《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2013年第4期中英文目錄
（1）藝術(shù)人類學(xué)的三種類型 ………………………………………………………………………（荷蘭）威爾弗雷德·范·丹姆 著，王擁軍 張周瑞 譯，李修建 校(5)
（2）澳大利亞原住民藝術(shù)：氏族符號(hào)，民族象征與感知體驗(yàn)………………………………
………………………………（美國(guó)）羅伯特·萊頓 著，關(guān)祎，劉雅超 譯，關(guān)祎 校(11)
（3）一個(gè)古老村莊的民俗傳統(tǒng)
——山西省洪洞縣小河村“拆樓”民俗調(diào)研………………………………張西昌(24)
（4）近代漢族民間服飾變革的政治與文化解 ……李洪坤1. 崔榮榮2. 姜飄飄3. (41)
（5）鳳凰古城銀飾旅游產(chǎn)品市場(chǎng)調(diào)查…………………焦成根1，陳劍2，劉雯3，唐慧4(46)
（6）生活中的企盼
——“河南張泥娃娃”解讀……………………………………………………盧銘(52)
（7）東北民間雕塑的藝術(shù)特征………………………………………………………張景明(57)
（8）淺論蒙古族題材動(dòng)畫影片的場(chǎng)景設(shè)計(jì)…………………………………………王睿志(62)
（9）淺談瓷枕的裝飾技法……………………………………………………………劉 潔(67)
（10）當(dāng)代日本巖彩畫創(chuàng)作的現(xiàn)狀………………………………………………… 索麗婭(72)
（11）闡釋與“誤讀”
——從彝族“蘇尼”單面鼓音樂(lè)考察引發(fā)的田野思考……………………申 波(76)
（12）傳承與演變
——以甘珠爾胡爾奇說(shuō)唱為例…………………………………… ………通拉嘎(84)
（13）口頭藝術(shù)的點(diǎn)滴感
——簡(jiǎn)論蒙古族傳統(tǒng)音樂(lè)文化脈絡(luò)及認(rèn)知視野……………………周·特古斯(88)
（14）評(píng)《表演、文本、語(yǔ)境、傳承——蒙古族音樂(lè)的口傳性研究》……………何 雪(93)
（15）試論中國(guó)大陸音樂(lè)美學(xué)發(fā)展中自律論的缺失 ………………………………王雙杰(99)
（16）中國(guó)音樂(lè)作品中的線性結(jié)構(gòu)…………………………………………………趙曦君(105)
（17）唐山地區(qū)評(píng)劇團(tuán)的調(diào)查與研究………………………………………………劉蓓璇(110)
（18）二人臺(tái)傳統(tǒng)劇目《走西口》藝術(shù)表現(xiàn)形式的流變…………………………張玉蘭(118)
（19）貢桑諾爾布致建齋書札考釋…………………………………………………李俊義(122)
（20）2013年中國(guó)藝術(shù)人類學(xué)國(guó)際學(xué)術(shù)研討會(huì)綜述………………………………安麗哲(127)
本刊2013年總目錄…………………………………………………………………(133)
·補(bǔ)白·…………………………………………………………………… (23)(56)(104)(132)
Three Types of Art Anthropology …………………………Written by Wilfred Van Dam (Netherlands),Translated by WANG Yong-jun, ZHANG Zhou-rui; Proofreaded by LI -Xiu jian(5)
Australian Aboriginal Art: Clan Mark, National Symbol And Perceptual Experience…………………………………………………………………………………Written by Robert Leiden(Britain), Translated by GUAN Yi, LIU Ya-chao; Proofreaded by GUAN Yi(11)
The Folk Tradition in An AncientVillage
——Folk Investigation on “Demolition” in Xiaohe Village, Hongdong county, Shanxi Province
………………………………………………………………………………ZHANG Xi-chang(24)
Political And Cultural Interpretation of Han Folk Clothing’s Reform in Modern Times
………………………………………………LI Hong-kun; CUI Rong-rong; JIANG Piao-piao (41)
Market Research of Silver Tourism Products in Phoenix AncientTown
…………………………………………JIAO Cheng-gen; CHEN Jian; LIU Wen; TANG Hui(46)
Expectation in the Life
——Interpretation of "Henan Zhang Clay Doll"……………………………………LU Ming(52)
The Artistic Features of The Northeast Folk Sculpture………………ZHANG Jing-ming(57)
On the Scene Design of Mongolian Animated Film………………………WANG Rui-zhi(62)
On the Decorative Technique of Porcelain Pillow…………………………………LIU Jie(67)
The Enlightenment of The Contemporary Japanese Rock Painting Creation……………………………………………………………………………SUO Li-ya(72)
Interpretation And “Misreading”
——Thinking from Yi-nationality’s “Suni” Single-drum Music Survey……………SHEN Bo(76)
Inheritance And Evolution
——In the Case of Ganjur Hugurci's Rap……………………………………………Tonglaga(84)
Thoughts on Verbal Art
——On the Cultural Context of Mongolian Traditional Music And Cognitive Horizons…………………………………………………………………………ZHOU Tegusi(88)
Review of “Performance, Text, Context, Inheritance
——On Oral Transmission of Mongolian Music” …………………………………HE Xue(93)
On the Lack of Self-discipline Theory in the Development of China Mainland Music Aesthetics…………………………………………………………………WANG Shuang-jie(99)
The Linear Structure in Chinese Music Works………………………………ZHAO Xi-jun(105)
Investigation and Research on Ping Opera Troupe in Tangshan……………LIU Bei-xuan(110)
The Artistic Form Evolution of Er’rentai Traditional Repertoire “Zou Xi Kou” …………………………………………………………………………ZHANG Yu-lan(118)
Textual Research of the Letter of Gongsennorbo to Jianzhai……………………LI Jun-yi(122)
Summary of International Symposium on 2013 China Art Anthropology……AN Li-zhe(127)
Volume lndex for 2013………………………………………………………………………（133）
藝術(shù)人類學(xué)的三種類型
（荷蘭）威爾弗雷德·范·丹姆1.著王擁軍2.張周瑞3.譯李修建4.校
