“萌”作為一種美
周星
（日本愛知大學國際交流學部，名古屋453-8777）
摘要：“萌”作為一種新的審美意識，在當前的中國社會及文化生活中頗為醒目。以動畫、漫畫、電子游戲和互聯(lián)網等為媒介，“萌”是彌漫于日本和中國的越境性審美文化現(xiàn)象。從藝術人類學之跨文化比較研究的視角探討“萌”，有助于揭示“萌”之美的普世性。
關鍵詞：萌；可愛；審美；藝術人類學
Meng As a Kind of Beauty
Zhou Xing
（Faculty of International Communication ，Nagoya ，Aichi University 453-8777）
Abstract: As a new kind of aesthetic consciousness, Meng attracts much attention in contemporary social and cultural life of China. Meng is an aesthetic culture which across the border and pervades in China and Japan. Its medium includes animation、comics、electronic game and internet. It is helpful to reveal the universality of Meng from the visual angle of cross-cultural comparison of anthropology of art.
Key words: Meng; Kawaii; Aesthetic; Anthropology of art
論美學:從社會人類學的視角
（英國）羅伯特·萊頓1著 關祎2 邢書宇3 譯
（1. 杜倫大學人類學系，英國 999020；2.中國藝術研究院，北京100029；3. 內蒙古大學藝術學院，內蒙古呼和浩特010010）
摘要：人類學是一個內容廣泛的學科, 其中生物人類學研究人類進化方面的問題，包括解剖與健康,社會人類學研究人類社會的多樣性、文化及其在國際社會中的位置方面的問題。人類文化與社會結構的復雜性要求研究分析不僅局限于心理學。正如杜爾干所指出的，社會與文化具有這樣的一種特性，它們影響著個體所固有的心理和生理傾向，決定它們何時被怎樣喚醒。
關鍵詞：美學；社會人類學；研究方法；考古學證據
Aesthetics: from the Perspectives of Social Anthropology
Written by Robert Leiden1; Translated by GUAN Yi2; XING Shu-yu3
(1.Antropology Department, Durham University; 2.Chinese National Academy of Arts, Beijing, 100029; 3.College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: Anthropology is a broad subject, in which bio-anthropology studies the question of human evolution including the anatomy and health issues, and social anthropology studies the diversity of human society, culture and its position in the international society. The complexity of human culture and social structure doesn't confine research and analysis to psychology. As Durkheim noted, social and culture had such a feature that they affected an individual’s psychological and physiological tendency to decide how and when they were waken up.
Key words: Aesthetics; Social anthropology; Research methods; Archaeological evidence
浙江桐鄉(xiāng)五涇村清明節(jié)調查報告
楊 秀
（中國藝術研究院，北京 100029）
摘要：清明節(jié)作為中國傳統(tǒng)節(jié)日，一直為民間所重視。本文主要以田野調查資料為主，參照部分地方志和浙江省非物質文化遺產普查資料等內容，重點對五涇村清明節(jié)習俗進行描述。對五涇村清明節(jié)民俗事象的調查與關注，不難感受到民眾對清明節(jié)的重視，雖然不同時期的具體表現(xiàn)方式會有所變化。人們通過一系列民俗儀式，確立了人與神靈、與祖先、與自然之間的關系，并力求對方能夠成為順己的力量。
關鍵詞：五涇村；清明節(jié)；習俗
Tomb-sweeping Day Survey Report in Wujing Village,
Tongxiang, Zhejiang
YANG Xiu
(Chinese National Academy of Arts, Beijing, 100029)
Abstract: As a traditional Chinese festival, Tomb-sweeping Day has been valued by the people. Mainly based on the field survey materials, and referred to part of local history, census data of Zhejiang intangible cultural heritage, and other contents, this paper focuses on the description of Tomb-sweeping Day customs in Wujing village. Through the survey and attention on the folk customs on Tomb-sweeping in Wujing Village, it is easy to feel the public’s attention to Tomb-sweeping Day. The specific manifestations vary in different periods, but through a series of folk rituals, people establish relationship between man and gods, nature and ancestors, and strive to make the other side become their own power.
