“萌”作为一种美
周星
（日本爱知大学国际交流学部，名古屋453-8777）
摘要：“萌”作为一种新的审美意识，在当前的中国社会及文化生活中颇为醒目。以动画、漫画、电子游戏和互联网等为媒介，“萌”是弥漫于日本和中国的越境性审美文化现象。从艺术人类学之跨文化比较研究的视角探讨“萌”，有助于揭示“萌”之美的普世性。
关键词：萌；可爱；审美；艺术人类学
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
论美学:从社会人类学的视角
（英国）罗伯特·莱顿1著 关祎2 邢书宇3 译
（1. 杜伦大学人类学系，英国 999020；2.中国艺术研究院，北京100029；3. 内蒙古大学艺术学院，内蒙古呼和浩特010010）
摘要：人类学是一个内容广泛的学科, 其中生物人类学研究人类进化方面的问题，包括解剖与健康,社会人类学研究人类社会的多样性、文化及其在国际社会中的位置方面的问题。人类文化与社会结构的复杂性要求研究分析不仅局限于心理学。正如杜尔干所指出的，社会与文化具有这样的一种特性，它们影响着个体所固有的心理和生理倾向，决定它们何时被怎样唤醒。
关键词：美学；社会人类学；研究方法；考古学证据
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
浙江桐乡五泾村清明节调查报告
杨 秀
（中国艺术研究院，北京 100029）
摘要：清明节作为中国传统节日，一直为民间所重视。本文主要以田野调查资料为主，参照部分地方志和浙江省非物质文化遗产普查资料等内容，重点对五泾村清明节习俗进行描述。对五泾村清明节民俗事象的调查与关注，不难感受到民众对清明节的重视，虽然不同时期的具体表现方式会有所变化。人们通过一系列民俗仪式，确立了人与神灵、与祖先、与自然之间的关系，并力求对方能够成为顺己的力量。
关键词：五泾村；清明节；习俗
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
感悟少数民族传统节日与仪式中的文明精髓
石剑峰1 彭分田2 石裕祖3
（1、3云南艺术学院 昆明 650031 2、商丘师范学院音乐学院 商丘476000）
摘要：中国少数民族传统节日和民间仪式的内容和形式极其丰富多彩，包含和浓缩了民族文化进程中“天人合一，灵物共融”的哲学理念、价值观和民族智慧，拥有海量的优势资源和发展创新的机遇。认识少数民族传统节日文化，不能脱开人类精神；节日文化是一种历史现象，每一个民族都有与其相适应的节日文化，它是一系列规范和准则，具有民族精神的传导价值和作用,并引导着一个民族群体行为的价值观和信仰。少数民族传统节日和民间仪式随着社会物质生产的发展而发展，在遵循和崇尚大自然生态规律的前提下，融入了本民族期冀与之相互依存、和谐共存的核心价值理念，是一部展示中华民族精神文明的“大百科全书”。感悟和探究民族文化的精髓与灵魂，离不开民族传统节日与仪式文化对于人类精神和智慧修养所具有的极为重要的传导价值的深层认识。
关键词：跨境民族；节日与仪式；民族智慧；精神财富；文化竞争力
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
窑与窑祭的社会功能
——以江苏昆山锦溪祝家甸村土窑与窑神祭拜仪式为例
李雪艳
（南京晓庄学院美术学院，江苏 南京210017）
摘要：江苏昆山锦溪朱家甸村，在漫长的历史发展过程中，逐渐形成了以砖瓦烧制为主业，大部分村民以盘窑、烧窑、祭窑为生产与生活的主要方式。当地砖瓦窑为馒头形土窑，由烟冲、圆弧形的主体建筑与窑房三个部分组成；砖瓦烧制工艺要经过满窑、火烧、揽烟、浇水转釉等不同环节；当地祭拜的大小太太具有窑神兼农业神的双重身份，其祭拜仪式发挥着社会整合功能。
关键词：昆山锦溪祝家甸村；土窑；窑神；祭拜仪式；社会整合
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
我国民营艺术院团的现状及发展
刘筠梅
（内蒙古大学艺术学院，内蒙古呼和浩特010010）
摘要：我国的民营艺术院团，尽管机制相对灵活、运转比较自由，有强烈的市场意识，为满足农民文化需求、丰富城乡文化生活、繁荣基层文化市场、促进社会主义新农村文化建设做出了重要贡献，但依然面临缺乏稳定的资金来源、缺乏稳定的演职人员队伍、缺乏先进的经营管理理念、缺乏规范有序的市场竞争环境等许多困难。在未来的发展中，还需要继续加大政策支持力度和监管力度，创新内部管理机制，增强自身实力，同时要进行行业化管理。
关键词： 民营艺术院团；发展现状；困难；建议
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
