《内蒙古大学艺术学院学报》
2016年第3期中英文论文摘要、关键词
一次当代中国传统音乐研究硕果的
集中展示①
——在中国传统音乐学会第十九届年会上的开幕词
萧 梅
（上海音乐学院， 上海 300191）
A Showcase of the Contemporary Chinese Traditional Music
——The Opening Speech at the Nineteenth Annual Meeting of theChinese Traditional Music Society
XIAO MEI
(Shanghai Conservatory of Music,Shanghai , 300191)
学术共同体与国家音乐文化的价值
体系建构
——在中国传统音乐学会第十九届年会上的发言
李 松
（文化部民族民间文艺发展中心 ，北京 100009）
关键词：学术共同体；中国音乐文化；价值体系；建构
The Construction of the Value System of the Academic Communityand the National Music Culture
——The Speech at the Nineteenth Annual Meeting of theChinese Traditional Music Society
LI SONG
(Center for Ethinc and Folk Literature and Art Development,Ministry of Culture,P.R.C., Beijing, 100009)
Key words: Academic community ; Chinese Music Culture ;Value System; Construct
论蒙古族传统音乐文化观
好必斯
（内蒙古大学艺术学院 ， 内蒙古 呼和浩特 010010）
摘 要: 蒙古民族在其漫长的发展历程中，由于其特定的自然环境、生存环境和特殊的游牧生产方式与生活方式以及社会变迁等因素，形成了自身独特的世界观和文化观。在其政治、宗教、文化及早期哲学思想方面有其自己的认识论和方法论, 而在此社会背景和文化背景及民族意识和审美意识背景下，又形成了独具特色的传统音乐文化观念。
关键词：蒙古族；传统音乐；文化观；音乐观
A Brief Introduction of Traditional Musical and Cultural Perspectiveof the Mongolians
Hobis
(Art College of Inner Mongolia University,, Hohhot, Inner Mongolia, 010010 )
Abstract: During its long period of development, the Mongolians has formed their own perspective of world andculture because of the certain natural environment, living condition peculiar production mode and lifestyle of nomadism aswell as social transformations; and has created their special epistemology and methodology in the fields of politics, religion,culture and early philosophical thoughts. Under these backgrounds of society, culture, national and aesthetic consciousness,the distinctive traditional musical perspectives has came into being.
Key words: the Mongolians; traditional Music; perspective of culture; perspective of music
“场域”的方法论意义及个案分析
——音乐厅中的中国传统音乐
王文卓
（山西师范大学音乐学院，山西 临汾 041004）
摘 要: 本布尔迪厄的场域理论对民族音乐学研究具有启发性，此理论可用于对研究对象意义的阐释及跨场域的音乐实践的分析上。传统音乐走进音乐厅是典型个案之一，这种跨场域的音乐实践会使传统音乐在异场域中进行意义重塑。音乐厅中的传统音乐实践会割断原有场域中的文化生态链，这表现在表演者“创- 演”行为及音声结构的变化上。从释义学角度说，音乐场域的变迁会导致新的“阐释视界”的出现，进而影响接受者的阐释过程。
关键词：场域；传统音乐；音乐厅；意义
The Methodological Significance of “Field”and The Case Analysis
——The Chinese Traditional Music in Concert Hall
WANG Wenzhuo
(Art College of Shanxi Normal University, Linfen, Shanxi, 041004)
Abstract: Pierre Bourdieu’s field theory is enlightening to study of Ethnomusicology.This theory can be used toexplain the meaning of object in the study and to analysis the cross- field music practice.The traditional music into theconcert hall is one of the typical cases.Cross-field music practice will make the traditional music to remodel the meaningin different field.The traditional music practice in concert hall will cut the cultural ecological chain of original field.This isreflected in the change of music-making and sound structure.From the perspective of hermeneutic,The change of field willlead to the emergence of new “interpretation horizon”and affect the process of interpretation.