Key Words: Wujing village; Tomb-sweeping Day; Custom
感悟少數民族傳統(tǒng)節(jié)日與儀式中的文明精髓
石劍峰1 彭分田2 石裕祖3
（1、3云南藝術學院 昆明 650031 2、商丘師范學院音樂學院 商丘476000）
摘要：中國少數民族傳統(tǒng)節(jié)日和民間儀式的內容和形式極其豐富多彩，包含和濃縮了民族文化進程中“天人合一，靈物共融”的哲學理念、價值觀和民族智慧，擁有海量的優(yōu)勢資源和發(fā)展創(chuàng)新的機遇。認識少數民族傳統(tǒng)節(jié)日文化，不能脫開人類精神；節(jié)日文化是一種歷史現(xiàn)象，每一個民族都有與其相適應的節(jié)日文化，它是一系列規(guī)范和準則，具有民族精神的傳導價值和作用,并引導著一個民族群體行為的價值觀和信仰。少數民族傳統(tǒng)節(jié)日和民間儀式隨著社會物質生產的發(fā)展而發(fā)展，在遵循和崇尚大自然生態(tài)規(guī)律的前提下，融入了本民族期冀與之相互依存、和諧共存的核心價值理念，是一部展示中華民族精神文明的“大百科全書”。感悟和探究民族文化的精髓與靈魂，離不開民族傳統(tǒng)節(jié)日與儀式文化對于人類精神和智慧修養(yǎng)所具有的極為重要的傳導價值的深層認識。
關鍵詞：跨境民族；節(jié)日與儀式；民族智慧；精神財富；文化競爭力
Perception of Civilization Essence of
Minority Traditional Festivals and Rituals
SHI Jian-feng1; PENG Fen-tian2; SHI Yu-zu3
(1,3: Yunnan Arts Univerisity, Kunming, 650031; 2: College of Music, Shangqiu Normal University, Shangqiu, 476000)
Abstract: The content and form of traditional festivals and folk rituals in Chinese minority are extremely rich, including and concetrating on philosophy, values and national wisdom the national culture “Harmony between men and nature, Holy communion” in the process of national culture, with a massive advantage in resources and opportunity of innovative development. Recognizing traditional festivals of minorities can not be disengaged from the human spirit; festival culture is a historical phenomenon, and every nationality has its festival culture, which is a series of norms and standards, with the conductive value and role of the national spirit, and guide the values and beliefs of an ethnic group’s behaviors. Traditional festivals and rituals of Minorities develop with the development of social material production, and integrate into core values of ethnic hopes to interdepend and harmonize with nature under the premise of follow and respect of ecological laws of nature, and is an “Encyclopedia” to show Chinese spiritual civilization. Insights and exploration of the essence and soul of the national culture cannot be inseparable from the deep understanding of the extremely important conductive value of ethnic traditional festivals and rituals culture to the human spirit and wisdom.
Key Words: Cross-border nationality; Festival and ritual; National wisdom; Spiritual wealth; Cultural competitiveness
窯與窯祭的社會功能
——以江蘇昆山錦溪祝家甸村土窯與窯神祭拜儀式為例
李雪艷
（南京曉莊學院美術學院，江蘇 南京210017）
摘要：江蘇昆山錦溪朱家甸村，在漫長的歷史發(fā)展過程中，逐漸形成了以磚瓦燒制為主業(yè)，大部分村民以盤窯、燒窯、祭窯為生產與生活的主要方式。當地磚瓦窯為饅頭形土窯，由煙沖、圓弧形的主體建筑與窯房三個部分組成；磚瓦燒制工藝要經過滿窯、火燒、攬煙、澆水轉釉等不同環(huán)節(jié)；當地祭拜的大小太太具有窯神兼農業(yè)神的雙重身份，其祭拜儀式發(fā)揮著社會整合功能。
關鍵詞：昆山錦溪祝家甸村；土窯；窯神；祭拜儀式；社會整合
Social Function of Kiln And Kiln Offering
——In the Case of Zhu-jia-dian Village Traditional Kiln And Worship Rites of
Kiln God in Jinxi,Kunshan, Jiangxi
Li Xue-yan
(Colleg of Fine Arts, Nanjing Xiaozhuang University, Nanjing, Jiangsu, 210017)
Abstract: In the long course of historical development, a brick firing based industry gradually formed in Zhujiadian village, Jinxi, Kunshan, Jiangsu, where most of the villagers took disk kiln, kiln, kiln worship as the main way of production and life. Local brick kiln was built as the shape of a steamed bun, and contained three parts: chimney, arc-shaped main building and kiln room. Brick kiln firing process includes loading kiln, firing, withdrawing smoke, watering, turning glaze and other different aspects. The local worshiped Gods in various sizes have a dual identity of kiln God and agriculture God, which play the function of social integration .