（1.荷蘭萊頓大學(xué)藝術(shù)史學(xué)系，荷蘭萊頓市999025 ；2.麗水學(xué)院，浙江麗水323000；
3.蘭州文理學(xué)院，甘肅蘭州730000；4.中國(guó)藝術(shù)研究院，北京10029）
摘要：本文主要討論不同的“人類學(xué)”理念是如何導(dǎo)致了對(duì)“藝術(shù)人類學(xué)”的不同理解。研究小型非西方社會(huì)的通行人類學(xué)觀念影響下的藝術(shù)人類學(xué)關(guān)注這些社會(huì)或文化中的視覺(jué)藝術(shù)。人類學(xué)有時(shí)也被視為一種獨(dú)特的方法，可以適用于任何文化中的社會(huì)文化現(xiàn)象，包括其藝術(shù)形式。這兩種人類學(xué)觀亦可被作為更具廣泛性的跨學(xué)科人類學(xué)研究的補(bǔ)充。按照這種觀念，藝術(shù)人類學(xué)成為人類存在藝術(shù)的全景審視。如此，藝術(shù)人類學(xué)和世界藝術(shù)研究同義，被構(gòu)建為全球性和跨學(xué)科的視覺(jué)藝術(shù)研究。
關(guān)鍵詞： 人類學(xué)；視覺(jué)藝術(shù)；類型
Three Types of Art Anthropology
Written by Wilfred Van Dam (Netherlands)1.
Translated by WANG Yong-jun2., ZHANG Zhou-rui3.; Proofreaded by LI -Xiu jian4.
(1.School of Art History,Leiden University,Netherlands,999025;2.Li Shui University,Li Shui,Zhe jiang,323000;3.Lan zhou University of Art and Science,Lan zhou,Gan su,73000;4.Chinese National Academy of Arts,Bei jing,100029)
Abstract: This article mainly discusses how different concepts of “anthropology” lead to the different understandings of “art anthropology”. It researches the art anthropology under the influence of the provailing anthropology nothion in the small non-western society and pays attention to the visual art in the society or art. Sometimes anthropology is regarded as a unique method that can be applied to the social and cultural phenomenon in any culture, including its art form. Both anthropology concepts can also be used as a more extensive interdisciplinary anthropology supplement. According to this concept, art anthropology becomes a panoramic view of the art of human existence. So, art anthropology and the study of the world art are synonymous and are built as a global and interdisciplinary study of visual art.
Key words: Anthropology; Visual art; Type
澳大利亞原住民藝術(shù)：
氏族符號(hào)，民族象征與感知體驗(yàn)
(英國(guó)）羅伯特·萊頓1 .著關(guān)祎2 .劉雅超3.譯關(guān)祎校
（1.杜倫大學(xué)人類學(xué)系，英國(guó)999020；2.中國(guó)藝術(shù)研究院，北京100029；3.內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古呼和浩特010010）
摘要：大衛(wèi)·特納描述了20世紀(jì)60年代后期他如何在格魯特島上通過(guò)使用地理測(cè)繪、定位氏族界限、記錄宗族親屬關(guān)系等方法完成了對(duì)當(dāng)?shù)匾魳?lè)的初步研究 。15年后，他返回該島繼續(xù)對(duì)當(dāng)?shù)匾魳?lè)進(jìn)行更細(xì)致的研究，并向之前采訪過(guò)的樂(lè)師詢問(wèn)他所唱的曲子是如何創(chuàng)作的。一方面，文化傳統(tǒng)中的能者大賢善用其智力資源構(gòu)建物質(zhì)世界。他們構(gòu)建出作用于不同感官體驗(yàn)集合之上的明喻、暗喻以及其他一些比喻， 同時(shí)構(gòu)想出關(guān)于世間萬(wàn)物運(yùn)行“規(guī)律”的因果假設(shè)。通過(guò)在實(shí)際環(huán)境中的應(yīng)用，它們成為了社會(huì)秩序的一種認(rèn)定。另一方面，這種創(chuàng)作行為產(chǎn)生自一個(gè)超越于創(chuàng)作者控制的世界，這個(gè)世界決定著他們的命運(yùn)。
關(guān)鍵詞：澳大利亞原住民藝術(shù)；氏族符號(hào)；民族象征；感知體驗(yàn)
Australian Aboriginal Art: Clan Mark, National Symbol
And Perceptual Experience
Written by Robert Leiden(Britain)1.,Translated by GUAN Yi2., LIU Ya-chao3.,
Proofreaded by GUAN Yi
(1.Antropology Department, 999020;Durham University; 2.Chinese National Academy of Arts, Beijing, 100029; 3.College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: David Turner described how he completed a preliminary study on the local music on Groote Eylandt in the late 1960s, through the use of geographic mapping, the positioning of clan boundaries, the records of clan kinship and other methods. Fifteen years later, he returned to the island to carry out more detailed research on local music and interviewed the former musicians he asked before how to create his song. On one hand, those talents in the cultural traditions made the best use of the intellectual resources to build the material world. They built simile, metaphor and other parables used in the collection of different sensory experiences, and conceived causal hypothesis about the rules of how the universe works. Through the application in the real environment, they became the cognizance of social order. On the other hand, this creative act arose from the world beyond a creator's control. This world determines their fate.