Key words: Field; Traditional music;Concert hall; Meaning
多重视域下的中国传统音乐
影像民族志之探索与实践
——以丽江洞经音乐再研究为例
吴 凡
（华中师范大学音乐学院，湖北 武汉 430079）
摘 要: 自2014 年成功申报了华中师范大学中央高校基本科研业务费专项资金支持计划的优势课题培育项目《中国传统音乐文化影像民族志大系及其研究》以来，希望能够充分借力大学的多学科平台优势、音乐学院的团队特色和自身在学业上的积累，将科研、教学与艺术实践三个方面结合起来设计和研究。论文阐述了近三年来研究项目设计和进展情况。鉴于目前该项目仍旧处于进行时态，仅侧重于“探索与实践”的理念建构与进展分析，而并非是终止式的结语。主要内容分为四个部分：1. 课题理念缘起；2. 课题整体设计；3. 课题个案阐述：丽江洞经音乐再研究；4. 课题后续进行时。
关键词：跨学科；再研究；影像民族志
Exploration and Practice of Inter-discipline Subject Perspective
of Chinese Traditional Musical Visual Ethnography: An RestudyExample of Dongjing music in Lijiang City
WU FAN
(Chinese normal university, Music Department, Hubei Province, Wuhan City, Post Code 430079 )
Abstract: Since 2014, when the advantage project Chinese Traditional Musical Visual Ethnography Series andits research was successfully approved in CCNU, I hope to combine three aspects in it ,which are study & education &performance. This paper interpretate the design and progress in past three years. As it is on-going, I prefer to analysisthe concept construction of exploration and practice, but not an conclusion. The main content is divided into four parts:concept, design, an restudy example of Dongjing music in Lijiang city, and project follow-up.
Key words: Inter-discipline subject; Restudy; Visual Ethnography
论19 世纪晚期欧洲与“原始艺术”的相遇
（荷兰）雷蒙德• 科比1, 范• 丹姆 2 王永健3 译 李修建4校译
（1 荷兰蒂尔堡大学人文学院，蒂尔堡 荷兰 2. 荷兰莱顿大学，莱顿 荷兰
3.4. 中国艺术研究院，北京 100029）
Introduction: European encounters with ‘primitive art’ during
the late nineteenth century
Written by Raymond Corbey1and Wilfried Van Damme2， Translate by WANG Yongjian3
Proofread by Li Xiujian4
(1.Tilburg University and the Faculty of Archaeology, Tilburg,Netherlands
2. Leiden University,Leiden,,Netherlands
3.4.Chinese National Academy of Arts ,Berjing,100029 )
广义东南亚地区
现存岩画的全球性意义①
保罗•泰森1诺埃尔·伊达尔戈潭2苏·奥康纳3 吉学平4 李钢5 戴伦·科勒6
大卫· 布鲁贝克7 巴迪拓· 哈基姆8 伊万· 苏门瑞9 亨· 桑10
伊姆· 苏克瑞斯11 斯蒂芬·谢12 库恩·瑞伊13 森·孔14 著 吴沄15 译
（1. 格利菲斯大学人文学院PERAHU 中心 澳大利亚 黄金海岸 昆士兰4222
2．3．7. 澳大利亚国立大学历史语言文化学院 澳大利亚 堪培拉 ACT0200
4.15. 云南省文物考古研究所 中国 昆明 650118
5. 迪庆藏族自治州文物管理所 中国 香格里拉 674400
6. 新南威尔士大学生物地球与环境科学院 澳大利亚 悉尼 NSW2052
8.9. 哈桑丁大学考古系 印度尼西亚 望加西
10.11.13.14. 柬埔寨暹粒省暹粒市管理局 柬埔寨 暹粒
12.马来西亚塞恩斯大学全球考古学研究中心 马来西亚 槟城）
摘 要: 东南亚地区的岩画研究程度与澳大利亚和欧洲相比较低，且被多数学者认为起源较晚，东南亚大陆及其各岛国新的测年结果却表明该地区最早的岩画主题（写实的动物和喷绘手印）起源于晚更新世，与欧洲同样古老。欧洲、非洲和东南亚早期岩画主题的相似性表明它们是人类共同的基本行为的产物，而其作画背景（如岩厦）的不同表明洞穴深处的经历并不是激发岩画创作者们灵感的原因。
关键词：岩画，喷绘手印，洞穴岩画，岩厦，动物图形，釉系断代
Global implications of early surviving rock art of greater
Southeast Asia
Written by Paul S.C. Tac¸on1Noel Hidalgo Tan2 Sue O’Connor3 Ji Xueping4 Li Gang5
Darren Curnoe6 David Bulbeck7 Budianto Hakim8 Iwan Sumantri9 Heng Than10 Im Sokrithy11 StephenChia12 Khuon Khun-Neay13Soeung Kong14 Translate by Wu Yun15
(1PERAHU, School of Humanities, campus, Griffith University, Gold Coast , Australia,
2.3.7Archaeology and Natural History, School of Culture, History and Language,
Australian National University, Canberra, Australia,
4.15.Yunnan Institute of Cultural Relics and Archaeology, Kunming, China, 650118,
5. Diqing Tibetan Autonomous Prefecture Cultural Relics Administration Office, Shangri-La, China, 674400
6.School of Biological, Earth and Environmental Sciences, University of New South Wales, Sydney, Australia.