Key words: Zhujiadian village in Jinxi, Kunshan; Traditional kiln; Kiln God; Worship rites; Social integration
我國民營藝術院團的現(xiàn)狀及發(fā)展
劉筠梅
（內蒙古大學藝術學院，內蒙古呼和浩特010010）
摘要：我國的民營藝術院團，盡管機制相對靈活、運轉比較自由，有強烈的市場意識，為滿足農民文化需求、豐富城鄉(xiāng)文化生活、繁榮基層文化市場、促進社會主義新農村文化建設做出了重要貢獻，但依然面臨缺乏穩(wěn)定的資金來源、缺乏穩(wěn)定的演職人員隊伍、缺乏先進的經營管理理念、缺乏規(guī)范有序的市場競爭環(huán)境等許多困難。在未來的發(fā)展中，還需要繼續(xù)加大政策支持力度和監(jiān)管力度，創(chuàng)新內部管理機制，增強自身實力，同時要進行行業(yè)化管理。
關鍵詞： 民營藝術院團；發(fā)展現(xiàn)狀；困難；建議
Current Situation and Development of Private Arts Troupes in China
LIU Yun-mei
(College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: Regarding China’s private arts troupe, the mechanism is relatively flexible, the operation is relatively free with a strong sense of the market, and has made important contributions to the promotion of cultural construction of socialist new countryside in order to meet the cultural needs of farmers, to enrich rural and urban cultural life and to prosper grassroots’ cultural market, but it still faces the lack of a stable funding source, stable crew teams, advanced management concepts, and orderly market competition environment. In the future, it still needs to increase policy support and supervision, to innovate internal management mechanism, to enhance their own strength, as well as to conduct trade management.
Key Words: Private arts troupe; Status of development; Difficulty; Suggestion
石堆上的音樂
——內蒙古烏拉特地區(qū)蒙古族“敖包”祭儀“音聲”考察與思考
董波
（內蒙古師范大學音樂學院，內蒙古 呼和浩特 010022）
摘要：敖包祭祀活動是蒙古族祖先在遠古時期所創(chuàng)造的，經過世世代代相傳到了今天。敖包祭祀儀式是一個完整的儀式過程。為揭示敖包及儀式的音樂文化內涵，文章以實地個案考察等方法，揭示烏拉特敖包祭祀儀式及音聲與蒙古族薩滿、佛教等傳統(tǒng)文化的關系。通過我們的田野考察和觀看，烏拉特敖包儀式中的經韻音樂十分豐富。敖包祭祀儀式中的祭詞、祝詞、贊詞都是屬于音聲的范疇。從目前的考察來看，烏拉特敖包祭祀儀式及音樂中既有薩滿教又有喇嘛教文化的音聲特征。文章指出，敖包信仰對于人生存與生活的意義是烏拉特蒙古族敖包祭祀儀式及音聲得以傳承的重要動力。
關鍵詞：烏拉特地區(qū)；蒙古族敖包祭儀；儀式音聲
Music on the Rubble
——Nvestigation And Thinking on Mongolian “Sound Image” in Wulat “Obo”
Sacrificial Rites in Inner Mongolia
Dong Bo
(Conservatory of Music, Inner Mongolia Normal University, Hohhot, Inner Mongolia, 010022)
Abstract: Obo sacrificial rites was created by Mongolian ancestors in ancient times and passed on from generation to generation to today. Obo sacrificial ceremony is a complete process to reveal the music cultural connotations of obo and ritual. By using the methods of field case study, this article reveals Wulat obo sacrificial rites and the relationship between sound and Mongolian Shaman, Buddhist and other traditional cultures. Through our field investigation and observatory, rhyme music is very rich in Wulat obo ceremony. In obo ritual, the elegiac address, congratulation words and eulogy belong to the sound category. From the current investigation, Wulat obo ritual and music involve Shamanism and Lamaism sound features. The article points out that as an important driving force, the survival and living siganificance of obo faith for people is to inherit Wulat Mongolian obo ritual and music.