Key words: Australian aboriginal art; Clan mark; National symbol; Perceptual experience
一個(gè)古老村莊的民俗傳統(tǒng)
——山西省洪洞縣小河村“拆樓”民俗調(diào)研
張西昌
（西安美術(shù)學(xué)院，陜西西安710065）
摘要：小河“拆樓”是流傳于山西省洪洞縣小河村內(nèi)數(shù)百年之久的一種民俗活動(dòng)，該民俗以懲惡揚(yáng)善、主張正義的人文精神為內(nèi)核，以迷幻的化妝手段展現(xiàn)出血腥暴力的視覺(jué)效果，傳達(dá)出鄉(xiāng)間民眾樸素的倫理觀念和表達(dá)方式。其中也包含了鄉(xiāng)民自?shī)首詷?lè)的精神話語(yǔ)權(quán)和審美追求，這種帶有半封閉特征的民間文藝形式，是鄉(xiāng)民對(duì)于村落生活及其文化資源不斷創(chuàng)造和維護(hù)的結(jié)果。
關(guān)鍵詞：村落；小河“拆樓”；民俗信仰；自?shī)首詷?lè)；文化空間
The Folk Tradition in An Ancient Village
——Folk Investigation on “Demolition” in Xiaohe Village, Hongdong county, Shanxi Province
ZHANG Xi-chang
(Xi’an Academy of Fine Arts, Xi’an, Shanxi, 710065)
Abstract: “Demolition” has been a popular folk activity in Xiaohe village, Hongdong county, Shanxi province for hundreds of years. The core of this activity is to advocate the good and evil, justice, humanism. And the way of its psychedelic makeup means to show the visual effects of bloody violence, in order to convey the simple ethical concepts and expressions between country people, which also includes the discourse right and aesthetic pursuits of villagers’ self-amusement spirit. This folk art forms, with a semi-enclosed character, is the result of the villagers’ constant creation and maintenance of village life and its cultural resources.
Key words: Village; “Demolition” in Xiaohe village; Folk beliefs; Self-amusement; Cultural space
近代漢族民間服飾變革的政治與文化解讀
李洪坤1. 崔榮榮2. 姜飄飄3.
（1.2.3.江南大學(xué)漢族服飾文化與數(shù)字創(chuàng)新實(shí)驗(yàn)室，江蘇無(wú)錫214122）
摘要：服飾作為民族文化的重要標(biāo)志,是一個(gè)民族在特定時(shí)代的文化風(fēng)俗表象,是政治、經(jīng)濟(jì)、外來(lái)文化、風(fēng)俗習(xí)慣等因素的綜合表現(xiàn)。清末民初是一個(gè)新舊交替的時(shí)期，漢族民間服飾面貌受政治革新、西風(fēng)東漸的影響，在秉承民族特色的基礎(chǔ)上發(fā)生了諸多變革，服飾文化亦隨變革的進(jìn)程注入了新的活力。
關(guān)鍵詞：近代；漢族服飾；政治變革；西風(fēng)東漸；服飾文化
Political And Cultural Interpretation of
Han Folk Clothing’s Reform in Modern Times
LI Hong-kun; CUI Rong-rong; JIANG Piao-piao
(Han Chinese Clothing Culture and Digital Innovation Lab,
Jiangnan University, Wuxi,Jiangsu, 214122)
Abstract: As an important symbol of national culture, clothing is a representation of cultural custom in a specific era and is the comprehensive performance of politics, economy, foreign culture, customs and other factors. The end of the Qing Dynasty is a transitional period. Affected by political reform and the spread of western cultures into the east, the appearance of Han folk clothing has undergone a lot of changes on the basis of adherence to national characteristics. And along with the reform process, clothing culture was injected with new vitality.
Key words: Modern times; Han clothing; Political reform; Spread of western cultures into the east; Clothing culture
鳳凰古城銀飾旅游產(chǎn)品市場(chǎng)調(diào)查
焦成根1.陳劍2.劉雯3.唐慧4.
(1.2.3.4湖南師范大學(xué)，湖南長(zhǎng)沙410081)
摘要：苗族銀飾產(chǎn)品是湖南省鳳凰古城旅游產(chǎn)品市場(chǎng)的重要組成部分。從鳳凰古城銀飾旅游產(chǎn)品的品種和成色、經(jīng)營(yíng)模式、消費(fèi)群體等進(jìn)行實(shí)地調(diào)研，對(duì)鳳凰古城苗族銀飾旅游產(chǎn)品的市場(chǎng)現(xiàn)狀進(jìn)行系統(tǒng)記錄，以期對(duì)鳳凰古城銀飾旅游產(chǎn)品的開發(fā)，乃至實(shí)現(xiàn)更大范圍的旅游文化產(chǎn)業(yè)增值，產(chǎn)生一定的推動(dòng)作用。
關(guān)鍵詞：苗族銀飾，旅游產(chǎn)品，鳳凰古城
Market Research of Silver Tourism Products in PhoenixAncient Town
JIAO Cheng-gen; CHEN Jian; LIU Wen; TANG Hui
(Hunan Normal Univeristy, Changsha, Hunan,410081))
Abstract: Miao silver ornaments play an important part of tourism products in Phoenix ancient town in Hunan. Based on the spot investigation of the variety, the fineness, business model, consumer groups, and other aspects of the silver tourism products in Phoenix ancient town, this article makes a system record of the current situation of Miao silver tourism products market, to play a certain promoting role in the development of the silver tourism products in Phoenix ancient town, as well as to achieve a greater range of appreciation of tourism culture industries.