8.9.Archaeology Faculty, Hasanuddin University, Makassar, Sulawesi, Indonesia.
10.11.13.14.APSARA, Siem Reap Province, Cambodia.Archaeological Research, Siem Reap Cambodia.
12.Universiti Sains Malaysia, Penang, Malaysia. )
Abstract: The rock art of Southeast Asia has been less thoroughly studied than that of Europe or Australia, and it hasgenerally been considered to be more recent in origin. New dating evidence from Mainland and Island Southeast Asia,however, demonstrates that the earliest motifs (hand stencils and naturalistic animals) are of late Pleistocene age and asearly as those of Europe. The similar form of the earliest painted motifs in Europe, Africa and Southeast Asia suggests thatthey are the product of a shared underlying behaviour,but the difference in context (rockshelters) indicates that experiencesin deep caves cannot.
Key words: rock art, hand stencils, painted caves, rockshelters, animal motifs, uranium-series dating
艺术史和艺术人类学
（法国）克劳德-弗朗索瓦·博德兹1 著 崔巧叶2 译 李修建3 校
（1.法国2. 内蒙古大学艺术学院，内蒙古 呼和浩特 010010；3. 中国艺术研究院，北京 100029）
摘 要: 艺术史家和人类学家的目的，都是从艺术品的创作者和使用者的视角对作品进行研究，并且基于功能、意义和审美三个方面进行分析。人类学家的经验和调查结果告诉我们，首先，西方的审美范畴通常不适用于非西方艺术。其次，许多作品的语义和审美的属性在很大程度上依赖于它们所使用的材料的属性，而且据观察，未处理过的材料本身可能有重要的象征意义和美学价值。第三，一件艺术品不可能脱离它的环境而去研究它。在某些情况下，一件艺术品的周围环境与作品本身同样重要，并且促成了作品的意义。
关键词：艺术史；艺术人类学；美学；语境；材料
History of Art and Anthropology of Art
Written by Claude-François Baudez1 Translate by CUI Qiaoye2
Proofread by Li Xiujian3
(1.French.2.Art College of Inner Mongolia University,Hohhot,Inner Mongolia 010010
3.Chinese National Academy of Arts ,Berjing,100029 )
Abstract: The aim of both art historians and anthropologists is the study of art objects from the perspective of theirproducers and users, and to analyze them under the three aspects of function,meaning,and aesthetics. The experience andfindings of ethnologists tell us,first of all,Western aesthetic categories are generally nonapplicable to non-Western art.Second,semantic and aesthetic properties of many objects depend to a large extent on the nature of the material in whichthey are made; it has also been observed that unworked materials per se may have a considerable symbolic and aestheticvalue.Third,an art object cannot be studied out of its context. There are cases where the surroundings of an object are asimportant as the object itself and contribute strongly to its meaning.