Key words: Wulat region; Mongolian obo sacrificial rites; Rite sound
被遺忘的民間音樂奇葩
——碼頭調縱橫談
苗幼卿
（內蒙古自治區(qū)藝術研究所，內蒙古 呼和浩特 010011）
摘要：碼頭調系內蒙古西部地區(qū)民俗活動中一個重要的歌曲品種，主要用于內蒙古西部地區(qū)民間的“社火”中。曾于上個世紀五、六十年代前，在內蒙古西部地區(qū)風靡一時。但由于種種原因，半個多世紀以來，碼頭調這一民間音樂奇葩似乎已被人遺忘，也未曾有研究文章關注。本文展示了研究碼頭調的初步探索，一是希望能拋磚引玉，引起專家學者注意；二是呼吁抓緊對這一非物質文化遺產項目的挖掘與保護。
關鍵詞：內蒙古西部地區(qū)；社火；民間曲種 ；碼頭調
Forgotten Wonderful Folk Music
——“Matou Tune”in The Western Region of Inner Mongolia
MIAO You-qing
(Inner Mongolia Institute of Arts, Hohhot. Inner Mongolia, 010011)
Abstract: Matou tune is an important sort of song in the folk activities in the western region of Inner Mongolia, mainly used in the traditional festivities in the western region of Inner Mongolia, which was popular in the western region of Inner Mongolia in 1950s and 1960s. However, due to various reasons, over half a century, this wonderful folk music -- Matou tune seems to have been forgotten and haven’t been concerned by any research. This article presents a preliminary study to explore Matou tune in order to attract the attention of experts and scholars and to pay close attention to the excavation and protection of this intangible cultural heritage item.
Key words: Key words: The western region of Inner Mongolia; Traditional festivities; Folk theatre genre; Matou tune
延續(xù)·碰撞·交融
——《蒙古族風格鋼琴組曲集》節(jié)奏語境探析
李梅
（內蒙古大學藝術學院音樂系，內蒙古呼和浩特010010）
摘要：《蒙古族風格鋼琴組曲集》是我區(qū)著名作曲家李世相先生依托蒙古族民歌（短調、長調）、蒙古族音樂元素創(chuàng)作的鋼琴作品。整部作品由10組47首小曲組成。蒙古族民歌元素的豐富運用是其中的亮點,節(jié)奏的靈活多變在每一首小曲中都得以充分的展現(xiàn)。本文以音樂中的節(jié)奏元素為切入點，試圖以節(jié)奏語境為背景，探索、闡釋蒙古族民歌的韻律如何在音樂創(chuàng)作中的節(jié)奏語境中延續(xù)、碰撞、融合。
關鍵詞:《蒙古族風格鋼琴組曲集》；民歌韻律；動力化；節(jié)奏語境
Continuation, Collision and Fusion
——On Rhythm Context of “Mongolian-style Piano Suite Set”
LI Mei
(Music Department, College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: “Mongolian-style piano suite set” is created by famous composer Mr. Li Shi-xiang in my area, based on Mongolian folk song (short tone, long tone) and Mongolian musical elements. It consists of 10 sets of 47 songs. Abundant use of Mongolian folk element is one of the highlights and the flexible rhythm in every ditty is fully demonstrated. This paper starts from the rhythm elements in music with the background of the rhythm context, explores and explains how the Mongolian folk rhythms continue, collide and fuse in the rhythm context of the music.