石堆上的音乐
——内蒙古乌拉特地区蒙古族“敖包”祭仪“音声”考察与思考
董波
（内蒙古师范大学音乐学院，内蒙古 呼和浩特 010022）
摘要：敖包祭祀活动是蒙古族祖先在远古时期所创造的，经过世世代代相传到了今天。敖包祭祀仪式是一个完整的仪式过程。为揭示敖包及仪式的音乐文化内涵，文章以实地个案考察等方法，揭示乌拉特敖包祭祀仪式及音声与蒙古族萨满、佛教等传统文化的关系。通过我们的田野考察和观看，乌拉特敖包仪式中的经韵音乐十分丰富。敖包祭祀仪式中的祭词、祝词、赞词都是属于音声的范畴。从目前的考察来看，乌拉特敖包祭祀仪式及音乐中既有萨满教又有喇嘛教文化的音声特征。文章指出，敖包信仰对于人生存与生活的意义是乌拉特蒙古族敖包祭祀仪式及音声得以传承的重要动力。
关键词：乌拉特地区；蒙古族敖包祭仪；仪式音声
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
被遗忘的民间音乐奇葩
——码头调纵横谈
苗幼卿
（内蒙古自治区艺术研究所，内蒙古 呼和浩特 010011）
摘要：码头调系内蒙古西部地区民俗活动中一个重要的歌曲品种，主要用于内蒙古西部地区民间的“社火”中。曾于上个世纪五、六十年代前，在内蒙古西部地区风靡一时。但由于种种原因，半个多世纪以来，码头调这一民间音乐奇葩似乎已被人遗忘，也未曾有研究文章关注。本文展示了研究码头调的初步探索，一是希望能抛砖引玉，引起专家学者注意；二是呼吁抓紧对这一非物质文化遗产项目的挖掘与保护。
关键词：内蒙古西部地区；社火；民间曲种 ；码头调
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
延续·碰撞·交融
——《蒙古族风格钢琴组曲集》节奏语境探析
李梅
（内蒙古大学艺术学院音乐系，内蒙古呼和浩特010010）
摘要：《蒙古族风格钢琴组曲集》是我区著名作曲家李世相先生依托蒙古族民歌（短调、长调）、蒙古族音乐元素创作的钢琴作品。整部作品由10组47首小曲组成。蒙古族民歌元素的丰富运用是其中的亮点,节奏的灵活多变在每一首小曲中都得以充分的展现。本文以音乐中的节奏元素为切入点，试图以节奏语境为背景，探索、阐释蒙古族民歌的韵律如何在音乐创作中的节奏语境中延续、碰撞、融合。
关键词:《蒙古族风格钢琴组曲集》；民歌韵律；动力化；节奏语境
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
诗与乐高度结合的艺术
——谈《忽必烈汗的欢乐宫》的创作
撖睿文
（内蒙古师范大学音乐学院，内蒙古呼和浩特010022）
摘要：文学作品与音乐作品共同放射出来的艺术思想，具有非同寻常的审美价值。本文从浪漫主义中后期的文学和音乐出发，以钢琴曲《忽必烈汗的欢乐宫》为研究对象，拟对其创作灵感来源、创作背景及其创作技法概述三方面进行研究，进而阐述其艺术之所在。
关键词： 《忽必烈汗的欢乐宫》；柯勒律治；格里菲斯；创作技法；统一性
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
音乐文化的继续与融合
——蒙古高音四胡及其音乐的文化思考
包爱玲
（内蒙古大学艺术学院， 内蒙古呼和浩特010010）
摘要：本文以蒙古高音四胡的发展历史为线索，研究蒙古高音四胡及其音乐在各个时期所具有的特点，如乐器的形制，乐器的纹饰，代表人物的文化传统和个人素质以及四胡音乐等方面，来探究蒙古高音四胡及其音乐所属的文化类型和所具有的文化特征。
关键词： 蒙古高音四胡；游牧文化；“潮尔”特性；保护型；综合型
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
蒙族服饰与早期满族服饰的形成
刘菲
（山东大学，山东济南250014）
摘要：满族崛起于辽东之前，其传统服饰为上下联署的盘领紧身箭袖长袍，男子剃额前发，编辫垂后，女子辫发盘发髻。服饰面料朴素、少华饰。自努尔哈赤崛起之时，满族服饰进入了快速发展的时期，这个时期服饰发展的成果，为入关后的满清服饰奠定了坚实的形式基础。本文选择满族服饰形成初期这一时段，具体分析在帽子、朝服等方面，满族如何逐步将蒙古族的服饰形式和装饰方法运用到本民族的服饰中并自成体系的。
关键词：蒙族；服饰；菊花顶；披肩领；质孙服
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
海南黎族杞方言传统
女子服饰图案的寓意和象征
夏梦颖
（北京服装学院，北京100029）