Key words: History of Art;Anthropology of Art;Aesthetics;Context;Material
试析胡仁乌力格尔的产生过程
齐占柱
（呼和浩特民族学院 呼和浩特 010010）
摘 要: 本森乌力格尔、潮仁乌力格尔和胡仁乌力格尔三者之间有着同一源流所传承下来的相互联系，经过考证，其实在胡仁乌力格尔产生过程中分别包含了本森乌力格尔的产生过程和潮仁乌力格尔的产生过程，换言之，胡仁乌力格尔是由本森乌力格尔和潮仁乌力格尔相继发展而成的产物。本文试对本森乌力格尔、潮仁乌力格尔和胡仁乌力格尔的产生与发展过程以及三者之间的内在联系进行探析。
关键词：本森乌力格尔；潮仁乌力格尔；胡仁乌力格尔；拖力；潮尔；胡尔
Analysis of the Developing Process of Horin Wulger
QI Zhanzhu
(Hohhot Minzu College, Hohhot, Inner Mongolia, 010010 )
Abstract: Bensen Wulger, Chaoren Wulger and Horin Wulger are interrelated and have inherited from the same artform. After studying, the researcher found that the developing process of Bensen Wulger and Chaoren Wulger are includedin the process of the development of the Horin Wulger. In other words, Horin Wulger is a combined product of the BensenWulger and Chaoren Wulger. This paper tries to uncover the developing process of the three art forms and their interrelationship.
Key words: Bensen Wulger; Chaoren Wulger; Horin Wulger; drag force; Chaoer; fiddle
琶杰胡仁乌力格尔《程咬金的故事》
音乐特征
娜仁娜
（中央民族大学音乐学院，北京 100081）
摘 要: 现代蒙古族杰出的说书艺人，著名的“格斯尔”史诗艺人琶杰，在其生活的年代创作说唱了许多优秀的作品，流传至今，妇孺皆知。琶杰创作演唱过的大量好来宝、胡仁乌力格尔，还有著名的蒙古族英雄史诗，都为后人留下了宝贵的口头文化遗产。本文主要以琶杰说唱的胡仁乌力格尔《程咬金的故事》为研究对象，解析琶杰的胡仁乌力格尔音乐特征，为当代胡仁乌力格尔研究工作的进一步深入和拓宽，做出自己的贡献。
关键词：琶杰；胡仁乌力格尔；音乐特征
The Musical Features of Pajie's Hurenwuliger Work The Story ofChengyaojin
NaRiNa
(School of music, Minzu University of China,BeiJing, 100081 )
Abstract: Pajie was an outstanding story-teller in modern Mongolian and “Geser” singer. He created many greatworks that are popular until today. He created and sang a great many Holaibao, Hurenwuliger, and Mongolian heroic epicsongs, leaving precious oral cultural heritage to next generations. This paper studied Pajie’s version of The Story of ChengYaojin to analyze the musical feature of Pajie’s Hurenwuliger style, widening the modern spectrum of Hurenwuliger study.
Key words: Pajie;Hurenwuliger ;Musical Feature
音乐美学视阈中的蒙古族长调研究述评
侯 燕
（内蒙古大学艺术学院，内蒙古 呼和浩特 010010）
摘 要:20 世纪中叶以来，国内音乐理论界对长调音乐的研究，由最初的星火渐起而逐步向纵深、多元的维度拓展，并取得丰厚的学术成果，其中也不乏涉及到对相关音乐美学问题的探讨。本文通过立足于音乐美学学科，以“感性学”的视角，对迄今所见涉及长调音乐美学问题的主要文论成果进行梳理与述评，指出现有相关学术研究动态凸显出一种“有学无美与有美无学”的特点。这一学科发展的失衡现状更加说明，对蒙古族传统音乐中美学问题的系统探讨，是非常必要并亟待进一步展开的。
关键词：音乐美学；蒙古族长调；理论研究
A Review of Research on Mongolian Long-song from Perspective ofMusical Aesthetics
HOU YAN
(Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010 )
Abstract: Since Mid-20th Century, the study of the long-song music has gradually developed from its initial sparkand flourishedinto multi- dimension expansion in depth, and has made substantial academic achievements in the fieldof domestic music theoretical research, among which there are also quite a few research on the relevant issues aboutmusic aesthetics.Based on the aesthetics of music discipline, this paper systematically reviews of the existed research andstudies involving the music aesthetics in Long-song from the perspective of “perceptual learning", It has pointed out thatthe existing relevant academic research highlights the feature of“having either pure aesthetic theories or pure musicalappreciation". The current unbalance development of this discipline has further demonstrated that the systematic researchof the issues in the traditional Mongolian music is necessary and highly needed for further expansion.