Key Words: “Mongolian-style piano suite set”; Folk rhythm; Motorization; Rhythm context
詩與樂高度結合的藝術
——談《忽必烈汗的歡樂宮》的創(chuàng)作
撖睿文
（內蒙古師范大學音樂學院，內蒙古呼和浩特010022）
摘要：文學作品與音樂作品共同放射出來的藝術思想，具有非同尋常的審美價值。本文從浪漫主義中后期的文學和音樂出發(fā)，以鋼琴曲《忽必烈汗的歡樂宮》為研究對象，擬對其創(chuàng)作靈感來源、創(chuàng)作背景及其創(chuàng)作技法概述三方面進行研究，進而闡述其藝術之所在。
關鍵詞： 《忽必烈汗的歡樂宮》；柯勒律治；格里菲斯；創(chuàng)作技法；統(tǒng)一性
The High Combination of Poem and Music
——On the Composition of “The Pleasure Dome of Kubla Khan”
HAN Rui-wen
(Conservatory of Music, Inner Mongolia Normal Univeristy, Hohhot, Inner Mongolia, 010022)
Abstract: The art ideas emanated from literary and musical works possess extraordinary aesthetic value. From literature and music during the late Romanticism and based on piano works “The Pleasure Dome of Kubla Khan”, this article analyzes three aspects: the source of its inspiration, background and techniques to explain its art.
Key words: “The Pleasure Dome of Kubla Khan”; Coleridge; Griffes; Creative techniques; Unity
音樂文化的繼續(xù)與融合
——蒙古高音四胡及其音樂的文化思考
包愛玲
（內蒙古大學藝術學院， 內蒙古呼和浩特010010）
摘要：本文以蒙古高音四胡的發(fā)展歷史為線索，研究蒙古高音四胡及其音樂在各個時期所具有的特點，如樂器的形制，樂器的紋飾，代表人物的文化傳統(tǒng)和個人素質以及四胡音樂等方面，來探究蒙古高音四胡及其音樂所屬的文化類型和所具有的文化特征。
關鍵詞： 蒙古高音四胡；游牧文化；“潮爾”特性；保護型；綜合型
The Continuation and Integration of Music Culture
——Thinking Treble Mongolian Hur and Its Music Culture
BAO Ai-ling
(College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: Based on the history of treble Mongolian Hur, this paper makes a research on treble Mongolian Hur and the characteristics of each period music, such as the type of instruments, ornamentation of instruments, cultural traditions and personal qualities of representatives and Hur music, etc. to explore treble Mongolian Hur and cultural types and characteristics of its music.
Key words: Mongolian treble Hur; Nomadic culture; “Chao er” feature; Type of protection; Synthesizing type
蒙族服飾與早期滿族服飾的形成
劉菲
（山東大學，山東濟南250014）
摘要：滿族崛起于遼東之前，其傳統(tǒng)服飾為上下聯(lián)署的盤領緊身箭袖長袍，男子剃額前發(fā)，編辮垂后，女子辮發(fā)盤發(fā)髻。服飾面料樸素、少華飾。自努爾哈赤崛起之時，滿族服飾進入了快速發(fā)展的時期，這個時期服飾發(fā)展的成果，為入關后的滿清服飾奠定了堅實的形式基礎。本文選擇滿族服飾形成初期這一時段，具體分析在帽子、朝服等方面，滿族如何逐步將蒙古族的服飾形式和裝飾方法運用到本民族的服飾中并自成體系的。
關鍵詞：蒙族；服飾；菊花頂；披肩領；質孫服
The Formation of Mongolian Costumes and The Early Manchu Clothing
LIU Fei
(Shandong University, Jinan, Shandong 250014)
Abstract: Before the rise of Manchu in Liaodong, their traditional costume was like gown-type garment with rebato, tightened body and horse-shoe-like cuff. Men had their hair cut at the front part with a long braid down their back, while women braided their hair in a bun. The fabric was simple without gorgeous and rich ornaments. From the appearance of Nurhachu, Manchu clothing entered a period of rapid development. The results of the development of costumes during this period laid a solid foundation for the Manchu costumes after their entry. This paper chooses the early formation of Manchu costumes and makes a detailed analysis of the way how Manchu gradually used Mongolian costumes and decorations into their own dress and formed their own system from the aspect of hat, court dress, etc..
