《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2010年第1期目錄
中國北方游牧民族的建筑造型藝術(shù)及歷史發(fā)展軌跡………………………………劉朝暉(5)
科爾沁蒙古族金銀飾品制作的田野調(diào)查……………………………………………徐 英(12)
科爾沁薩滿“過關(guān)”儀式的田野考察………………………………烏仁其其格 陳永春（20）
論延邊朝鮮族非物質(zhì)文化遺產(chǎn)的傳承……………………………………………張鐘月（26）
蒙古族題材版畫藝術(shù)創(chuàng)作人才培養(yǎng)芻議…………………………………………包玉榮（31）
淺談科爾沁版畫與學(xué)院版畫教學(xué)的交融……………………………………………寶 軍(35)
關(guān)于蒙古族題材原創(chuàng)版畫基地創(chuàng)建的設(shè)想………………………………………曹雪飛(38)
論“融”與“容”
——由“中西合璧”看現(xiàn)當(dāng)代中國畫的創(chuàng)新與畸變…………………………趙媛（41）
論官布的繪畫藝術(shù)…………………………………………………………………李際同(45)
近二十年來內(nèi)蒙古油畫創(chuàng)作中的蒙古人形象……………………………………孫與平（50）
高校中國畫教育現(xiàn)狀及教學(xué)探索…………………………………………………付光輝(55)
非枕——淺談當(dāng)代陶藝中瓷枕的創(chuàng)作………………………………………………劉潔(58)
元代墓室壁畫人物服飾形制探析…………………………………………………徐文靜（62）
論服裝設(shè)計(jì)中藝術(shù)與技術(shù)的結(jié)合…………………………………………………崔金玲（68）
傳統(tǒng)色彩語言在現(xiàn)代設(shè)計(jì)中的再創(chuàng)造……………………………………………朱書華（71）
草原巖畫中的自然崇拜……………………………………………………………馮軍勝（75）
北方巖畫與草原文化心理……………………………………………………………班瀾（83）
當(dāng)代蒙古族音樂文化的多元結(jié)構(gòu)及其處境……………………………………博特樂圖（91）
鋼琴觸鍵的基本原理分析……………………………………………………………秦 川（98）
單弦牌子曲腔詞結(jié)合關(guān)系探微……………………………………………………王宇琪（105）
多尼采蒂詠嘆調(diào)《偷灑一滴淚》的藝術(shù)解讀………………………………………史永清（110）原生態(tài)唱法與聲樂教學(xué)………………………………………………………………朱菁（115）
強(qiáng)化教師職業(yè)寫作技能的實(shí)驗(yàn)性研究
——以二部輪唱歌曲寫作教學(xué)為個(gè)案………………………………………易希平（119）
蔡元培“美育”思想提出的原因及當(dāng)代意義………………………………………肖陽（122）
淺析電影音樂與畫面的統(tǒng)一
——以美國電影《泰坦尼克號(hào)》為例………………………………………郭怡然（125）
談彝劇《曼嫫與瑪若》創(chuàng)作的戲劇沖突設(shè)計(jì)……………………………………楊懷敏（130）飛翔中凝聚的民族精神
——試論蒙古舞中的飛翔情結(jié)…………………………………………………何佳（134）
《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2010年第1期英文目錄
The Architecture Sculpture Art of Chinese Northern Nomadic Peoples and Its Historical Development………………………………………………………………………LIU Zhao-hui（5）
The Fieldwork of Horchin Mongolian Gold and Silver Jewelry Making……………XU Ying（12）
Investigation of Horchin Shaman Ceremony of “Pass A Barrier”
……………………………………………………Urenchemeg，CHEN Yong-chun （20）
On the Inheriting and keeping of Intangible Cultural Heritage of Yanbian Korean People……………………………………………………………………ZHANG Zhong -yue（26）
Ann Approach to the Creation Personnel Training for Woodcut Art of Mongolian Themes…………………………………………………………………………BAO Yu-rong (31)
An Approach to the Blend of Horchin Woodcut and Academy WoodcutTeaching……BAO Jun(35)
Conceiving of the Establishment of the Base of Woodcut Creation of Mongolian Themes
…………………………………………………………………………………CAO Xue-fei（38）
On the “Blending” and “Tolerance”—— Viewing the contemporary Chinese painting innovation and distortion from the point of view of “East meets West”
……………………………………………………………………………………ZHAO Yuan(41)
On the Painting Art of Gonbu………………………………………………………LI Ji-tong(45)
Mongolian Images in the Inner Mongolia Oil Painting Creation in the Past Two Decades…………………………………………………………………………SUN Yu-ping(50)
Exploring the Status of Education and Teaching of Chinese painting at College………………………………………………………………………FU Guang-hui （55）
Non-Pillow——An Approach to the Creation of Porcelain PillowContemporary Ceramics………………………………………………………………………………LIU Jie（58）
An Approach to the Shape and Structure of the Dress of the People in Yuan Dynasty Tomb Murals …………………………………………………………………………XU Wen-jing（62）
On the Combination of Art and Skills in Costume Design………………………CUI Jin-ling(68)
The Re-creation of the Traditional Color Language in the Modern Design
…………………………………………………………………………………ZHU Shu-hua（71）
Nature Worship of the Prairie Rock Painting………………………………FENG Jun-sheng（75）Northern Rock Painting and Grassland Cultural Psychology ……………………BAN Lan（83）
The Multi-element Structure of the Contemporary Mongolian Music Culture and Its Position
…………………………………………………………………………………………Botolt（91）
The Analysis of the Basic Principles of Piano Key Touch………………………QIN Chuan （98）Exploration of the Combination Relationship of the Music and Words of Chorded Pai-zi-qu ………………………………………………………………………WANG Yu-qi（105）
The Artistic Interpretation of Donizetti’s Aria“Una furtiva lagrima”…………SHI Yong-qing（110）Original Singing and Vocal Music Teaching………………………………………ZHU Jing(115)