Key words: Music Aesthetics; Mongolian Long-song; theoretical research
热贡“六月会”勒什则仪式音乐探析
——以藏族村落浪加为例
郭晓虹１逯克胜２
（１. ２. 青海民族大学，青海 西宁 810007）
摘 要: 热贡“六月会”，以其独特的人文、民俗与历史等诸文化事项，与多元复杂的原始面貌交织而成的文化现象相融合，成为热贡地区藏族、土族共同参与的最盛大的宗教性节日。文中对“六月会”仪式上龙舞（勒什则）贯穿始终的锣鼓节奏进行音乐解读，认为锣鼓节奏是热贡浪加“六月会”仪式中最为重要的表述方式之一，也是整个仪式中的灵魂所在。
关键词：热贡“六月会”；勒什则锣鼓；仪式音乐
Rei Gong “June Assembly“ Festival,
Musical Analysis of ( Le Shi Ze) Rite
GUO xiaohong1 LU kesheng2
(1.2.Qing Hai Nationality University , QingHai Xining 810007 )
Abstract: Rei Gong “June Assembly” festival is the cultural phenomenon , which is the fusion of the culturalitems such as the distinctive humanities, folk customs, and histories of the “June Assembly”, and the multi-complexityof its primitive local culture. Rei Gong “June Assembly became the grand religious festival of the Zang and the Tu coparticipationin the region of Rei Gong. In this article, we interpreted the rhythms of the gongs and drums throughoutthe dragon dance ( Le Shi Ze) in “June Assembly”, as one of the important presentations of Rei Gong Lang Jia “JuneAssembly” and also the soul of the rite.
Key words: Rei Gong “June Assembly” ; ( Le Shi Ze) Gongs and Drums ; ritual music
响彻草原的交响音诗
——浅析交响音诗《壮美的牧歌》民族交响特征
高婀娜
（内蒙古大学艺术学院，内蒙古 呼和浩特 010010）
摘 要: 内蒙古的长调民歌《牧歌》是一首非常经典的中国民族风格的作品，这首民歌素材于1953 年，由我国著名作曲家沙汉昆创作成小提琴独奏曲，1956 年由作曲家瞿希贤改编成无伴奏混声合唱。2006 年，该民歌主题被作曲家李世相选中，创作成一首交响音诗作品《壮美的牧歌》。作品是应2006 年内蒙古昭君草原文化节组委会之邀，为这台晚会写一首大型的开场音乐。该作品是一首单一主题发展而成的复三部曲式的交响音诗。作品气势恢宏，将牧歌主题演绎得广阔壮美。
关键词：交响音诗；民族交响曲；创作特征
A Symphonic Poem Resounding Through The Grasslands
——On Ethnic Characteristics of Magnificent Mu Ge
GAO Enuo
(Art College of Inner Mongolia University, Hohhot, Inner Mongolia, 010010 )
Abstract: As a Mongolian long drawn song, Mu Ge (Pastoral Song) is a very classic Chinese national style work.Its subject was written for violin solo by a well-known composer, Mr. Shahan Kun, in 1953; and three years later, anothercomposer, Mr. Xixian Qu, adapted it into a cappella mixed chorus. In 2006, the organizing committee of Zhaojun CulturalFestival invited Mr. Shixiang Li, a Mongolian composer, to write a large opening musical work for this activity. Aftercareful consideration, he used the theme of Mu Ge and developed the former monothematic work into a compound ternarymasterpiece named Magnificent Mu Ge, which depicts the spacious grasslands and the tranquility of the Mongolian soul.