Key words: Monglia; Costume; Chrysanthemum crest; Cape collar; Zhisun garment
海南黎族杞方言傳統(tǒng)
女子服飾圖案的寓意和象征
夏夢穎
（北京服裝學院，北京100029）
摘要：黎族主要居住在海南省中南部，分為哈、杞、賽、潤、美孚五大方言區(qū)，也是黎族的五大支系。杞方言黎族的服飾圖案題材異常豐富，雖然今天諸多黎族圖案的寓意已經消失，但通過田野考察對其進行及時的記錄、總結及對當地杞方言黎族女性的采訪，許多黎族服飾圖案的寓意被揭示出來。本文以海南不同地區(qū)杞方言支黎族服飾上同一部位的圖案為切入點，進行結構、色彩、寓意的比較分析，對黎族服飾圖案的解讀多來源于田野考察的第一手資料。
關鍵詞：海南；杞方言；黎族服飾；圖案
The Implied Meaning And Symbol of The Traditional
Women’s Costume Pattern in Qi Dialectal Area of Li Nationality in Hainan
XIA Meng-ying
(Beijing Institute of Fashion Technology, Beijing, 100029)
Abstract: Li people mainly live in central and southern Hainan province, divided into Ha, Qi, Sai, Run, Meifu five dialect areas, which are also Li's five branches. The costume pattern of Qi Li is unusually rich. Many implied meanings of Li pattern have disappeared today, but through the field investigation, timely record, summary, and the interview of local Qi dialectal women of Li, many morals of Li costume patterns are revealed. Based on the patterns of the same part on the costume of Qi Li in the different regions of Hainan, this paper makes a comparative analysis on the structure, color, implied meaning. And the interpretation of Li’s costume pattern is originated from the fieldwork first-hand materials.
Key words: Hainan; Qi Dialect; Costume of Li Nationality; Pattern
極地巖畫背后的薩滿教
——加拿大、阿拉斯加和西伯利亞人面巖畫與薩滿用具的關系
（加拿大）丹尼爾·阿瑟諾1著朱利峰2譯
（1.加拿大魁北克大學蒙特利爾分校，蒙特利爾H2X 1L5
2.中華女子學院，北京100101）
摘要：薩滿教與巖畫之間的關聯(lián)并不是一件很容易說清楚的事情，在史前的北歐地區(qū)，曾經大范圍流行薩滿教，因此我們更加確信當地的巖畫是產生于薩滿文化語境之下的一種視覺文化形式。在距今1000年左右，薩滿教在加拿大的北極地區(qū)變得更加重要。因此，這里的許多巖畫以及一些便攜式的藝術品也就相應地表現(xiàn)出這種薩滿文化的特性。然而，在這一地區(qū)只發(fā)現(xiàn)了沒有任何身體特征的類人面像巖畫，同時還有許多看上去像是面具或者人面雕刻的多賽特藝術作品。這種以人面為特征的形式在整個巖畫點隨處可見，特別是集中在薩滿教非?；钴S的幾個世紀之間。雖然這些不同載體上的人面像在雕刻方法上略有不同，然而它們始終將具有相似性的正面面部形象強調出來。本文運用巖畫藝術比較研究的方法，嘗試對這些充滿張力并呈現(xiàn)多樣化的薩滿文化工具提出一些新的思考角度。
關鍵詞： 北極圈；薩滿教；人面像；巖畫
Circumpolar rock art: the hidden face of shamanism
A comparative study of human
——like faces in Canadian, Alaskan and Siberian rock art,and their relationships with shamanistic paraphernalia
Written by Arsenault, Daniel1.;Trans lated by Zhu Li-feng2.
