing of the Gathering Time
—— The original water acquisition utensil in daily life of the Li People in Hainan
YUAN Xiao-li
(The Design Institute of Nanjing Arts Institute, Nanjing 210013, China)
Abstract:Gourd utensils was a founding stepfor human water tool, its use had an important influence on the raft and kayak later. The field research investigates the use of the shape and the use in daily life as well as production and protection to discuss the Li people's Pao utensils in the preexistence, and gives interpretation of additional features of " Pao "of the Li people.
Key words: Hainan; Li; Pao; the original float; container
苗族織錦的藝術解讀
方園
（中南民族大學美術學院，湖北武漢430070）
摘 要：苗族織錦是我國傳統(tǒng)織錦中獨具特色、至今仍保有傳統(tǒng)藝術風格和織造技術的品類。它是融于生活的藝術，具有依附于實用的審美特質(zhì)。苗族織錦作為一種文化的物化形式，自始至終反映了苗族人民的審美情趣、審美觀念和審美理想。它的獨特表現(xiàn)形式和手法，給我們現(xiàn)代紡織品設計師提供了許多有益的啟示，是藝術創(chuàng)作的典范。
關鍵詞：苗族織錦；審美；圖案造型；工藝表現(xiàn)；審美價值
Artistic Interpretation of Miao Brocade
FANGYuan
(AcademyofFineArts,South-CentralUniversityForNationalities,Wuhan430070,China)
Abstract:Miao brocade is unique in China's traditional brocade, and it still keeps the traditional artistic style and weaving technology category. It is in the art of living, with the aesthetic peculiarity attached to and practice. Miao brocade as a a kind of materialized form of culture,has been reflecting the Miao people 's aesthetic taste, aesthetic idea and aesthetic ideal. Its unique form and style has provided us many beneficial enlightenment to our modern textile designers, and it is a good example of artistic creation.
Key words: Miao brocade; aesthetic; pattern; process performance; aesthetic value.
樺樹皮工藝品制作技藝田野調(diào)查①
——以阿里河鎮(zhèn)和敖魯古雅鄉(xiāng)為例
范琳琳
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘 要：生活在內(nèi)蒙古大興安嶺林區(qū)的鄂倫春族、鄂溫克族、達斡爾族，簡稱三少民族。他們長期以狩獵、畜牧為生，由于自然環(huán)境和地理因素的影響，孕育和創(chuàng)造了具有鮮明山林特色的樺樹皮文化。樺樹皮制品的使用范圍，從日常生活用品到狩獵生產(chǎn)用品，無處不在。如今，隨著三少民族的生產(chǎn)生活方式的改變，樺樹皮制品不僅沒有消失，而且演變發(fā)展為樺樹皮工藝品。筆者于2012年8月，就樺樹皮工藝品的制作方法等問題赴內(nèi)蒙古牙克石市的阿里河鎮(zhèn)（鄂倫春族自治旗）進行田野調(diào)查，深入了解樺樹皮工藝品的制作技藝，并近距離感受了古老淳樸的樺樹皮文化。
關鍵詞：樺樹皮文化;工藝品;工藝流程;田野調(diào)查;民間藝術
Field Investigation of Birchen Skin Handicraft Manufacture Technique
——A case study of Alihe Town and AoluguyaTownship
FAN Lin-lin
( InnerMongolia Art College of Inner Mongolia University, Hohhot 010010 )
Abstract:Living in Greater Khingan forest area of Inner Mongolia, Ewenki, Daur and Oroqen have been referred to as the three minorities. They have been taking hunting, animal husbandry for a living, due to the influence of natural environment and geographical factors, conceived and created the birch bark culture with a distinct characteristic of the forest. The birchen skin products from daily necessities to hunting and production supplies are everywhere. Now, with the production and lifestyle changes of the three minorities, birchenskin products have not disappeared, but developed toward birchen skin handicraft. In August 2012, the author made the field survey on the issue of birchen skin handicraft production method in InnerMongolia Yakeshi City ( ALI Oroqen Autonomous Banner ), got in-depth understanding of technology of birchen skin handicraft, and closely learned about the ancient and simple honorable birch bark culture.