Key words: Symphonic poem; National Symphony; Creation Features
奏鸣曲式结构原则的审美功能演变及启示
李 末
（内蒙古大学艺术学院 ， 内蒙古 呼和浩特 010010）
摘 要: 本文通过对奏鸣曲式结构在古典主义时期、浪漫主义时期、印象主义时期及20 世纪不同表现的梳理与研究，总结出奏鸣曲式结构原则的审美功能演变特征，以及对我国作曲家创作的启示和影响。
关键词：奏鸣曲式；审美功能；括展；多样化；三部性
Aesthetic Function Evolution of Sonata Form Structural
Principle and Enlightenment
LI MO
(Hohhot Minzu College, Hohhot, Inner Mongolia, 010010 )
Abstract: This paper carding and research the different manifestations of sonata form structure in the classical period,romantic period, Impressionism period and 20th century, summed up the aesthetic function evolution characteristics ofsonata form structural principle,the enlightenment and influence on the creation of Chinese composer.
Key words: Sonata form; Aesthetic function; Expand; Diversification;three parts
蒙古族音乐研究百年（九）
博特乐图1 郭晶晶2
（1.内蒙古大学艺术学院 2. 内蒙古社会科学院，内蒙古 呼和浩特 010010 ）
Centuries Research on Mongolian Music(Part Ⅸ）
Boteletu1, GUO Jingjing2
(1.Art College, Inner Mongolia University,
2.Inner Mongolia Academy of Social Science Hohhot, Inner Mongolia, 010010 )
江西夏布绣的溯源与技艺考
廖江波1李强2杨小明3
（1.3. 东华大学纺织学院，上海 201600；
2.江西服装学院 江西省文化艺术科学重点研究基地，江西 南昌 330200）
摘 要: 江西夏布绣是以绣底夏布命名的刺绣，由民间麻绣发展而来，在2014 年入选国家级非物质文化遗产代表性项目名录扩展项目名录。论文通过对江西夏布绣的历史追溯和当地渝州夏布绣坊的走访交流，揭示江西夏布绣的关键技术要点，归纳江西夏布绣的艺术特征。研究表明，在传承与发展中，江西夏布绣以夏布绣底与书画相融合，形成了粗中有细、醇厚典雅的艺术风格。
关键词：江西；夏布绣；书画；技艺
The roots and skill of Jiangxi grass cloth embroidered
LIAO JiangBo1,LI QIANG2, YANG Xiaoming3
(1. 3.College of Textiles, Donghua University, Shanghai 201600, China;
2.Jiangxi Culture Art Science Research Base , Jiangxi Institute of Clothing Technology, Nanchang 330201, China )
Abstract: Jiangxi grass cloth embroidered is named the grass cloth embroidered of embroidery ground, from thedevelopment of folk ramie embroidered, selected national non-material cultural heritage representative projects listextension project in 2014. The paper based on the historical trace of Jiangxi grass cloth embroidered and local Yuzhougrass cloth embroidered workshop visited and communicated, reveals key technology points of Jiangxi grass clothembroidered, inductive Jiangxi grass clothembroidered skill of characteristics. Research shows that in the heritage anddevelopment, Jiangxi grass cloth embroidered with grass cloth embroidered ground and the integration of calligraphy andpainting, formed the crude and refined, mellow and elegant artistic style.
Key words: Jiangxi; Grass cloth embroidered; Calligraphy and painting; skill
作为非物质文化遗产的宣纸制作
技艺保护与传承
戴 健
（中国艺术研究院，北京 100029）
摘 要: 宣纸是中国著名的传统手工制作纸，作为中国传统书法和绘画的优良载体，宣纸在传承中华文明的过程中发挥了重要作用。近年来，随着社会的发展和经济全球化进程的加快，宣纸所赖以生存的自然环境和社会环境发生了变化，特别是文化生态发生了巨大变化，对宣纸制作技艺的保护与传承产生了深刻影响。本文探讨和分析了宣纸制作技艺保护与传承的现状和困境，提出了有关对策。
关键词：宣纸制作技艺；宣纸行业；保护与传承
Safeguarding and Inheritance of Producing Skills of Xuan Paper
As an Item of the Intangible Cultural Heritage
DAI Jian
(Chinese National Academy of Arts BeiJing 100029 )
Abstract: As a good carrier of Chinese traditional calligraphy and painting, Xuan Paper is a kind of famous Chinesetraditional handmade paper, and plays an important role in promoting the Chinese civilization. In recent years, withaccelerating process of social development and the economic globalization, the natural and social environment for thesurviving of Xuan Paper has changed. Particularly, the cultural environment which has undergone tremendous changeexerts great impact on safeguarding and inheritance of Xuan Paper producing skills. This thesis discusses and analyzesthe present situation and difficulties of safeguarding and inheritance of Xuan Paper producing skills, and puts forwardcorresponding measures.