Key words: Miao silver ornament; Tourism products; Phoenix ancient town
生活中的企盼
——“河南張泥娃娃”解讀
盧銘
（濱州醫(yī)學(xué)院醫(yī)學(xué)人文學(xué)院，山東煙臺(tái)264003）
摘要：黃河三角洲的民間藝術(shù)品“河南張泥娃娃”，是發(fā)自民眾心靈深處，滿足著人們精神需求的藝術(shù)作品。它以物化的形態(tài)方式，詮釋了當(dāng)?shù)剞r(nóng)民祈子祈福的美好愿望。“河南張泥娃娃”的彩繪，用筆流暢，線條簡(jiǎn)練，色調(diào)熱烈、鮮明，表現(xiàn)的題材也從不同角度表達(dá)了對(duì)美好生活的向往和祈盼。它獨(dú)到的型制和色彩，不但展現(xiàn)著獨(dú)具特色的藝術(shù)魅力。還緩解了人們精神的緊張，撫慰了人們的心靈，成為人們生活中不可缺少的寄托情懷的藝術(shù)品。
關(guān)鍵詞：黃河三角洲；民間藝術(shù) ；河南張泥娃娃
Expectation in the Life
——Interpretation of "Henan Zhang Clay Doll"
LU Ming
(College of Medical Humanities, Binzhou Medical University, Yantai, Shandong, 264003)
Abstract: The folk artwork "Henan Zhang Clay Doll" in the Yellow River Delta comes from the soul of the people to meet the spiritual needs of the people. The way of its materialized form interprets the local farmers' good wishes of son and good fortune. "Henan Zhang Clay Doll" is painted with smooth and simple lines and warm and bright colors. The theme also expresses the desire and pray for a better life from different angles. Its unique shape and color not only demonstrate a unique artistic charm, also ease the people's mental tension, soothe the people's hearts and become an indispensable artwork to have people's feelings sustenance.
Key words: The Yellow River delta; Folk arts; Henan Zhang Clay Doll
東北民間雕塑的藝術(shù)特征
張景明
（大連大學(xué)美術(shù)學(xué)院，遼寧大連116622）
摘要：東北民間雕塑有其悠久的歷史，經(jīng)過(guò)長(zhǎng)期的發(fā)展歷程，至今已非常成熟，所涉內(nèi)容豐富多彩，包括骨雕、角雕、冰雕、面塑、泥塑、石雕、蛋雕等，這些雕塑作品的內(nèi)容多是反映吉祥如意、長(zhǎng)命健康、富貴有余、兒孫滿堂等方面的題材，用于民間傳統(tǒng)節(jié)日、傳統(tǒng)宗教活動(dòng)或作為民族飾品等。造型生動(dòng)有趣，流傳廣泛，代表了東北地區(qū)民眾的傳統(tǒng)文化和日?；顒?dòng)。
關(guān)鍵詞：東北地區(qū)；民間雕塑；題材；形式特征
The Artistic Features of The Northeast Folk Sculpture
ZHANG Jing-ming
(College of Fine Arts, Dalian University, Dalian, Liaoning, 116622)
Abstract: Northeast folk sculpture has its long history. After a long course of development, it has been very mature and rich in the involved contents, including bone carving, corner carving, ice carving, dough modelling, clay, stone carving, egg carving, etc. whose contents mostly reflect good luck, longevity and health, riches and honor, children and grandchildren and other themes used in the folk festivals, traditional religion activities, or as ethnic jewelry etc.The modelling is vivid, interesting, widely spread, and represented as the northeast people’s traditional culture and daily activities.
Key words: Northeast area; Folk sculpture; Theme; Form feature
淺論蒙古族題材動(dòng)畫影片的場(chǎng)景設(shè)計(jì)
王睿志
（內(nèi)蒙古師范大學(xué)美術(shù)學(xué)院動(dòng)畫系，內(nèi)蒙古呼和浩特010022）
摘要：動(dòng)畫片的場(chǎng)景設(shè)計(jì)是構(gòu)成動(dòng)畫片中視覺(jué)表現(xiàn)的重要元素之一，場(chǎng)景對(duì)影片風(fēng)格的塑造、環(huán)境氛圍的烘托、視覺(jué)效果的表現(xiàn)，都產(chǎn)生深刻的影響。場(chǎng)景設(shè)計(jì)的主要目的是展現(xiàn)影片時(shí)空、烘托角色表現(xiàn)、營(yíng)造環(huán)境氣氛，最終起到加強(qiáng)視覺(jué)感染力的藝術(shù)效果。少數(shù)民族有著諸多與漢族不同的生活習(xí)慣、宗教信仰、文化語(yǔ)言、居住地域等差別，所以對(duì)少數(shù)民族題材動(dòng)畫的場(chǎng)景設(shè)計(jì)也要充分考慮其特殊要求。
關(guān)鍵詞：動(dòng)畫場(chǎng)景；蒙古族元素；景觀；少數(shù)民族藝術(shù)風(fēng)格
On the Scene Design of Mongolian Animated Film
WANG Rui-zhi
(Animation Department,College of Arts, Inner Mongolia Normal University, Hohhot, Inner Mongolia, 010022)
Abstract: The scene design constitutes an important element of visual expression in the animation. The scene has a profound impact on the portrait of the film style, the foil to the environment and atmosphere, and the performance of visual effects. The main purpose of scene design is to show the space of films, to foil the role performance, to build environment and atmosphere, and ultimately to enhance the artistic effect of the visual appeal. The custom, religion, culture and language, and living region of ethnic minorities are quite different from those of Han, so the animation scene design of ethnic theme should take full account of their special requirements.