Experimental Study of Strengthen the Teaching Profession of Writing Skills
——A case study of teaching of song writing of two rounds of singing……YI Xi-ping（119）The Reason for Cai Yuan-pei to Put Forward “Aesthetic Education” and Its Contemporary Significance……………………………………………………………………XIAO Yang（122）
An Approach to the Unity of Music and Pictures of the Movies
——A case study of the American movie“Titanic”……………………GUO Yi-ran (125)
On the Design of the Dramatic Conflict in Yi Drama “Man-mo and Ma-ruo”
……………………………………………………………………………YANG Huai-min(130)
The National Spirit Cohered in Flying
——On the flying plot in Mongolian dance…………………………………HE Jia(134)
《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》2010年第1期發(fā)表論文的中英文摘要、關(guān)鍵詞
中國北方游牧民族的建筑造型藝術(shù)及歷史發(fā)展軌跡
劉朝暉
（大連大學(xué)美術(shù)學(xué)院，遼寧 大連 116622）
摘要：中國北方游牧民族的建筑造型藝術(shù)，包括了居所與城市建筑、祭祀與宗教建筑、陵墓建筑三個(gè)方面。在歷史的發(fā)展軌跡中，一方面具有各個(gè)民族特色的建筑藝術(shù)特點(diǎn)，另一方面又融入中原地區(qū)的藝術(shù)風(fēng)格，形成多樣化的藝術(shù)特征和文化內(nèi)涵，在中國建筑史上占有重要的地位。
關(guān)鍵詞：北方游牧民族；造型藝術(shù)；建筑歷史；發(fā)展軌跡
分類號(hào)：K879文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)：1672-9838（2010）01-0005-07
The Architecture Sculpture Art of Chinese Northern Nomadic Peoples and Its Historical Development
LIU Zhao-hui
(Art College of Dalian University, DalianLioaningProvince 116622)
Abstract: The architecture sculpture art of Chinese northern nomadic peoples include the three aspects: residence and city buildings, sacrifice and religious buildings, tomb construction. In the history of the development, on the one hand, they have the architectural characteristics of various ethnic groups, on the other hand, they absorb the artistic style of the Central Plains and form a diversity of artistic characteristics and cultural connotations, play an important role in the history of Chinese architecture.
Key words: northern nomadic people; sculpture art; architectural history; development track
科爾沁蒙古族金銀飾品制作的田野調(diào)查
徐英
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院， 內(nèi)蒙古 呼和浩特 010010）
摘要：分析田野調(diào)查的結(jié)果認(rèn)為，蒙古草原上的金銀制品，特別是金銀飾品的制作、流通、價(jià)格等，其供求關(guān)系完全是自然調(diào)節(jié)的。因?yàn)榭茽柷卟菰系娜藗儗?duì)于傳統(tǒng)手工藝是認(rèn)可的；作為這種傳統(tǒng)手工藝載體的人——銀匠師傅其繁衍模式，依然是師徒相授；蒙古族首飾的材料、款型、工藝、色澤、紋樣等，基本保留了具有濃郁草原文化氣息的審美判斷、價(jià)值觀念。蒙古族飾品制作也有漸變的趨向，但變化的速度并不快。
關(guān)鍵詞：科爾沁蒙古族；金銀首飾；工藝技法；傳承
分類號(hào)：J526.1文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0012-08
The Fieldwork of Horchin Mongolian Gold and Silver Jewelry Making
XU Ying
(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010)
Abstract: The analysis of the results of fieldwork holds that the gold and silver jewelry production, circulation, price on Mongolian grassland as well as their supply and demand is completely natural regulations. The recognition of the traditional crafts of the people on the Horchin grassland is still the recognition of the silversmiths who hold the tradition of apprenticeships. Mongolian jewelry materials, section type, technology, color, pattern, etc., basically preserve the aesthetic judgments and values of the grasslands with rich cultural atmosphere. Mongolian jewelry making also has the trend of gradual change, but the pace of change is not fast.
Key words: Horchin Mongolian; gold and silver jewelry; craft techniques; heritage
科爾沁薩滿“過關(guān)”儀式的田野考察
烏仁其其格1.陳永春2.
（1.內(nèi)蒙古師范大學(xué)社會(huì)學(xué)民俗學(xué)學(xué)院，內(nèi)蒙古 呼和浩特 010022;
2.內(nèi)蒙古民族大學(xué)蒙古學(xué)學(xué)院，內(nèi)蒙古 通遼 028041 ）
摘要：科爾沁蒙古薩滿“過關(guān)”儀式是蒙古薩滿承襲過程中的一個(gè)重要環(huán)節(jié)，是通過對(duì)參加“過關(guān)”儀式者進(jìn)行法術(shù)檢驗(yàn)，確認(rèn)其薩滿身份和強(qiáng)化其法力的一種民間宗教儀式。對(duì)“過關(guān)”儀式的田野考察，描述了該儀式的基本程序及過程、并對(duì)入巫儀式中的人物角色、入巫過程的構(gòu)成要素和功能等進(jìn)行了分析。
關(guān)鍵詞：人類學(xué)；儀式現(xiàn)象；科爾沁薩滿；過關(guān)儀式；田野考察
分類號(hào)：K892.3“212”文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)：1672-9838(2010)01-0020-06
Investigation of Horchin Shaman Ceremony of “Pass A Barrier”
Urenchemeg1. CHEN Yong-chun2.