Key words: Xuan Paper Producing Skills;Xuan Paper Industry;Safeguarding and Inheritance
传统产业生产模式的转型与发展
——以景德镇民窑变迁为个案
吴 艳1 李兴华2
（1.2. 景德镇陶瓷大学科技艺术学院，江西 景德镇 333001）
摘 要: 陶瓷生产是一个复杂的系统，瓷窑烧造是核心环节，在景德镇陶瓷生产中曾经起到重要的作用。但自从改革开放以后，景德镇民窑生产出现了新的特征。探究新民窑生产的特征和重要作用，进而折射出现代景德镇陶瓷生产中的传统和现代影响中的景德镇瓷业发展。
关键词：新民窑；现代重生；瓷业烧造；转型
The transformation and development of traditional production mode
——With the Transition of Folk Kiln in Jingdezhen as An Example
WU YAN1Li Xinghua2
(College of Technology and Art Jingdezhen Ceramic Institute, Jingdezhen, Jiangxi 333001)
Abstract: The production of ceramics is a very complex system, whose core is kiln firing that plays a very vital rolein the production of ceramics in Jingdezhen. However, since the reform and open-up, new features begin to appear in theproduction of folk kiln in Jingdezhen. This article mainly analyzes the features and importance of new kiln production,which reflects the development of Jingdezhen ceramics under the traditional and modern influence in the production ofJingdezhen modern ceramics.
Key words: New Kiln; the Modern Rebirth; Ceramics Production; Transformation
《长物志》中尚“雅”卑“俗”器物审美观管窥
谢云霞
（西南大学中国语言文学博士后流动站，重庆 400715）
摘 要: 尚“雅”卑“俗”审美观念贯穿于《长物志》始终，成为文震亨赏鉴一切物品尤其是器物的核心标准。此种器物审美观主要体现在对器物材料、形制以及工艺装饰等三个方面的品鉴上。文震亨人文精神的物化与其对所处特定时代之社会风尚的理性批判共同促进了其尚“雅”卑“俗”器物审美观的形成。
关键词：长物志；尚“雅”卑“俗”；器物；人文精神
Having a Restricted View on Aesthetic Perception of Advocating “Ya”and Demeaning “Su” about Implements in Zhang Wu Zhi
XIE Yunxia
(Postdoctoral Research Station of Chinese Language and Literature, Southwest University, Chongqing, 400715 )
Abstract: Aesthetic perception of advocating “Ya” and demeaning “Su” runs through Zhang Wu Zhi and becomesWen zhenheng’s core standard of appreciating everything especially implements. This Aesthetic perception aboutimplements is mainly reflected in the appreciations of three aspects such as implements’ material, structure and technicalornamentation. Wen zhenheng’s materialization of humanistic spirit and his rational criticism to the social climate ofspecial time which he lived jointly promoted the formation of his aesthetic perception of advocating “Ya” and demeaning“Su” about implements.