Key words: Hainan; Li; Pao; the original float; container.
永儒布——用生命譜寫命運交響曲的人
烏蘭杰
（中央民族大學，北京100081）
關鍵詞：永儒布；蒙古族作曲家；交響樂
Yong Rubu——A man writing the symphony of destiny with his own life
Ulanje
(Central University for Nationalities, Beijing 100081)
Key words:Yong Rubu; Mongolian composer; symphony
綠色的交響生命的交響
——著名蒙古族作曲家、指揮家永儒布先生藝術成就述評
好必斯
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘 要：著名蒙古族作曲家、指揮家永儒布先生，是當代蒙古族音樂發(fā)展的代表人物，是草原樂派的領軍人物。他在半個多世紀的音樂創(chuàng)作生涯中，寫有大量的具有濃郁民族風格和鮮明個性風格的音樂作品，其創(chuàng)作領域涉及交響樂、室內(nèi)樂、歌劇音樂、舞劇音樂及影視音樂，這些優(yōu)秀的音樂作品是草原游牧音樂文化寶庫中的巔峰之作、里程碑之作，其獨特的創(chuàng)作技法與創(chuàng)作理念，對當代蒙古族音樂文化的創(chuàng)新與發(fā)展、實踐與研究，都具有重要的學術價值和指導意義。
關鍵詞：永儒布；藝術成就；創(chuàng)作技法；述評
Green Symphony, the Symphony of Life
——A review of the artistic achievement of the famous Mongolian composer, conductor Mr.Yong Rubu
Hobis
(Art College of Inner Mongolia University, Hohhot 010010, InnerMongolia)
Abstract:The famous Mongolian composer, conductor Mr. Yong Rubu, is the representative figure in the development of contemporary Mongolian music, is the PrairieMusic School leader. For more than half a century of his music career, he has written the music works with strong ethnic style and distinctive style of its creation, and relates to the field of symphony, chamber music, opera music, dance music and film music, these excellent music works are the pinnacle of grassland nomadic music, milepost work, his unique writing techniques and creative ideas, practice and research on innovation and development, to the contemporary Mongolia nationality music culture, has important academic value and significance.
Key words:artistic achievement; creative techniques; review
銀幕空間的組織方式和運動法則
——長鏡頭、蒙太奇等電影核心概念的理論詮釋
儲雙月
（中國藝術研究院電影電視藝術研究所，北京100029）
摘 要：所有的藝術形式都通過自己特有的表現(xiàn)方式傳達信息，都有自己的語言。長鏡頭與蒙太奇作為兩種各具特色的電影語言，其在創(chuàng)作原則上涇渭分明而又在藝術實踐中產(chǎn)生某種交叉。本文主要詮釋并歷史性地梳理了與長鏡頭理論、蒙太奇理論相關的五個核心概念的理論價值及實踐意義。
關鍵字：長鏡頭；庫里肖夫效應；蒙太奇；軸線；場面調(diào)度
Organization and Movement Rule of Screen Space
——Theoretical interpretation of film core concepts of long lens, montage
CHU Shuang-yue
(Film and Television Arts Research Institute of China Academy of Art, Beijing 100029 )
Abstract: All forms of art convey information through their own unique styles and has its own language. Long shots and montage as two unique film language, they are quite distinct from each other in the creation principle, and produce a cross in the artistic practice. This paper mainly explains and historically reviews the theoretical value and practical significance of the long shot theory, montage theory related to the five core concepts.