(1.CéLAT-UQAM, Montréal (Québec, Canada)
2.China Women′s Vniversity,Beijing 100101,China.)
Abstract: The link between shamanism and rock art is not always an easy matter to demonstrate, as recent papers have pointed out. Since shamanism has been largely practiced in the nordic regions during prehistory, we can be more confident to look at rock art located there as a form of visual expression produced in a shamanistic context. At the end of the first millenium AD, shamanism became more important in the Canadian Arctic. As a result, many portable artworks as well as a few rock engraving sites might have been produced within such a shamanistic context. However, these sites only depict human-like faces devoid of any other body features, thus looking like masks and maskettes which were also made by Dorset artists. Such a physiognomy also occurs elsewhere on rock art sites, but in particular where shamanism has been practiced for centuries or even millenia. Indeed the way those faces have been depicted differs from one area to another, but there is still striking similarities in the emphasis on the physiognomy. Using a comparative approach to rock art, this paper intends to shed some new lights on those old faces as they appear to be associated with the power and diversity of the visual theatre proper to the shaman.
Key words: Circumpolar; shamanism; human-like faces; rock art; shamanistic context
技藝與記憶：“非遺”傳承人口述史方法論的建構維度
——以中國木版年畫傳承人口述史檔案的建立為例
王拓
(天津大學馮驥才文學藝術研究院，天津300072)
摘要：“非遺”傳承人口述史作為一種文化遺產的田野實踐方法，所采錄的內容即民間藝人身體“技藝”的經驗知識及相關的全部民俗歷史文化“記憶”。兩者是“非遺”傳承人口述史方法論形成的邏輯框架，也是構建“非遺”傳承人口述史方法論的兩個重要維度：即主體論維度的“技藝經驗”和本體論維度的“文化記憶”。
關鍵詞：技藝；記憶；非物質文化遺產；傳承人；口述史；木版年畫
Skill and Memory: The Constructivie Dimension of Methodology of “Intangible Cultural Heritage” Inheritor’s Oral History
——Taking The Establishment of Chinese Woodblock New Year Pictures Inheritor’s Oral History Files For Example
WANG Tuo
(Feng Jicai Culture and Art Research Institute, Tianjin University, Tianjin, 300072)
Abstract: As a field practical method of cultural heritage, “Intangible cultural heritage” inheritor’s oral history collects and records knowledge and experience of folk artists’ body “skill” and all related folk history and culture “memory”. Both are not only the logical framework of the formation of “intangible cultural heritage” inheritor’s oral history methodology, but also two important dimensions to construct “intangible cultural heritage” inheritor’s oral history methodology: the subject dimension “experience of skill” and ontological dimension “cultural memory”.
Key words: Skill; Memory; Intangible cultural heritage; Inheritor; Oral history; Woodblock New Year picture
亙古不滅的平陽精神
——平陽木版年畫的田野調查報告
郭艷
（內蒙古大學藝術學院，內蒙古呼和浩特010010）
摘要：平陽是我國木版年畫最早的發(fā)祥地之一，其木版年畫被認為是我國年畫的始祖。平陽木版年畫充分反映了黃河三角地帶平陽地區(qū)日常生活、宗教習俗以及歲時節(jié)令等方面的活動，具有黃土高原地區(qū)古樸、粗獷的農耕特點。它對唐堯故鄉(xiāng)人民的日常生活做了忠實的記錄，是平陽地區(qū)歷史活動的真實寫照。本文對平陽木版年畫的演變、工藝流程、現(xiàn)狀及傳承發(fā)展等進行了梳理， 在田野調查的基礎上分析其現(xiàn)代木版年畫的創(chuàng)新與改進。
關鍵詞：平陽；木版年畫；工藝；傳承
Immortal Spirit of Pingyang
——Fieldwork Report of Pingyang Woodblock New Year Pictures
GUO Yan
(College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: Pingyang is the birthplace of China’s earliest woodblock New Year pictures, which are considered as our ancestor of New Year pictures. Pingyang woodblock New Year pictures fully reflect Pingyang daily life in Yellow River delta area, religious practices, the seasonal activities and other aspects, with the Loess Plateau simple, rugged farming characteristics. It makes a faithful record of the daily life of people in Tangyao hometown and is a true portrayal of historical activities in Pingyang area. In this paper, the evolution of Pingyang woodblock New Year pictures, process, status, development and inheritance are sorted, and it analyzes the innovation and improvement of the modern woodblock New Year pictures based on the fieldwork.