(1.College of Sociology and Folklore, Inner MongoliaNormalUniversity, Huhhot Inner Mongolia 010022;
(2.2.College of Mongolian Studies of Inner MongoliaNationalUniversity, Tongliao Inner Mongolia 028041)
Abstract : Horchin Shaman Ceremony of “Pass A Barrier” is an important part of the Mongolian Shaman adaptation. It is a kind of folk religious ceremony to determine its identity and strengthen its magic by checking the participating “Pass A Barrier” ceremony. The investigation of “Pass A Barrier” ceremony describes the basic procedure and process of the ritual and analyzes in the wizard-admittance ceremony, the construct elements and function.
Key words: anthropology; ceremony phenomenon; Mongolian Shaman; “Pass A Barrier” ceremony; investigation
論延邊朝鮮族非物質(zhì)文化遺產(chǎn)的傳承
張鐘月
（延邊大學(xué)人文社會(huì)科學(xué)學(xué)院，吉林 延吉 133002）
摘要： 朝鮮族非物質(zhì)文化遺產(chǎn)面臨人才流失、傳承斷代的危險(xiǎn)。一些非遺項(xiàng)目的傳承和發(fā)展舉步維艱，瀕危狀況在短時(shí)期內(nèi)難以改變，培養(yǎng)傳承人面臨的最大難題是資金問題。為此，政府要采取合理有效的統(tǒng)籌規(guī)劃，學(xué)者深入研究和引導(dǎo)，并引起民眾的關(guān)注和參與。只有先深化對(duì)非遺概念和內(nèi)涵的認(rèn)識(shí)，在重視的基礎(chǔ)上才能談及傳承。
關(guān)鍵詞：朝鮮族；非物質(zhì)文化遺產(chǎn)；傳承；延邊；朝鮮族農(nóng)樂舞
分類號(hào)：G05文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0026-05
On the Inheriting and keeping of Intangible Cultural Heritage of Yanbian Korean People ZHANG Zhong -yue
(College of Humanities and Social Sciences of YanbianUniversity, Yanji Jilin 133002)
Abstract: Korean intangible cultural heritage is facing the risk of a brain drain, heritage dating. Some non-genetic inheritance and development project is difficult to be carried on and the endangered status can not be changed in a short time. The biggest challenges in training of personnel is funding. The Government should take reasonable and effective overall planning, scholars make in-depth research and guidance, and cause public concern and participation. Only deepening the understanding of the concept and meaning of non-genetic heritage, can we talk about inheritance on the basis of attaching importance to it .
Key words: Korean; intangible cultural heritage; heritage; Yanbian; Korean farmers dance
蒙古族題材版畫藝術(shù)創(chuàng)作人才培養(yǎng)芻議
包玉榮
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院美術(shù)系，內(nèi)蒙古 呼和浩特 010010）
摘要：穩(wěn)定、扶持自治區(qū)蒙古族題材版畫藝術(shù)創(chuàng)作隊(duì)伍，培養(yǎng)新一代的蒙古族題材版畫藝術(shù)創(chuàng)作人才，應(yīng)該完善、有效實(shí)施對(duì)創(chuàng)作人才培養(yǎng)的短、中、長期培養(yǎng)方案，樹立學(xué)、產(chǎn)、研一體的創(chuàng)作人才培養(yǎng)目標(biāo)，以解決蒙古族題材版畫藝術(shù)創(chuàng)作人才的流失、斷層等問題。
關(guān)鍵詞：蒙古族題材；版畫藝術(shù)；人才培養(yǎng)
分類號(hào)：J237文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0031-04
Ann Approach to the Creation Personnel Training for Woodcut Art of Mongolian Themes
BAO Yu-rong (ArtDepartment of Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010)
Abstract: We should maintain the stability of woodcut art creation of Inner Mongolia Autonomous Region, train a new generation of the creation personnel training for woodcut art of Mongolian themes, perfect and effectively implement the short, medium and long term training plan of personnel, and the object of personnel training as learning, production, research to solve the issues of the brain drain, fault in the creation personnel training for woodcut art of Mongolian themes.
Key words: Mongolian themes; woodcut art; personnel training
淺談科爾沁版畫與學(xué)院版畫教學(xué)的交融
寶軍
（內(nèi)蒙古民族大學(xué)藝術(shù)學(xué)院美術(shù)系， 內(nèi)蒙古 通遼市 028042）
摘要：上個(gè)世紀(jì)60年代，科爾沁草原上的哲里木版畫聞名全國，如今在它的影響下又有一批嶄新的版畫群體悄然而起，這就是科爾沁地區(qū)的學(xué)院版畫。其題材、表現(xiàn)形式都與科爾沁版畫有著不同之處，也給科爾沁地區(qū)的版畫事業(yè)帶來了無限的生機(jī)。
關(guān)鍵詞：版畫；科爾沁；創(chuàng)作；繼承
分類號(hào)：J237文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)：1672-9838（2010）01-0035-03
An Approach to the Blend of Horchin Woodcut and Academy WoodcutTeaching The Matrix and Variant of “Asar”BAO Jun
(Art Department of ArtCollege of Inner MongoliaNationalUniversity, Tongliao Inner Mongolia 028042)
Abstract: In the 60’s of the last century, Jirem woodcut was known throughout the country. Now under its influence, a group of brand-new woodcut group has been quietly developed. This is the Horchin academy woodcut Mongolian. Both its subject and form have differences from Horchin woodcut. However, it has brought unlimited engraving vitality woodcut career of Horchin region. Key words: woodcut; Horqin; creation; inheritance
關(guān)于蒙古族題材原創(chuàng)版畫基地創(chuàng)建的設(shè)想
曹雪飛
（包頭師范學(xué)院美術(shù)學(xué)院，內(nèi)蒙古 包頭 014030）
摘要：內(nèi)蒙古版畫一直以其獨(dú)特的民族地域特色而備受關(guān)注。創(chuàng)建一個(gè)蒙古族題材原創(chuàng)版畫基地的設(shè)想的前提是要建立新時(shí)期蒙古族版畫創(chuàng)作體系，要有實(shí)踐基地的建構(gòu)，諸如創(chuàng)建版畫基地核心區(qū)——工作坊、陳列館；創(chuàng)建版畫學(xué)院教育實(shí)習(xí)基地、信息傳播中心、藝術(shù)群體。使之形成一個(gè)穩(wěn)固的、良性循環(huán)的民族版畫創(chuàng)作產(chǎn)業(yè)鏈。
關(guān)鍵詞： 版畫；蒙古族；題材；原創(chuàng)；版畫基地
分類號(hào)： J237文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)： 1672-9838（2010）01-0038-03
Conceiving of the Establishment of the Base of Woodcut Creation of Mongolian Themes
CAO Xue-fei
(Art Institute of BaotouTeachers College of, BaotouInner Mongolia 014030)
Abstract: Inner Mongolia woodcut has its own unique national regional characteristics and has attracted much attention. The precondition of the establishment of the base of woodcut creation of Mongolian themes is to establish Mongolian woodcut creation system of the new era with the construction of practice base, such as the the core area of woodcut base —— workshops, exhibition hall; establish educational practice base of woodcut college, information dissemination center, art groups so as to form a solid, virtuous cycling national woodcut creation industry chain.