摘要：黎族主要居住在海南省中南部，分为哈、杞、赛、润、美孚五大方言区，也是黎族的五大支系。杞方言黎族的服饰图案题材异常丰富，虽然今天诸多黎族图案的寓意已经消失，但通过田野考察对其进行及时的记录、总结及对当地杞方言黎族女性的采访，许多黎族服饰图案的寓意被揭示出来。本文以海南不同地区杞方言支黎族服饰上同一部位的图案为切入点，进行结构、色彩、寓意的比较分析，对黎族服饰图案的解读多来源于田野考察的第一手资料。
关键词：海南；杞方言；黎族服饰；图案
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
极地岩画背后的萨满教
——加拿大、阿拉斯加和西伯利亚人面岩画与萨满用具的关系
（加拿大）丹尼尔·阿瑟诺1著朱利峰2译
（1.加拿大魁北克大学蒙特利尔分校，蒙特利尔H2X 1L5
2.中华女子学院，北京100101）
摘要：萨满教与岩画之间的关联并不是一件很容易说清楚的事情，在史前的北欧地区，曾经大范围流行萨满教，因此我们更加确信当地的岩画是产生于萨满文化语境之下的一种视觉文化形式。在距今1000年左右，萨满教在加拿大的北极地区变得更加重要。因此，这里的许多岩画以及一些便携式的艺术品也就相应地表现出这种萨满文化的特性。然而，在这一地区只发现了没有任何身体特征的类人面像岩画，同时还有许多看上去像是面具或者人面雕刻的多赛特艺术作品。这种以人面为特征的形式在整个岩画点随处可见，特别是集中在萨满教非常活跃的几个世纪之间。虽然这些不同载体上的人面像在雕刻方法上略有不同，然而它们始终将具有相似性的正面面部形象强调出来。本文运用岩画艺术比较研究的方法，尝试对这些充满张力并呈现多样化的萨满文化工具提出一些新的思考角度。
关键词： 北极圈；萨满教；人面像；岩画
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
技艺与记忆：“非遗”传承人口述史方法论的建构维度
——以中国木版年画传承人口述史档案的建立为例
王拓
(天津大学冯骥才文学艺术研究院，天津300072)
摘要：“非遗”传承人口述史作为一种文化遗产的田野实践方法，所采录的内容即民间艺人身体“技艺”的经验知识及相关的全部民俗历史文化“记忆”。两者是“非遗”传承人口述史方法论形成的逻辑框架，也是构建“非遗”传承人口述史方法论的两个重要维度：即主体论维度的“技艺经验”和本体论维度的“文化记忆”。
关键词：技艺；记忆；非物质文化遗产；传承人；口述史；木版年画
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
亘古不灭的平阳精神
——平阳木版年画的田野调查报告
郭艳
（内蒙古大学艺术学院，内蒙古呼和浩特010010）
摘要：平阳是我国木版年画最早的发祥地之一，其木版年画被认为是我国年画的始祖。平阳木版年画充分反映了黄河三角地带平阳地区日常生活、宗教习俗以及岁时节令等方面的活动，具有黄土高原地区古朴、粗犷的农耕特点。它对唐尧故乡人民的日常生活做了忠实的记录，是平阳地区历史活动的真实写照。本文对平阳木版年画的演变、工艺流程、现状及传承发展等进行了梳理， 在田野调查的基础上分析其现代木版年画的创新与改进。
关键词：平阳；木版年画；工艺；传承
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
电影的叙事惯例
——零度剪辑、缝合体系等电影核心概念的理论诠释
储双月1.李相2.
（1.中国艺术研究院，北京1000292.中国电影艺术研究中心，北京100035）
摘要：电影作为时空复合体，可以拓展、强化并且凝聚人们的时空经验——不只是强化它而且延伸，极具意义地延伸。零度剪辑可以保证电影的表述流畅，没有斧凿痕迹，让观众处于一个完全封闭、无法独立思考的空间。这种看似“客观”的影像其实恰恰是创作者主观意图和思想的体现，但创作者的主观意图通过这种“缝合”而被掩盖得天衣无缝。观众在影院中观看电影，是一个封闭、隐秘的世界，类似于躲在黑暗之中偷看。
关键词：电影时间；电影空间；零度剪辑；缝合体系；窥视
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
潜心于草原艺术研究的可喜成果
——读《绿野新韵：宋生贵文艺评论选》
王苹
（内蒙古大学艺术学院， 内蒙古呼和浩特010010）
摘要：《绿野新韵：宋生贵文艺评论选》，是宋生贵先生新近出版的一部文艺评论著作。通读此书，不仅能够管窥宋生贵先生已自成体系的对文艺美学、尤其是内蒙草原艺术的深入研究，更能有山顶揽胜般对整个内蒙古艺术领域的全局性观瞻。
关键词： 宋生贵；绿野新韵；草原艺术；学术追求
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