Key words: Zhang Wu Zhi;Advocating “Ya” and Demeaning “Su”;Implements; Humanistic Spirit
从静态观到动态论：
百年来人类学的文化变迁研究
桂慕梅
（天津社会科学院社会学研究所， 天津 300191）
摘 要: 文化变迁一直是人类学家关注的经典议题。在人类学百年来的学科发展史中出现过多个涉及文化变迁的观点和理论，但目前我国学界对此却缺乏系统的解析。本文通过梳理人类学主要理论流派关于文化变迁的研究发现，该领域存在从静态观到动态论的研究脉络，而布迪厄是动态分析文化变迁的集大成者。对文化变迁诸种观点和理论的系统说明利于学者清晰认识相关研究，也有助于从学理上把握未来的研究方向。
关键词：文化变迁、人类学理论流派、理论演进
From Static View to Dynamic View: The Research on the CulturalChange of Anthropology in the Last Hundred Years
GUI Mumei
(Institute of Sociology,Tianjin Academy of Social Sciences,Tianjin 300191,China )
Abstract: Cultural change has always been a classic topic of concern to anthropologists. There have been a numberof views and theories about cultural change in the history of the anthropology research in the last hundred years, but upto now, there is a lack of systematic analysis to the Chinese academics. Through sorting out cultural change research ofanthropology major theoretical schools, this article found there is theory evolution from static view to dynamic view, andPierre Bourdieu is master of the dynamic analysis of cultural change. The systematic description of the various views andtheories of cultural change will help scholars to understand the relevant research clearly and also help to grasp the futureresearch direction.
Key words: Cultural change; Theory schools of anthropology; Theory evolution
认同理论视阈下的文化传播
——内蒙古文化传播的历史考察研究之二
徐 英
（内蒙古大学艺术学院，内蒙古 呼和浩特 010010）
摘 要: 文化的传播绕不开文化的认同，或者说文化的传播就是建立在文化认同的基石之上的，尤其是民族文化，当在不同时空的交互中，在不同观念的碰撞中，形成多层次、多角度的文化认同后，进而更能开启文化传播的闸门，在互动与共融中产生新的文化形态，使各个民族的文化在良性的传播过程中结出丰硕之果。梳理内蒙古文化传播历史中的诸多文献和实例，能从理论与实践两个方面显示出文化认同与文化传播二者之间共生互补的逻辑关系，同时，也能为这一课题研究的可持续发展，提供实证研究的范例。
关键词：文化认同；文化传播；互动；共融；共生；互补
Cultural Communication from the Perspective of Identity Theory: Part 2 of the Study on the History of Cultural Communication ofInner Mongolia
XU Ying
(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010 )
Abstract: The dissemination of culture cannot be separated from the cultural identity, and that is to say culturalcommunication is based on cultural identity, especially for national culture. The interaction among different ethnic groupsat different times and spaces and the conflict of different concepts form the multi-level and multi-angle cultural identities,which make likely cultural spread. The new culture develops in the interaction and communion. The cultures of all ethnicgroups develop well in the process of harmonious communication. Through sorting out a lot of literature and explainingexamples of the history of Inner Mongolia culture communication, we can find the logic relation of the symbiotic andcomplement between the cultural identity and the cultural communication in both theory and practice. And at the same
time, this article will provide a typical example of empirical study to the continuing research of this subject.
Key words: Cultural identity; Cultural communication; Interaction; Communion; Symbiosis; Complement
浅析蒙古族视觉元素在内蒙古卫视
频道包装中的运用
李 杰
（内蒙古艺术学院，内蒙古 呼和浩特 010010）
摘 要: 本文通过内蒙古卫视《内蒙古新闻联播》等几档栏目视觉效果的呈现情况剖析，对蒙古族视觉元素在内蒙古卫视频道包装中的运用进行了成功与不足两方面的探讨。在成功方面，体现出了造型简约、现代感强和应用得当、“形”“意”相彰的特点，同时也存在整体性弱、细节性差和同质化高、多样性差的不足。
关键词：内蒙古卫视；蒙古族视觉元素；频道包装；“形”与“意”；设计理念
Analysis on the Application of the Mongolian Visual Elements
in Channel Packaging of NMTV
LI JIE
(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010 )
Abstract: Through the show of NMTV "Inner Mongolia News " and other programs visual effects to discuss theapplication of Mongolian visual elements in NMTV channel packaging in success and insufficient.It reflects the simpleshapes,strong sense of modernity and properly applied,"shape""meaning"promote each other.It also shows insufficient suchas weak integrity, poor details and high homogenization,less diversity.
Key words: NMTV; Mongolian visual elements; channel packaging; "shape"and"meaning";design idea