Key words: woodcut; Mongolian; theme; original; woodcut base
論“融”與“容”
——由“中西合璧”看現(xiàn)當(dāng)代中國畫的創(chuàng)新與畸變
趙媛
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院美術(shù)系， 內(nèi)蒙古 呼和浩特 010010）
摘要：從傳統(tǒng)藝術(shù)的特色角度、繪畫媒介的拓展角度、盲目追求前衛(wèi)的極端化角度來論述“融”與“容”是中國畫 “中西合璧”變革中產(chǎn)生創(chuàng)新和畸變的根本原因，如何面對(duì)中國畫的變革，使之既不缺失民族性又可順應(yīng)世界藝術(shù)發(fā)展大趨勢，是我們的當(dāng)務(wù)之急。
關(guān)鍵詞： 中國畫；西方美術(shù)；融合；創(chuàng)新；畸變；中西合璧
分類號(hào)： J202文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)： 1672-9838（2010）01-0041-04
On the “Blending” and “Tolerance”
——Viewing the contemporary Chinese painting innovation and distortion from the point of view of “East meets West”
ZHAO Yuan
(Arts Department of ArtCollege of Inner MongoliaUniversity, Huhhot Inner Mongolia 010010)
Abstract: The ultimate cause of the production of innovation and distortion in the reform of “East meets West” is the “Blending” and “Tolerance” from the perspective of the characteristics of traditional arts, the expansion of the painting media, and the blind pursuit of avant-garde extreme. It is our top priority to know how to face Chinese painting changes, so that it does not lacks the national character and follows the world trend of art development.
Key words: Chinese painting; western art; integration; innovation; distortion; “East meets West”
論官布的繪畫藝術(shù)
李際同
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特010010）
摘要：官布繪畫創(chuàng)作早期以油畫為主，后期以中國畫為主，不同畫種之間的相互借鑒，使他的繪畫呈現(xiàn)出中西融合的藝術(shù)特色。
關(guān)鍵詞：官布；繪畫藝術(shù)；油畫；國畫；中西融合；藝術(shù)特色
分類號(hào)：J203文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)： 1672-9838(2010)01-0045-05
On the Painting Art of Gonbu
LI Ji-tong
(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010)[HJ1]\;[HJ]
Abstract: The early drawings of Gonbu are mainly oil paintings and his late works are mainly Chinese painting. With different painting styles as mutual reference, his paintings show a fusion of Chinese and Western artistic characteristics.
Key words: Gonbu; painting art; oil painting; Chinese painting; Chinese and Western integration; artistic features
近二十年來內(nèi)蒙古油畫創(chuàng)作中的蒙古人形象
孫與平
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院美術(shù)系，內(nèi)蒙古 呼和浩特 010010）
摘要：在近20年的內(nèi)蒙古油畫創(chuàng)作中，創(chuàng)作者更多地關(guān)注了人的現(xiàn)實(shí)生活，表現(xiàn)在他們作品中的蒙古人具有神秘、孤獨(dú)而又有現(xiàn)代感的特點(diǎn)。
關(guān)鍵詞： 當(dāng)代；內(nèi)蒙古；油畫創(chuàng)作；人物形象；蒙古人；特點(diǎn)
分類號(hào)：J211.25文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)： 1672-9838(2010)01-0050-05
Mongolian Images in the Inner Mongolia Oil Painting Creation in the Past Two Decades
SUN Yu-ping
(Art Department of ArtCollege of Inner MongoliaUniversity, Huhhot Inner Mongolia 010010)
Abstract: In the past 20 years in Inner Mongolia oil paintings creation, the artists have paid more attention to the people’s real life and manifested the Mongolian people’s mysterious, lonely and modern features.