Key words: long shot; Currie Seaan J effect; montage; axis; scene scheduling
讓紙上的童話“動”起來
孔靜
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘 要：《草原上的童話》是以蒙古族題材為背景創(chuàng)作的一部剪紙動畫短片，與傳統(tǒng)剪紙動畫在題材選擇、制作技法、角色動畫、造型設計等方面相比，有其自身的特點，總結蒙古族題材剪紙動畫短片《草原上的童話》在傳統(tǒng)剪紙動畫制作基礎上的創(chuàng)新，能為我們的教學研究包括創(chuàng)作，提供新的視角。同時，也從另一個層面啟迪我們要從民間藝術中汲取營養(yǎng)，突出民族風格，弘揚本民族的傳統(tǒng)文化。
關鍵字：剪紙動畫；蒙古族題材；制作技法；蒙古族圖案；草原文化
Let the Fairy Tale in the Paper "Moving"
KONGJing
(ArtCollegeofInnerMongoliaUniversity,Hohhot010010)
Abstract:" Fairy tale on the grassland " is a paper-cut animation short film with the Mongolian nationality themes as the background of the creation, compared with the traditional paper-cut animation, it has its own characteristics in material selection, production techniques, animation, design, summarized the Mongolia theme paper-cut animation short film " Fairy tale on the grassland " in traditional fairy tales paper-cut animation on the basis of innovation, we can include the creation of teaching and research, and provide a new perspective. At the same time, we should draw nutrition from folk art from another level of inspiration, highlight the national style, carry forward the traditional culture.
Key words:paper-cut animation; Mongolia theme; production techniques; Mongolia pattern; grassland culture;
以系統(tǒng)論思維看動畫藝術中的中國元素
賈玉平
（成都大學美術學院，四川成都610106）
摘 要：中國動畫有過曾經(jīng)的輝煌，但20世紀80年代以來，以中國元素創(chuàng)作的動畫再一次的火熱并沒有讓國人自信。反思中國動畫藝術發(fā)展現(xiàn)狀，分析國內(nèi)外實例，會明顯地意識到當前國內(nèi)有關中國元素的動畫創(chuàng)作，缺乏對系統(tǒng)論和中國元素這兩個關鍵詞及相關問題的深刻認識。
關鍵詞：中國元素；系統(tǒng)思維；動畫藝術
On the Chinese Elements in Animation Art from the Perspective of System Theory
JIA Yu-ping
(College of Fine Arts, Chengdu University, Chengdu 610106)
Abstract:Chinese animation had once been brilliant, but since the nineteen eighties, the hot burning of the animation with Chinese elements again has not make Chinese people confident. Rethinking the current development of Chinese animation art, analysis of domestic and foreign examples will make us clearly aware of the current domestic Chinese elements of animation, which lack of deep understanding of the two key words ——system theory and the Chinese elements and related problems.
Key words:Chinese elements; system thinking; animation art
寫生實踐在山水畫創(chuàng)作中的重要性
高文亮
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘 要：山水畫把揭示和表現(xiàn)自然與人的內(nèi)在精神作為最高境界。山水畫創(chuàng)作必須要經(jīng)歷寫生實踐的過程；豐富的大自然能給予畫家靈感與心靈的凈化，從而造就畫家的繪畫風格；歷史上許多山水畫畫家都非常重視對大自然的感受，有著對景寫生的優(yōu)良傳統(tǒng)，因此創(chuàng)作出許多極具感染力的優(yōu)秀山水畫作品；作為一名山水畫創(chuàng)作與寫生課程的教師，筆者常帶領學生赴祖國各地的名山大川進行寫生實踐，充分地體會到寫生實踐在山水畫創(chuàng)作中的重要作用。
關鍵字：山水畫創(chuàng)作；寫生實踐；師法自然；表現(xiàn)技法
The Importance of Sketch Practice in the Landscape Painting Creation
GAO Wen-liang
( Fine Arts Department of Art College of Inner Mongolia University, Hohhot 010010,China )
Abstract: Landscape painting takes the inner spiritual revelation and expression of nature and people as the highest state. Landscape painting creation must go through the process of painting practice; rich nature can give the artist inspiration and purify the soul, thus creating a painter's painting style. Many of the landscape painters in the history pay great attention to the feeling of nature, has a fine tradition of landscape painting creation facing the scene , thus creating a lot of infectious outstanding landscape painting works; as a teacher of landscape painting and sketching courses, the author often leads the students to all parts of the country 's well-known mountains and rivers for sketch practice, fully realizes the important role of sketching practice in landscape painting.