Key words: Animation scene; Mongolian elements; Landscape; Artistic style of ethnic minority
淺談瓷枕的裝飾技法
劉潔
（內(nèi)蒙古工業(yè)大學(xué)建筑學(xué)院藝術(shù)設(shè)計(jì)系，內(nèi)蒙古呼和浩特010010）
摘要：瓷枕在中國(guó)的陶瓷藝術(shù)中是一個(gè)非常獨(dú)特的藝術(shù)種類，為陶藝領(lǐng)域的視野拓展，提供了大量的實(shí)物資料。僅就瓷枕的裝飾工藝一點(diǎn)而論，其裝飾手法的發(fā)展史即是中國(guó)古陶瓷歷史發(fā)展的一個(gè)縮影。歷朝歷代的陶工們，將不同時(shí)期新穎時(shí)尚的裝飾手法，運(yùn)用到瓷枕的創(chuàng)作中，充分顯示出瓷枕的不同時(shí)代風(fēng)貌，也正因?yàn)槿绱耍烧聿庞腥绱祟B強(qiáng)蓬勃的生命力，展現(xiàn)出功能與形意、圖案與造型、藝術(shù)與觀念的完美結(jié)合，呈現(xiàn)出多姿多彩的藝術(shù)形式。
關(guān)鍵詞：瓷枕；成形；胎裝飾；釉裝飾
On the Decorative Technique of Porcelain Pillow
LIU Jie
(Art and Design Department, School of Architecture,
Inner Mongolia University of Technology, Hohhot, Inner Mongolia, 010010)
Abstract: Porcelain pillow is a very unique artistic kind in China pottery art, and provides a large amount of materials to expand the vision of pottery horizon. Only from the viewpoint of the decoration of porcelain pillow, the history of its decorative techniques is a microcosm of the development of China ancient ceramic history. Dynasties of the potters applied the fashionable decorative techniques at different periods to the creation of porcelain pillow, so as to fully show the different styles of the times. Because of this, porcelain pillow is of such tenacious and vigorous vitality, and shows the perfect combination of function and significance, pattern and shape, art and conception in order to present a colorful art form.
Key words: Porcelain pillow; Figuration; Body decoration; Glaze decoration
當(dāng)代日本巖彩畫創(chuàng)作的現(xiàn)狀
索麗婭
（日本東京斯派蘭斯文化交流中心，日本東京1730005）
摘要：日本當(dāng)代的巖彩畫作品，由于使用了高科技合成的新巖彩畫材料，在材料和技法上，相對(duì)于當(dāng)代中國(guó)畫的材料與技法，都有很大的不同。深入研討日本高科技新巖彩畫的材料和其在創(chuàng)作中的技法表現(xiàn)，可以引發(fā)當(dāng)下的中國(guó)畫創(chuàng)作者對(duì)新繪畫材料的關(guān)注與思考，并對(duì)新技法的探索投注熱情。同時(shí)，亦可探索在中國(guó)畫創(chuàng)作中，將日本新巖彩畫材料與技法與中國(guó)畫材料與技法有機(jī)結(jié)合，以探索新畫風(fēng)出現(xiàn)的可能。
關(guān)鍵詞：巖彩畫；新材料；新技法；中國(guó)畫；結(jié)合與探索
The Enlightenment of The Contemporary Japanese Rock Painting Creation
SUO Li-ya
(Tokyo Sipailansi Cultural Exchange Center, Tokyo, Japan, 1730005)
Abstract: Due to the use of new high-tech synthetic rock painting materials, Japanese contemporary rock painting works is quite different from contemporary Chinese painting in materials and techniques. This article makes a further discussion on Japanese new high-tech rock painting materials and their techniques in the creation, which can arouse Chinese painting creators' attention and consideration of the new painting materials to devote their enthusiasm to explore new techniques. Meanwhile, in the exporation, the combination of the new materials and techniques in Japanese rock painting and those in Chinese painting provides the possibility of appearance of the new style.