Key words: contemporary; Inner Mongolia; oil painting creation; Mongols; features
高校中國畫教育現(xiàn)狀及教學(xué)探索
付光輝
（內(nèi)蒙古民族大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 通遼 028000）
摘要：中國畫是高校美術(shù)教育的重要課程，其現(xiàn)狀為：進(jìn)入高校學(xué)習(xí)中國畫的學(xué)生難說其對(duì)中國畫有較為清晰的認(rèn)識(shí)，在培養(yǎng)訓(xùn)練中也存在問題。而加強(qiáng)高校中國畫教學(xué)中文化素養(yǎng)的培養(yǎng)，結(jié)合倡導(dǎo)學(xué)習(xí)地域民間美術(shù)，則是高校中國畫教學(xué)改革的有效探索。
關(guān)鍵詞：高等學(xué)校；美術(shù)教育；中國畫；教學(xué)研究
分類號(hào)： J20-05文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838(2010)01-0055-03
Exploring the Status of Education and Teaching of Chinese painting at College
FU Guang-hui
(Art College of Inner MongoliaNationalUniversity, Tongliao Inner Mongolia 028000) Abstract: Chinese painting is an important course of college art education programs. The status quo:it is hard to say that the college students studying Chinese painting have a more clear understanding of Chinese painting and there is also problems in its training. Strengthening the training of cultural qualities in college Chinese painting teaching, combined with learning of regional folk art are the effective exploration in the reform of university Chinese painting teaching. Key words: college; art education; Chinese painting; teaching research
非枕——淺談當(dāng)代陶藝中瓷枕的創(chuàng)作
劉潔
（內(nèi)蒙古工業(yè)大學(xué)建筑學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要：非枕，它所要表達(dá)的就是人的精神理念，枕的功能甚至退到?jīng)]有。當(dāng)代陶藝家對(duì)于瓷枕的創(chuàng)作無疑是在重塑瓷枕，這是對(duì)中國古代文化的致禮，也是當(dāng)代人對(duì)自身精神生活的梳理與表達(dá)。
關(guān)鍵詞：當(dāng)代陶藝；創(chuàng)作；瓷枕；非枕
分類號(hào)：J314.8文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838(2010)01-0058-04
Non-Pillow-An Approach to the Creation of Porcelain PillowContemporary Ceramics
LIU Jie
(School of Architecture, Inner Mongolia University of Technology, HohhotInner Mongolia 010010)
Abstract: Non-pillow expresses the spirit of people and the function of pillow has retreated to none. Contemporary ceramic artists are undoubtedly re-creating the porcelain pillow in the remodeling. This is a respect to the Chinese ancient culture, and the carding and expression of contemporary spiritual life of people.
Key words: contemporary ceramics; creation; porcelain pillow; non-pillow
元代墓室壁畫人物服飾形制探析
徐文靜
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要：從元朝中后期北方地區(qū)墓室壁畫中所描繪的人物服飾形象，并結(jié)合出土文物的佐證，反映出元代蒙古族服飾形制基于北方游牧民族傳統(tǒng)之上所受中原漢地風(fēng)俗的影響。期間出現(xiàn)不少新的變化。表現(xiàn)在其冠帽、袍服、靴子的特點(diǎn)上。
關(guān)鍵詞：元代；墓室壁畫；蒙古族人物；服飾；形制
分類號(hào)：K879.41文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0062-06
An Approach to the Shape and Structure of the Dress of the People in Yuan Dynasty Tomb Murals
XU Wen-jing
(Art College of Inner Mongolia University, HohhotInner Mongolia 010010)
Abstract: The dress of the people in late Yuan Dynasty tomb murals in the north combined with the evidence of archaeological finds reflect that the shape and structure of the dress of the Yuan Dynasty Mongolian traditional were impacted by the Han customs in the North Central Plains with the basic northern nomadic style with many new changes in the characteristics of their caps, robes, boots.
Key words: Yuan Dynasty; tomb murals; Mongolian characters; clothing; shape and structure
論服裝設(shè)計(jì)中藝術(shù)與技術(shù)的結(jié)合
崔金玲
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要：服裝設(shè)計(jì)是一種實(shí)用藝術(shù)。一件成功的設(shè)計(jì)作品，既離不開“工”也離不開“藝”。在服裝設(shè)計(jì)的教與學(xué)中要樹立“工”與“藝”完美結(jié)合的設(shè)計(jì)觀念，重視服裝設(shè)計(jì)專項(xiàng)訓(xùn)練，做到服裝款式、結(jié)構(gòu)與工藝的有機(jī)結(jié)合。
關(guān)鍵詞：服裝設(shè)計(jì)；藝術(shù)；技術(shù)；結(jié)合
分類號(hào)：TS941.2文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)：1672-9838（2010）01-0068-03
On the Combination of Art and Skills in Costume Design
CUI Jin-ling
(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010)
Abstract: The costume design is a practical arts. A successful design is inseparable either from the “skills”or from the “art.” In the teaching and learning of costume fashion design, we should establish a design concept of “workers” the perfect combination of the “skills” or from the “art” and pay attention to special training in fashion design, so that clothing style, structure and process can be organically combined.
Key words: costume fashion design; art; skills; combine
傳統(tǒng)色彩語言在現(xiàn)代設(shè)計(jì)中的再創(chuàng)造
朱書華
（無錫工藝職業(yè)技術(shù)學(xué)院，江蘇 宜興 214206 ）
摘要：現(xiàn)代創(chuàng)新推動(dòng)傳統(tǒng)色彩發(fā)展，傳統(tǒng)積淀促進(jìn)現(xiàn)代色彩發(fā)展，現(xiàn)代設(shè)計(jì)提升傳統(tǒng)色彩價(jià)值。在現(xiàn)代設(shè)計(jì)中運(yùn)用傳統(tǒng)色彩，是對(duì)所采集信息進(jìn)行理性分解、歸納、組合和再創(chuàng)造的過程，是一種理性分析、感性認(rèn)識(shí)的思維活動(dòng)。
關(guān)鍵詞：傳統(tǒng)色彩語言；現(xiàn)代設(shè)計(jì)；色彩應(yīng)用
分類號(hào)：J063文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0071-04
The Re-creation of the Traditional Color Language in the Modern Design
ZHU Shu-hua
(Wuxi Technical Vocational Institute, YixingJiangsuProvince 214206)
Abstract: The modern innovation forces the development of the traditional colors, the traditional sedimentary promotes the development of modern colors, the contemporary design upgrades the value of traditional colors. Using traditional colors in modern design is a process to make a rational decomposition, induction, combination and re-creation of the collected information and it is thinking activity of rational analysis and perceptual knowledge.