Key Words: Pingyang; Woodblock New Year pictures; Craft; Heritage
電影的敘事慣例
——零度剪輯、縫合體系等電影核心概念的理論詮釋
儲雙月1.李相2.
（1.中國藝術研究院，北京1000292.中國電影藝術研究中心，北京100035）
摘要：電影作為時空復合體，可以拓展、強化并且凝聚人們的時空經驗——不只是強化它而且延伸，極具意義地延伸。零度剪輯可以保證電影的表述流暢，沒有斧鑿痕跡，讓觀眾處于一個完全封閉、無法獨立思考的空間。這種看似“客觀”的影像其實恰恰是創(chuàng)作者主觀意圖和思想的體現(xiàn)，但創(chuàng)作者的主觀意圖通過這種“縫合”而被掩蓋得天衣無縫。觀眾在影院中觀看電影，是一個封閉、隱秘的世界，類似于躲在黑暗之中偷看。
關鍵詞：電影時間；電影空間；零度剪輯；縫合體系；窺視
Movie Narrative Convention
——Theoretical Interpretation of Movie Core Concepts: Zero Clip, Suture System, Etc
CHU Shuang-yue1.; LI Xiang2.
(1.Chinese National Academy of Arts, Beijing, 100029
2.China Film Art Research Center,Beijing, 100035)
Abstract: As a space-time complex, film can be expanded, strengthened and united people’s space-time experience——not just to strengthen it but to meaningfully extend it. Zero Clips can ensure smooth presentation of the film without chisel marks, so as to put the audience into a fully enclosed space which makes them be unable to independently think. This image is seemingly “objective” but actually just a manifestation of creators’ subjective intents and ideas. However, the creators’ subjective intents are covered perfectly by this “stitch”. In the cinema, which is a closed secretive world, viewers watch movies like hiding in the dark to peep.
Key Words: Movie time; Movie space; Zero clip; Suture system; Peep
潛心于草原藝術研究的可喜成果
——讀《綠野新韻：宋生貴文藝評論選》
王蘋
（內蒙古大學藝術學院， 內蒙古呼和浩特010010）
摘要：《綠野新韻：宋生貴文藝評論選》，是宋生貴先生新近出版的一部文藝評論著作。通讀此書，不僅能夠管窺宋生貴先生已自成體系的對文藝美學、尤其是內蒙草原藝術的深入研究，更能有山頂攬勝般對整個內蒙古藝術領域的全局性觀瞻。
關鍵詞： 宋生貴；綠野新韻；草原藝術；學術追求
Gratifying Results of the Prairie Art Research
——Reading “New Rhyme of Greenfield1.:Song Shenggui Literary Review”
WANG Ping
(College of Arts, Inner Mongolia University, Hohhot, Inner Mongolia, 010010)
Abstract: “New Rhyme of Greenfield: Song shenggui Literary Review” is a book of literary criticism and recently published by Mr. Song Shenggui. Reading this book can not only glimpse Mr. Song Shenggui’s own system of literary aesthetics, especially his in-depth study of Inner Mongolia prairie art, but also assume an overall view on the whole Inner Mongolian art field.
Key words: Song Shenggui; New rhyme of greenfield; Prairie art; Academic pursuit