Key words: Rock painting; New material; New technique; Chinese painting; Combination and exploration
闡釋與“誤讀”
——從彝族“蘇尼”單面鼓音樂(lè)考察引發(fā)的田野思考
申波
（云南藝術(shù)學(xué)院，云南昆明650500）
摘要：在傳統(tǒng)的彝族社區(qū)中，“畢摩”作為精神領(lǐng)袖和文化傳人這一社會(huì)角色，他們?cè)诩漓脒^(guò)程中的行為方式早已引起學(xué)界的廣泛關(guān)注，各路學(xué)者分別從不同的學(xué)術(shù)立場(chǎng)獲得了眾多的成果。但針對(duì)施巫儀式的“蘇尼”這一社會(huì)角色的研究成果卻相對(duì)較少，從藝術(shù)人類學(xué)立場(chǎng)進(jìn)行專題研究的成果更是處于空白。正是在這樣的背景下，本專題立足藝術(shù)人類學(xué)的學(xué)科方法，依托田野的視角，對(duì)云南彝族楚雄地區(qū)“蘇尼”的行為方式進(jìn)行了專題研究，特別對(duì)其“施儀”過(guò)程中所使用的標(biāo)志性“法器”單面鼓的社會(huì)功能進(jìn)行了音樂(lè)學(xué)意義上的識(shí)讀，并對(duì)彝族單面鼓這一田野現(xiàn)象的歷史脈絡(luò)進(jìn)行了“誤讀”式的梳理，意在說(shuō)明，在人類文化的創(chuàng)造中，許多“另一種聲音的言唱”方式常常是我們?nèi)院苣吧念I(lǐng)域，有待各路學(xué)人的關(guān)注。
關(guān)鍵詞：彝族“蘇尼”；行為方式；單鼓音樂(lè)；祖靈崇拜
Interpretation And “Misreading”
——Thinking from Yi-nationality’s “Suni” Single-drum Music Survey
SHEN Bo
(Yunnan Arts University, Kunming,Yunnan, 650500)
Abstract: In the traditional Yi communities, “Bimo” is a social role of spiritual leader and cultural descendant. Their behavior in the worship has caused widespread concern in academic circles, and the brightest scholars have received numerous achievements from different academic standpoints. But the research of spell-performing ritual “Suni” is relatively less. Moreover, the thematic research result from an art anthropological standpoint is even a blank. Based on the art anthropology approach and from the field perspective, this context carries on thematic research on “Suni” behavior way in Chuxiong area in Yunnan, especially on the musicological sense of reading of the social function of the iconic “musical instruments”--- single drum in the process of the “instrument performance”. The “misreading” of the history of this field phenomenon—single drum in Yi nationality intends to illustrate that, in the creation of human culture, many “singing in another voice” approaches are still unfamiliar and are subject to the attention of all scholars.
Key words: Yi-nationality’s “Suni”; Behavior way; Single-drum music; the Worship of Ancestral Soul
傳承與演變
——以甘珠爾胡爾奇說(shuō)唱為例
通拉嘎
（呼和浩特市民族學(xué)院，內(nèi)蒙古呼和浩特市010051）
摘要：胡爾奇的知識(shí)和技藝通過(guò)傳承而獲得，也通過(guò)傳承而得以延續(xù)。由于社會(huì)文化背景以及口頭藝術(shù)本身的特點(diǎn)，在其傳承過(guò)程中出現(xiàn)變異也是必然的。甘珠爾在繼承傳統(tǒng)的過(guò)程中，一方面模仿著師傅的演唱風(fēng)格、創(chuàng)作技法以及伴奏手法，另一方面為了適應(yīng)其自身所處的環(huán)境，不斷地對(duì)自己進(jìn)行調(diào)整，從而來(lái)掌握和積累更多的知識(shí)與技藝，完善著自己的說(shuō)唱藝術(shù)。
關(guān)鍵詞：胡爾奇；傳承；演變
Inheritance And Evolution
——In the Case of Ganjur Hugurci's Rap
Tonglaga
(Hohhot University for Nationalities, Hohhot, InnerMongolia, 010051)
Abstract: Hugurci's knowledge and skills were acquired and perpetuated through inheritance. Due to social cultural background and the characteristics of verbal art, it is inevitable that mutation occurs in the process of inheritance. In the process of the traditional inheritance, on one hand, Ganjur imitated teacher's singing style, creative techniques and accompaniment skills. On the other hand he constantly adjusted himself in order to adapt to the environment, to master and accumulate more knowledge and skills, and to improve his own rap art.
Key words: Hugurci; Inheritance; Evolution
口頭藝術(shù)的點(diǎn)滴感悟
——簡(jiǎn)論蒙古族傳統(tǒng)音樂(lè)文化脈絡(luò)及認(rèn)知視野
周·特古斯
（四川省樂(lè)山師范學(xué)院，四川樂(lè)山614000）
摘要：本文從蒙古族文化思想史的視角對(duì)傳統(tǒng)音樂(lè)文化的脈絡(luò)和特征進(jìn)行宏觀地概括，并對(duì)這一脈絡(luò)所產(chǎn)生背后的文化交融現(xiàn)象加以描述。與此同時(shí)，還闡釋了如何建構(gòu)蒙古族傳統(tǒng)音樂(lè)文化的整體視野等問(wèn)題。
關(guān)鍵詞：蒙古族；口頭表演；脈絡(luò)；認(rèn)知視野
Thoughts on Verbal Art
——On the Cultural Context of Mongolian Traditional Music And Cognitive Horizons
ZHOU Tegusi
(Leshan Normal University, Leshan, Sichuan, 614000)
Abstract: From the perspective of the history of Mongolian culture ideas, this article macroscopically summarizes the context and characteristics of traditional music culture, and describes the culture blending phenomenon behind its context. At the same time, it also explains how to construct the Mongolian traditional music culture as a whole vision.