Key words: traditional color language; modern design; color application
草原巖畫中的自然崇拜
馮軍勝
（內(nèi)蒙古社會(huì)科學(xué)院 內(nèi)蒙古 呼和浩特 010010）
摘要：與人類生存關(guān)系最密切的大自然是原始宗教最早的崇拜對(duì)象。對(duì)于草原文化建構(gòu)而言，自然崇拜和神靈觀念是非常重要的文化形態(tài)，對(duì)草原人的思維方式、社會(huì)組織及世俗生活都影響深刻，而且時(shí)間綿延久遠(yuǎn)，一直至今。而巖畫大多是伴隨祈神儀式產(chǎn)生的。
關(guān)鍵詞：草原巖畫；自然崇拜；原始宗教
分類號(hào)： J206文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)： 1672-9838（2010）01-0075-08
Nature Worship of the Prairie Rock Painting
FENG Jun-sheng
(Inner MongoliaAcademy of Social Sciences, Huhhot Inner Mongolia 010010)
Abstract: Nature, which has the most closely relationship with human existence is the earliest worship object of the original religion. For the construction of grassland culture, the concept of nature worship and deities is very important cultural patterns and it has long been profoundly influencing the way of people’s thinking, social organization and the secular life. Rock paintings are mostly accompanied by praying ceremony.
Key words: grassland rock paintings; nature worship; original religion
北方巖畫與草原文化心理
班瀾
（中共廣東省委黨校 廣東 廣州 810000）
摘要：民族的文化心理是在生存活動(dòng)的實(shí)踐中不斷改善和提高的，也是在漫長的歷史生活中，一代又一代人的生存實(shí)踐中積淀的，是文化繼承和生命遺傳的結(jié)晶。可以說，民族文化的特性乃體現(xiàn)為民族心理的特性。探討草原文化心理特性，循照感覺的、倫理的與理智的三方面心理構(gòu)因來考察，以構(gòu)成較完整的心理結(jié)構(gòu)。
關(guān)鍵詞：北方巖畫；北方草原民族；心理基質(zhì)；文化心理
分類號(hào)：J206文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0083-08
Northern Rock Painting and Grassland Cultural Psychology
BAN Lan
(CPCGuangdongPartySchool, GuangzhouGuangdongProvince 810000)
Abstract: The national cultural psychology is continuously improved and advanced in the practice of human survival activities; it is also the crystallization of cultural inheritance and life heredity. It can be said that the characteristics of national culture are reflected in the characteristics of national psychology. It is important to discuss the psychological characteristics of grassland culture through the feeling, ethical and rational psychology to study and construct a more complete psychological structure.
Key words: Northern rock paintings ; northern steppe peoples; psychological base; cultural psychology
當(dāng)代蒙古族音樂文化的多元結(jié)構(gòu)及其處境
博特樂圖
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘要： 當(dāng)代蒙古族音樂文化內(nèi)部，形成了以專業(yè)音樂家創(chuàng)作的音樂為主要內(nèi)容的精英音樂，以民俗傳統(tǒng)音樂為內(nèi)容的民間音樂，以草原體裁通俗音樂、流行音樂為內(nèi)容的大眾音樂三元并存狀態(tài)。它們既相互碰撞抵觸，又彼此包容交叉，共同構(gòu)成了蒙古族當(dāng)代音樂的整體結(jié)構(gòu)。隨著社會(huì)文化環(huán)境的變遷，社會(huì)主導(dǎo)音樂的內(nèi)容和方向也幾經(jīng)改變，精英音樂、民間音樂、大眾音樂在不同的層次、不同的時(shí)代，呈現(xiàn)為不同的格局。
關(guān)鍵詞：蒙古族；精英音樂；民間音樂；大眾音樂；主導(dǎo)音樂
分類號(hào)：J607.“212”文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)：1672-9838（2010）01-0091-07
The Multi-element Structure of the Contemporary Mongolian Music Culture and Its Position Botolt
Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010 )
Abstract: The contemporary Mongolian music culture itself has three main parts: the essential music with its main content of the works of the professional musicians, to folk music with traditional folk music as the main content, popular music with the main content of popular music of grassland themes and music in fashion. The contents of the three elements coexist. They not only contradict to each other, but also cross-tolerant with each other, together form the overall structure of Mongolian contemporary music. With the social and cultural changes in the environment, the leading social music content and direction change several times, the essential music, folk music, popular music exist at different levels, different times, show different patterns.
Key words: Mongolian; essential music; folk music; popular music; leading music
鋼琴觸鍵的基本原理分析
秦川
（同濟(jì)大學(xué)傳播與藝術(shù)學(xué)院， 上海 200092）
摘要：鋼琴觸鍵技術(shù)中作用力與作用距離的相互關(guān)系及其運(yùn)用中的轉(zhuǎn)化，包含了觸鍵技術(shù)的基本原理，其核心就是通過作用力的集中達(dá)到對(duì)琴鍵行程的控制。
關(guān)鍵詞：鋼琴演奏；觸鍵技術(shù)；斷連時(shí)刻；制音器；集中
分類號(hào)：J624.1文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0098-07
The Analysis of the Basic Principles of Piano Key Touch
QIN Chuan
(College of Communication and Art, TongjiUniversity, Shanghai 200092)
Abstract: The relationship between the applied force and range of action and its conversion in piano key touching technology includes the basic principles of the key touch technology. The core is the control of the keyboard stroke achieved through the concentration of applied force.