Key words: landscape painting; sketching practice; learning from nature; expression techniques
論歌德與龍格及弗里德里希之關系
王靜1張典2
（1.南京師范大學文學院，江蘇南京210097， 2.牛津大學哲學系，英國牛津市OX26GG）
摘 要：歌德的魏瑪古典主義最重要的特質(zhì)在于倡導人性的尊嚴，耶拿浪漫派放棄歌德的立場而走向神秘主義，歌德因此將他們的精神看作是不健康的。浪漫派畫家龍格與弗里德里希直接受耶拿浪漫派影響，但歌德與他們之間并不存在一種簡單的對立關系；歌德既肯定他們的才華，同時也指出他們走在錯誤的道路上，認為他們的藝術追求中缺少人性尊嚴這樣一種絕對性的道德維度；而龍格與弗里德里希在尊重歌德的同時亦認為他堅持的是一種過時了的藝術觀，因而不能完全接受他的觀點。歌德在與他們的交流中不斷加深對浪漫主義藝術精神的理解。
關鍵詞：歌德；龍格；弗里德里希；浪漫主義；古典主義；寓言
On the Relationship between Goethe and and Friedrich
WANG Jing1ZHANG Dian2
(1.College of literature of Nanjing Normal University, Nanjing 210097, Jiangsu Province;
2.Philosophy Department of Oxford University, Oxford OX26GG, Britain)
Abstract:The most important characteristics of Goethe's Weimar classicism is to advocate human dignity, Jena romantic abandons Goethe's stance towards mysticism, Goethe considers their spirit unhealthy. Romantic painters Runge and Friedrich Jena were directly affected by the romantic school, but there is not a simple opposite relationship between Gothe and them; Gothe affirms their talent, but also points out that they are going the wrong way, he thinks that their artistic pursuit lacks of an absolute moral dimension of human dignity such; while Runge and Friedrich respect Gothe and think that Gothe insist an outdated view of art, and therefore can not fully accept his point of view. Gothe had deepened his understanding of the spirit of the romantic art is in communication with them.
Key words:Goethe; Runge; Friedrich; romanticism; classicism; fable
理性、秩序與教條、僵化
——理性主義版式設計的二律背反
蔡順興
（蘇州大學藝術學院，江蘇蘇州215000）
摘 要：理性、秩序的理性主義版式設計具有美觀、實用的功能，同時也衍生了教條、僵化的弊病。這似乎是設計上的一個悖論，即：運用精確的數(shù)學計算方法去設計版面，可形成工業(yè)生產(chǎn)的標準化、網(wǎng)格化、模塊化的固定模式。然而，其不足也伴隨為，越理性、秩序,也就越教條、僵化,越容易形成無個性、無差異的設計形式，由此形成理性主義版式設計的二律背反。其成因在于，一方面源自西方理性主義傳統(tǒng)思想主導下的，運用精密計算的數(shù)理模塊化手段設計版式所致，另一方面也與理性主義先天對“感知”不信任分不開。理性主義版式設計盡管存在著冷漠、呆板、教條、千篇一律的缺陷，但其強大的實用功能和美好的秩序性始終能夠良好地服務于人類社會。
關鍵詞：理性；秩序；教條；僵化；理性主義版式設計；二律背反
Rational, Order and Dogma, Rigid
——Rational Layout Design of the Antinomy
CAI Shun-xing
(Art Institute of Suzhou University, Suzhou 215000, Jiangsu Province)
Abstract:Rational, order rational layout design has the advantages of beautiful appearance and practical functions, at the same time it also derived the drawback of rigid and dogma. It seems to be a paradox of the design, i.e to design the layout with the use of precise mathematical calculation method, forming fixed pattern of standardization, gridding, modular of industrial production. However, its shortcomings are accompanied, the more ration and order bring about more dogmatic, rigid; the more easily the design, the less personality it has, resulting in no difference in designs, thus forming the antinomy of rationalism format design. On the one hand,, its origin lies in the western rationalistic tradition thought under the guidance of the use of mathematical model, the precise calculation method of design layout, on the other hand, it is inseparable from not- trusting the rationalism and innate "perception". Despite the existence of indifference, defects, rigid, dogmatic, rational layout design has its powerful function and good order servicing to the society.