Key words: Mongolia; Oral performance; Context; Cognitive horizon
評(píng)《表演、文本、語(yǔ)境、傳承
——蒙古族音樂(lè)的口傳性研究》
何雪
(內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂(lè)系，內(nèi)蒙古呼和浩特010010)
摘要：蒙古族傳統(tǒng)音樂(lè)的最基本特征是口傳性，要想從根本上理解蒙古族音樂(lè)，就必須先從它的口傳性入手。“口傳音樂(lè)”是指口頭編創(chuàng)、口頭表演、口頭傳播、口頭傳承的音樂(lè)，從此意義上講，蒙古族傳統(tǒng)音樂(lè)體裁都屬于口傳音樂(lè)范疇，即蒙古族傳統(tǒng)音樂(lè)便是口傳音樂(lè)?！侗硌荨⑽谋?、語(yǔ)境、傳承——蒙古族音樂(lè)的口傳性研究》一書恰是從蒙古族音樂(lè)的口傳性特點(diǎn)切入，通過(guò)對(duì)表演、文本、語(yǔ)境、傳承四個(gè)著眼點(diǎn)展開論述，從而對(duì)蒙古族音樂(lè)的口傳性進(jìn)行分析與闡釋的。
關(guān)鍵詞：表演；文本；語(yǔ)境；傳承；蒙古族傳統(tǒng)音樂(lè)；口傳性研究
Review of “Performance, Text, Context, Inheritance
——On Oral Transmission of Mongolian Music”
HE Xue
(Music Department, College of Arts, Inner Mongolia Univeristy, Hohhot. InnerMongolia, 010010)
Abstract: The most basic features of Mongolian traditional music is oral transmission. In order to fundamentally understand the Mongolian music, you must first start with its oral transmission. “Oral music” refers to oral choreography, oral performance, oral transmission, oral inheritance of music. In this sense, genre of Mongolian traditional music belongs to oral music category. Namely Mongolian traditional music is oral music. The book “Performance, Text, Context, Inheritance – On Oral Transmission of Mongolian Music” starts from the characteristics of oral transmission of Mongolian music, makes the discussion on the basis of performance, text, context, inheritance four focuses, and carries on an analysis and interpretation of oral transmission of Mongolian music.
Key words: Performance and text; Context and inheritance; Mongolian traditional music; Research on oral transmission
試論中國(guó)大陸音樂(lè)美學(xué)發(fā)展
中自律論的缺失
王雙杰
（包頭師范學(xué)院音樂(lè)學(xué)院，內(nèi)蒙古包頭014030）
摘要：作為一種研究音樂(lè)規(guī)律的方法，自律論音樂(lè)美學(xué)在誕生之初就面臨強(qiáng)大的挑戰(zhàn)，但隨著時(shí)間的推移，被越來(lái)越多的人所接受，并在20世紀(jì)后逐漸散發(fā)出自身的魅力。隨著自律論音樂(lè)美學(xué)在中國(guó)大陸傳播的日益深入，本文在對(duì)中國(guó)大陸音樂(lè)美學(xué)發(fā)展脈絡(luò)梳理的基礎(chǔ)上認(rèn)為其傳播具有必然性。
關(guān)鍵詞：音樂(lè)美學(xué)；自律論；必然性
On the Lack of Self-discipline Theory in the
Development of China Mainland Music Aesthetics
WANG Shuang-jie
(Music Faculty, Baotou Normal College, Baotou, Inner Mongolia, 014030)
Abstract: As a method of the research on the music rules, self-discipline Music Aesthetics faced a strong challenge in the beginning of its birth. But as time goes on, it is accepted by more and more people, and gradually exudes its own charm in the 20th century. With the deep spread of self-discipline Music Aesthetics in China mainland, this article considers that there is an inevitability for its spread on the basis of combing the development context of China mainland Music Aesthetics.
Key words: Music aesthetics; Self-discipline Theory; Necessity
中國(guó)音樂(lè)作品中的線性結(jié)構(gòu)
趙曦君
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古呼和浩特010010）
摘要：本文從中國(guó)音樂(lè)的線性結(jié)構(gòu)分析出發(fā)，分別從線性結(jié)構(gòu)的改變、簡(jiǎn)、繁化旋律、同宗民歌、突破調(diào)性組織的線條流動(dòng)、“東學(xué)西漸”與中西合璧幾方面進(jìn)行論證，簡(jiǎn)述了中國(guó)音樂(lè)中具有本國(guó)特點(diǎn)的一些變化、發(fā)展旋律技法。并在此基礎(chǔ)上，提出了中西發(fā)展結(jié)構(gòu)差異的原因，及東西方互溶互通的歷史必然走向。
關(guān)鍵詞：線性結(jié)構(gòu)；中西差異；中西合璧
The Linear Structure in Chinese Music Works
ZHAO Xi-jun
(The Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: On linear structural analysis of Chinese music, and respectively from the change of linear structure, simplified and complexified melody, congenetic folk song, line flow of breakthrough tonal organization, “progressive extending of eastern learning to the west” and sino-western combination aspects, this paper briefly describes some changes of its own characteristics and techniques of melody development in Chinese music. And on this basis, it puts forward the reason of the structural differences between Chinese and western development, and the historical inevitable trend of the fusion and intercommunication between east and west.