Key words: piano playing; key touch technology; disconnection time; damper; focus
單弦牌子曲腔詞結(jié)合關(guān)系探微
王宇琪
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂系， 內(nèi)蒙古 呼和浩特 010010）
摘要： 單弦牌子曲作為北京傳統(tǒng)的曲藝音樂形式，自產(chǎn)生以來便以其獨(dú)特的藝術(shù)魅力廣泛傳唱于京津地區(qū)，顯示出鮮明的地方特點(diǎn)。結(jié)合統(tǒng)計(jì)學(xué)的方法，通過對(duì)單弦牌子曲大量曲目唱腔與唱詞結(jié)合關(guān)系的分析，探討這一曲種在腔詞關(guān)系中所體現(xiàn)出的地方性。
關(guān)鍵詞： 單弦牌子曲；腔詞結(jié)合關(guān)系；腔格；字調(diào)
分類號(hào)：J644文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0105-05
Exploration of the Combination Relationship of the Music and Words of Chorded Pai-zi-qu
WANG Yu-qi
(Music Department, ArtCollege of s Inner MongoliaUniversity, Huhhot Inner Mongolia 010010)
Abstract: As a traditional Beijing opera musical form, Chorded Pai-zi-qu has been very popular in the Beijing-Tianjin region since its inception with its unique artistic charm, showing distinctive local characteristics. This article analyzes Combination relationship of the music and words of a large number of chorded Pai-zi-qu with statistical methods to explore the local features of reflected in this kind of relationship.
Key words: Chorded Pai-zi-qu; relationship of the music and words; music pattern; the tone
多尼采蒂詠嘆調(diào)《偷灑一滴淚》的藝術(shù)解讀
史永清
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂系，內(nèi)蒙古 呼和浩特 010010）
摘要： 多尼采蒂的歌劇《愛的甘醇》中頗具代表性的男高音唱段是詠嘆調(diào)《偷灑一滴淚》，從音樂本體的旋律、曲式結(jié)構(gòu)等方面的分析中不難看出，作曲家將浪漫主義思潮引入歌劇藝術(shù)之中，反映出多尼采蒂作品的民族主義傾向。
關(guān)鍵詞：多尼采蒂；《偷灑一滴淚》；音樂解析；藝術(shù)處理
分類號(hào)：J652.5文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）01-0110-05
The Artistic Interpretation of Donizetti’s Aria “Una furtiva lagrima”
SHI Yong-qing
(Music Department of College of the ArtCollege of Inner MongoliaUniversity, Huhhot Inner Mongolia 010010)
Abstract: The Aria “Una furtiva lagrima” is rather typical of Donizetti’s opera “Love of diethylene glycol”. It is not difficult to see from the melody music ontology and structure that the composer introduces the romanticism into opera art, reflecting the nationalist tendencies in Donizetti works.
Key words: Donizetti; Una furtiva lagrima; music analysis; artistic treatment
原生態(tài)唱法與聲樂教學(xué)
朱菁
（北方民族大學(xué)音樂舞蹈學(xué)院， 寧夏 銀川 750021）
摘要：一直以來，“原生態(tài)民歌”與“原生態(tài)唱法”引起了學(xué)術(shù)界和音樂教育界的關(guān)注，也產(chǎn)生了一些爭議。而在非物質(zhì)文化遺產(chǎn)保護(hù)工程和普及音樂教育的過程中，對(duì)這些概念作出科學(xué)界定是音樂教育界急需完成的任務(wù)。
關(guān)鍵詞：音樂文化；原生態(tài)唱法；教育傳承；社會(huì)傳承
分類號(hào)：J616.2文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)：1672-9838（2010）01-0115-04
Original Singing and Vocal Music Teaching
ZHU Jing
(College of Music and Dance of Northern NationalUniversity, Yinchuan Ningxia 750021 )
Abstract: “Original folk songs”and “original singing” have been arousing the concern of academics and music education circles and have created some controversy. In the process of non-material cultural heritage protection projects, and general music education, it is an urgent task for the education world to give definition to these concepts.
Key words: music culture; original singing; educational heritage; social heritage
強(qiáng)化教師職業(yè)寫作技能的實(shí)驗(yàn)性研究
——以二部輪唱歌曲寫作教學(xué)為個(gè)案
易希平
(曲靖師范學(xué)院音樂舞蹈學(xué)院, 云南 曲靖 655011)
摘要：為使教學(xué)擺脫枯燥和說教，從師范教育實(shí)際出發(fā)，探索出實(shí)用價(jià)值較高的二部輪唱寫作技法，并在教學(xué)中加以滲透性運(yùn)用，從而強(qiáng)化學(xué)生的職業(yè)寫作技能，以適應(yīng)未來基礎(chǔ)音樂教育發(fā)展的需要。
關(guān)鍵詞：復(fù)調(diào)音樂課；教師；職業(yè)技能；輪唱歌曲；寫作教學(xué)
分類號(hào)：J642.59文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)：1672-9838(2010)01-0119-03
Experimental Study of Strengthen the Teaching Profession of Writing Skills
——A case study of teaching of song writing of two rounds of singing
YI Xi-ping
(Music and Dance Institute , Qujing Teacher”s College, QujingYunnanProvince 655011)
Abstract: In order to get rid of dull and didactic teaching, normal education should set out from the reality to explore the practical writing techniques of the two rounds of singing with high value, and use it in teaching with permeability, thus strengthen the student's professional writing skills to meet the need for the future development of basic music education.