Key words:rational; order; doctrine; rigid; rational layout design; antinomy
本真性的多元化視角：普洱茶
在云南和其他地方的消費研究①（上）
張靜紅 著 桂慕梅 黃雋瑾 譯
（云南大學人文學院，云南昆明650091；北京師范大學文學院，北京100875）
摘 要：在當今中國，普洱茶是最流行的茶葉之一。本文要探究不同群體在不同地點和不同時期對普洱茶本真性的不同理解。通過展現(xiàn)這些多元化的視角，本文認為，普洱茶品味上的差別是不同的自我言說之間相互互動的結果；而且，任何一種自我言說都不是絕對獨立自足的，而是納入了借來的、調(diào)適的以及被“再本真化”的多個因素。
關鍵詞：普洱茶；云南；本真性；多元化；相互作用；自我言說
Foundation of Diverse Perspective: A Study of the Pu 'er Tea Consumption in Yunnan and Other Places (One)
Written by ZHANG Jing-hong, Translated by GUI Mu-mei HUANG Jun-jin
(College of humanities, Yunnan University, Kunming 650091, Yunnan Province, College of Liberal Arts of Beijing Normal University, Beijing 100875)
Abstract:In today's China, Pu 'er tea is one of the most popular teas. This paper will explore the different understanding of different groups and different locations at different times of the true Pu 'er tea. By showing the multiple angle of views, this paper holds that different tastes of Pu 'er tea is the results of the interaction between different self-voice; moreover, any kind of self-voice are not absolutely independent and self-sufficient, but included in borrowed, adjustment and was "re- reality."
Key words:Pu 'er tea; Yunnan; authenticity; diversification; interaction; self-voice
巴克特里亞語言的刻字在印度東部被發(fā)現(xiàn)①
B．N．莫克吉·卡爾邁爾②著景磊譯戈思齊校
（加爾各答大學，印度加爾各答700073內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
關鍵詞：赤土陶器；巴克特里亞語言；印度次大陸
Bactrian Language Lettering Was Found in Eastern India
Written by B.N. Moky Karl Maier, Tanslated by JING Lei, Proofread by GE Si-qi
(CalcuttaUniversity, India Calcutta 700073, Art College of InnerMongolia University, Hohhot, Inner Mongolia 010010)
Key words:terra cotta; Bactrian language
蒙古族舞蹈的文化生態(tài)保護與發(fā)展
趙小丁
（內(nèi)蒙古大學藝術學院，內(nèi)蒙古呼和浩特010010）
摘 要：古代蒙古人更多地是依賴對生活的模仿，包括再現(xiàn)狩獵﹑采集﹑婚嫁﹑戰(zhàn)爭等生活場景，來獲取快感。蒙古族舞蹈既有民族的多樣性，又有地域文化的獨特性，它集中地體現(xiàn)了蒙古民族的信仰﹑觀念﹑風俗習慣﹑審美心理。蒙古族舞蹈作為草原文化中特有的歷史呈現(xiàn)，主要是以其自身的創(chuàng)作和表演為坐標，來傳承其文化精神和審美功能的。
關鍵字：蒙古族舞蹈；文化生態(tài)；舞蹈文化；傳承；發(fā)展
The Cultural and Ecology Protection and Development of the Mongolian Dance
ZHAO Xiao-ding
(Art College of Inner Mongolia University, Hohhot 010010, China )
Abstract: The ancient Mongolian is more dependent on the imitation of life, including the reproduction of hunting, collection, marriage, war scenes to get pleasure. Mongolian dance has both the diversity of Mongolia nationality, and the uniqueness of the regional culture, it reflects the Mongolia national faith, values, customs, aesthetic psychology. The Mongolian dance as a unique reflection of grassland culture mainly takes their own writing and acting as the coordinates, to inherit the culture spirit and aesthetic function.
Key words: Mongolian dance; cultural ecology; dance culture; inheritance; development