Key words: Linear structure; Sino-western difference; Sino-western combination
唐山地區(qū)評(píng)劇團(tuán)的調(diào)查與研究
劉蓓璇
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂(lè)系，內(nèi)蒙古呼和浩特010010）
摘要：唐山是評(píng)劇誕生的搖籃。從誕生至今，唐山地區(qū)的評(píng)劇藝術(shù)一直深受當(dāng)?shù)赜^眾的厚愛(ài)，成為老百姓精神生活中重要的組成部分。本文通過(guò)對(duì)唐山評(píng)劇團(tuán)、成兆才博物館以及遷西縣照燕洲民間自發(fā)組織的業(yè)余劇團(tuán)三處進(jìn)行實(shí)地采訪調(diào)查，并對(duì)專業(yè)劇團(tuán)和業(yè)余劇團(tuán)的個(gè)案進(jìn)行深入分析，盡可能全方位展示到唐山地區(qū)及周邊區(qū)縣評(píng)劇團(tuán)的生存現(xiàn)狀。
關(guān)鍵詞：唐山地區(qū)：評(píng)?。粚I(yè)和業(yè)余評(píng)劇團(tuán)；生存現(xiàn)狀
Investigation and Research on Ping Opera Troupe in Tangshan
LIU Bei-xuan
(Music Department, the Art College, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: Tangshan is the cradle of Ping Opera. Since its birth, Ping Opera in Tangshan has always been popular with local audiences and become an important part of people's spirit life. Based on the on-site interviews of three parts: Tangshan Ping Opera troupe, Zhao-cai Cheng museum and amateur theaters spontaneously organized by Yan Zhou folks in Qianxi County, and the in-depth analysis of some cases in professional and amateur theater troupes, this article tries to make an all-round display of the living situation of Ping Opera troupe in Tangshan area and surrounding counties
Key words: Tangshan area; Ping opera; Professional and amateur Ping Opera troupe; Living situation
二人臺(tái)傳統(tǒng)劇目《走西口》
藝術(shù)表現(xiàn)形式的流變
張玉蘭
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院影視戲劇系，內(nèi)蒙古呼和浩特010010）
摘要：《走西口》是移民文化的衍生物，作為二人臺(tái)的傳統(tǒng)劇目，其藝術(shù)表現(xiàn)形式包括表演、音樂(lè)、舞臺(tái)美術(shù)等，經(jīng)過(guò)幾代人的艱苦努力、學(xué)習(xí)和總結(jié)，得以不斷完善、創(chuàng)新和發(fā)展。本文通過(guò)探索傳統(tǒng)二人臺(tái)劇目《走西口》藝術(shù)表現(xiàn)形式的流變，來(lái)把握其藝術(shù)特征，了解不同時(shí)期的人物表演風(fēng)格、音樂(lè)唱腔編排和舞臺(tái)美術(shù)設(shè)計(jì)。
關(guān)鍵詞：二人臺(tái)；《走西口》；表演；音樂(lè)；舞臺(tái)美術(shù)；流變
The Artistic Form Evolution of Er’rentai Traditional
Repertoire “Zou Xi Kou”
ZHANG Yu-lan
(Film and Television Drama Department, the Art College, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: “Zou Xi Kou” is a derivative of immigrant culture. As Er’rentai traditional repertoire, its artistic form consists of performance, music, stage art, etc. and gets continuous improvement, innovation and development by several generations’ hard work, study and summary. By exploring artistic form evolution of Er’rentai traditional repertoire “Zou Xi Kou”, this article grasps its artistic features and understands the acting style of characters, the aria arrangement and stage art design at different periods.
Key words: Er’rentai; “Zou Xi Kou”; Performance; Music; Stage art; Evolution
貢桑諾爾布致建齋書札考釋
李俊義
（赤峰學(xué)院歷史文化學(xué)院，內(nèi)蒙古赤峰024001）
摘要：《貢桑諾爾布致建齋書札考釋》，為研究喀喇沁王貢桑諾爾布提供了第一手資料。本文結(jié)合相關(guān)史料，解讀此書札。
關(guān)鍵詞：貢桑諾爾布；建齋；書札；考釋
Textual Research of the Letter of Gongsennorbo to Jianzhai
LI Jun-yi
(History and Culture Faculty, Chifeng University, Chifeng, InnerMongolia, 024001)
Abstract: This book provides the first-hand information to the research of Kalaqin noble: Gongsennorbo. This article interprets this letter on the basis of the relevant historical materials.
Key words: Gongsennorbo; Jianzhai; Letter; Textual research
2013年中國(guó)藝術(shù)人類學(xué)國(guó)際
學(xué)術(shù)研討會(huì)綜述
安麗哲
（中國(guó)藝術(shù)研究院藝術(shù)人類學(xué)所，北京100029）
摘要：2013年10月25日至11月27日，由中國(guó)藝術(shù)人類學(xué)學(xué)會(huì)，中國(guó)藝術(shù)研究院和山東大學(xué)主辦，山東大學(xué)遺產(chǎn)研究院及中國(guó)藝術(shù)研究院藝術(shù)人類學(xué)研究所承辦的2013年中國(guó)藝術(shù)人類學(xué)國(guó)際學(xué)術(shù)研討會(huì)在山東濟(jì)南順利召開。在此次會(huì)議中，共有來(lái)自國(guó)內(nèi)外100多所高校與研究機(jī)構(gòu)的專家學(xué)者出席會(huì)議。提交論文140余篇，許多學(xué)者的田野工作翔實(shí)，內(nèi)容豐富，涉及到藝術(shù)本體風(fēng)格剖析，知識(shí)譜系，現(xiàn)狀調(diào)查，傳承變遷，保護(hù)方法等各個(gè)方面，并與理論研究相互呼應(yīng)，互相促進(jìn)。
關(guān)鍵詞：中國(guó)；藝術(shù)人類學(xué)；學(xué)術(shù)研討會(huì)；綜述
Summary of International Symposium on 2013 China Art Anthropology
AN Li-zhe
(Art Anthropology Institute, Chinese National Academy of Arts, Beijing, 100029)
Abstract: From October 25th to Novermber 27th in 2013, organized by China Art Anthropology Association, Chinese National Academy of Art Anthropology and Shandong University, and undertaken by Heritage Institute in Shandong University and Art Anthropology Institute in Chinese National Academy of Art Anthropology, the International Symposium on 2013 China Art Anthropology was successfully held in Jinan, Shandong. At this meeting, experts and scholars from more than 100 universities and research institutions from home and abroad attended the meeting, and over 140 papers was submitted. Many scholars' fieldwork is informative, content-rich, and involves art noumenon style analysis, genealogy of knowledge, current situation investigation, change of inheritance, protection methods and other aspects, as well as echoes and promotes with the theoretical studies.
Key words: China; Art Anthropology; Symposium; Summary