Key words: polyphony course; teachers; vocational skills; round singing songs; teaching of writing
蔡元培“美育”思想提出的原因及當(dāng)代意義
肖陽
（上海音樂學(xué)院，上海 200031）
摘要：蔡元培先生是我國系統(tǒng)研究和介紹美學(xué)并進(jìn)行一系列前瞻性實(shí)踐的重要學(xué)者，他在清末民初提出“美育”思想，并陸續(xù)受到一些有志之士的關(guān)注。而在我國強(qiáng)調(diào)以“和諧世界”理念發(fā)展的新時(shí)代，蔡元培倡導(dǎo)的美和美育不再會(huì)是人類生活的一種點(diǎn)綴和奢侈。
關(guān)鍵詞：蔡元培；美育思想；當(dāng)代意義
分類號(hào)：G40-014文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)： 1672-9838（2010）-0122-03
The Reason for Cai Yuan-pei to Put Forward “Aesthetic Education” and Its Contemporary Significance
XIAO Yang
(ShanghaiMusicCollege, Shanghai 200031) [HJ1]\;[HJ]
Abstract: Mr. Cai Yuan-pei is an important scholar who made systematic research and introduced aesthetics and carried out a series of forward-looking practice. He put forward the idea of “Aesthetic Education” in the late Qing Dynasty and early republic of China and gradually attracted the attention of some ambitious people. In the new era of our country emphasizing “harmonious world”, Cai Yuan-pei's advocacy of beauty and aesthetic education will no longer be an embellishment and luxury of human life.
Key words: Cai Yuan-pei; “Aesthetic Education”; contemporary significance
淺析電影音樂與畫面的統(tǒng)一
——以美國電影《泰坦尼克號(hào)》為例
郭怡然
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院附屬中專，內(nèi)蒙古 呼和浩特 010010）
摘要：電影音樂因其獨(dú)特的藝術(shù)特性、多樣化的功能以及多元化的樣態(tài)成為電影藝術(shù)中不可或缺的重要組成部分。電影音樂與電影畫面相互滲透，相互結(jié)合，相互豐富充實(shí)的特性，從而大大增強(qiáng)了電影和音樂雙方的藝術(shù)感染力。
關(guān)鍵詞：電影音樂；視聽藝術(shù)；音畫統(tǒng)一；《泰坦尼克號(hào)》
分類號(hào)：J905文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)： 1672-9838（2010）01-0125-05
An Approach to the Unity of Music and Pictures of the Movies
——A case study of the American movie “Titanic”
GUO Yi-ran
(Subsidiary Secondary of ArtCollege of Inner MongoliaUniversity, Huhhot Inner Mongolia 010010)
Abstract: Because of its unique features, a variety of functions, and diverse art patterns, film music has become an indispensable part of film art. Music and motion pictures of a film mutually penetrate and integrate and enrich each other, thereby greatly enhance the art appeal of both film and music.
Key words: film music; audio-visual art; unity of music and picture; “Titanic”
談彝劇《曼嫫與瑪若》創(chuàng)作的戲劇沖突設(shè)計(jì)
楊懷敏
（云南省楚雄州民族藝術(shù)劇院彝劇團(tuán)，云南 楚雄 675000 ）
摘要：以彝族文化中具有代表性的兩個(gè)主題“曼嫫與瑪若”和“阿詩瑪”為例，對(duì)比其中的“化藤”、“化神”情節(jié)，分析同一母題的彝族傳說和據(jù)此編寫的劇本之間的異同，論證此類劇本創(chuàng)作時(shí)，“強(qiáng)化人物之間的沖突”是取得成功的一個(gè)重要技巧。
關(guān)鍵詞： 彝族戲?。弧堵婆c瑪若》；改編；戲劇沖突
分類號(hào)： J825文獻(xiàn)標(biāo)識(shí)碼： A文章編號(hào)：1672-9838(2010)-0130-04
On the Design of the Dramatic Conflict in Yi Drama “Man-mo and Ma-ruo
YANG Huai-min
(Yunnan Chuxiong National Art Troupe in Yi Theater, Chuxiong 675000)
Abstract: This article takes the two representative themes “Man-mo and Ma-ruo” of Yi culture to compare the plot of “converting into the cane,”and “converting of spirits” in the two plays analyze the similarities and differences between the Yi Legend and written play of the same motif to demonstrate that an important skill for success of this kind of creation is the “enhanced conflict betweenthe characters”.
Key words: Yi drama; “Man-mo and Ma-ruo”; adaptation; dramatic conflict
飛翔中凝聚的民族精神
——試論蒙古舞中的飛翔情結(jié)
何佳
(內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010)
摘要：蒙古民族借鷹、大雁、白海青等鷹類和鳥類來表達(dá)和融合自己的情感，逐漸形成了一種特有的“飛翔”情結(jié)，并把這種復(fù)雜的難以用語言準(zhǔn)確表達(dá)的情感和精神轉(zhuǎn)化成舞蹈的形式，可以稱之為蒙古民族特有的舞蹈語言。充分表現(xiàn)了生生不息的生命意識(shí)和民族精神的延續(xù)、傳承和發(fā)展。
關(guān)鍵詞：蒙古族；舞蹈；飛翔；民族精神
分類號(hào)： J722.22“212”文獻(xiàn)標(biāo)識(shí)碼：A文章編號(hào)：1672-9838(2010)01-0134-03
The National Spirit Cohered in Flying
——On the flying plot in Mongolian dance
HE Jia
(Art College of Inner Mongolia University, Huhhot Inner Mongolia 010010)
Abstract: Mongolian people express and melt their feelings using eagles, wild geese, hawks and other birds and gradually developed a unique “flying” complex. And they transform this complex difficult to accurately be expressed in words into emotional and spiritual form of dance, it can be called unique Mongolian dance language. It fully demonstrates consciousness of life and endless continuation, heritage and development of the national spirit.
Key words: Mongolian people; dance; flying; national spirit