占族艺术与美山圣地

占族艺术深受印度以及高棉文化的影响,呈现多元文明融合的特征。公元4世纪到13世纪,“美山圣地”作为占婆王国的统治中心,其陆续建造的神庙建筑和雕塑是占族艺术的典型代表。此外,查乔、东阳等遗址的建筑和雕塑遗存也是占族艺术的集大成者。这些遗址出土的诸如《沉睡的毗湿奴》《美山基座》《象神立像》等重要的占婆艺术作品大都收藏于岘港占婆雕刻博物馆里。

跨族际艺术交融与铸牢中华民族共同体意识之关系——以纳西族为例

从民族艺术的视角来审视和分析,可以看出跨族际交融是我国56个民族艺术的突出特征。多民族的艺术交融是铸牢中华民族共同体意识的重要精神动力、审美动力。文章以纳西族为例,审视该族几个重要的艺术门类所蕴含的跨族际交融性,为进一步审视多民族艺术交融在铸牢中华民族共同体意识历史进程中具有的重要意义和积累更多的实证个案提供参考。文章指出,中华民族的文化艺术是各民族历史上交往交流中逐渐形成“你中有我,我中有你”的格局。我国各民族在具体的历史时空中产生的文化艺术交流,也促成了中华各民族对多元一体但又具有整体性的文化共同体的认知。我国各民族还需要在以后深入的交往交流中不断加深这样的认知。研究铸牢中华民族共同体意识,也需要有更多回溯历史和现实的实证微观研究的积累,以利于总结历史经验,促进当下的发展。

少数族裔传统艺术传承机制探析——对石屏县哨冲乡慕善村花腰彝民族文化艺术传承班的调查

在全球化语境中,少数族裔传统艺术在全球化和汉族强势文化的冲击下面临危急,对其进行传承与保护迫在眉睫。本文拟通过对石屏县哨冲乡慕善村花腰彝民族文化艺术传承班的个案调查,分析其对少数族裔传统艺术传承的启示,以建立有效的艺术传承机制,促进少数族裔传统艺术的传承与保护。

彝族杨四将军、雷神及七星姑娘图像溯源

杨四将军图、雷神图和七星姑娘图,是彝族家坛绘画中和汉族文化艺术关系较为密切的神灵图像。汉族神灵信仰在彝族地区的传播,绝不是主动传播与被动接受的简单关系,而是存在着严格继承、地方化变异、地方化再生产和自主创造等客观规律。在研究民间艺术的族际交流时,切忌以单向传播和被动接受为理论预设,而应从书面文献、口传文献、考古文献、艺术形式等多种视角梳理民间艺术演变的轨迹。

跨族际艺术形式研究新维度——以云南省为例

随着民族艺术学科的不断发展,云南民族艺术研究已从初步阶段的整理挖掘研究工作发展为综合学科的艺术形式研究。当下云南艺术研究工作中遇到了民族艺术学科版图不完整的困局,同时还有研究对象与内容太过孤立,历史溯源艺术感受重现较为困难等矛盾。本文认为,跨族际理念的引入有利于推动云南民族艺术形式的研究进入下一个综合学科研究阶段。基于此,在跨族际传播的指导下,研究新维度主要从云南跨族际艺术形式研究分类、发展背景、艺术融合行为、精神意志等方面展开。并且需要运用文献调研、田野调研、社会学、艺术学等研究手法进行融合的综合研究。

中国古典园林线性特征探析

中国艺术的线性特征,成就了中国艺术鲜明的民族特色。作为民族艺术的一部分,中国古典园林在以自然、含蓄、意境为最高审美追求的同时,也具有中国艺术的共性——鲜明的线性特征。本文拟从中国古典园林的总体布局、建筑空间和游览路线等方面对其线性艺术特征进行深入的探析。

族际艺术互动规律及意义论析——以彝汉交融区月琴装饰工艺变革为例

文章以彝汉交融区月琴装饰工艺变革为个案,讨论了族际艺术互动的相关理论问题。彝汉交融区月琴装饰工艺变革体现的族际艺术互动规律是:整合多元文化,提升月琴的族际互动价值,将月琴升级为更高层次的象征符号,从而增强彝汉两族的中华文化认同感。彝汉交融区月琴装饰工艺变革的成功,主要取决于以下因素:中原民族与边疆民族大一统的政治关系;坚实、持久的族际认同根基;经济、审美、情感等复合性互动动机的存在;整合策略的采用;互动双方中华文化认同感的增强。族际艺术互动研究可从互动双方的政治关系、认同根基、互动动机、互动策略和互动意义五个维度切入。彝汉交融区月琴装饰工艺变革的个案研究为当代中国族际艺术互动理论研究和对策分析提供了新的视角。

Combination of Daur Clothing Decorative Art and Modern Fashion Design

On today＇s clothes market and international fashion stage, the dress adornment elements of ethnic minorities have always deeply impressed design masters, received great attention and, are constantly surprising fashion designers. China is a country with multiple ethnic minorities, which have extremely rich ethnic minority dresses and adornment elements. On studying the major dress adornment elements of the Daur, a typical ethnic minority in northern China, we have discovered their strong ethnic features. The major dress adornment elements of the Daur were with the purpose to explore and continue traditions. Combining the modern faskion design with the delicate decorative art that the Daur people sew various laces and embroideries on their dresses, was to discover and use the essence of Chinese ethnic dress and adornments, and demonstrate the talent of ethnic minorities in clothes design. Given what have been founded, combined with the application of modern design methods, the adornment elements of ethnic dresses can represent their ethnic characteristics as well as reflecting the sense of the modern age.

“八角鼓类型腔系”内部曲种关系研究

八角鼓乐器发源于满族萨满祭祀中的驼皮鼓,后发展成了以此乐器命名的说唱曲种——八角鼓说唱。在长期的流传过程中,八角鼓说唱流传至北京、山东、河北等汉族地区、云南大理白族地区以及内蒙古满族地区,逐渐发展成为了"八角鼓类型腔系"艺术。

The Glazed Tile Techniques of the Seljuk and Beylik Periods

The word ＂tile＂ originates from Persian and means ＂China＂ or ＂Chinese work＂. In the Ottoman language, the word ＂tile＂ also means ＂Chinese work＂, or ＂belonging to China＂. The art of Turkish tiles occupies a place of prominence in the history of Islamic art. Its roots can be traced at least as far back as the Uygurs of the eighth and ninth centuries. Its subsequent development was influenced by the Karakhanids, the Ghaznavids, and （especially） Iranian Seljuk art. With the Seljuks＇ victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate. The first major development in the art of tile-making occurred primarily in Anatolian Seljuk architecture. Various techniques have been used in the art of tiles which gave hundreds of samples for centuries. This study explores the glazed tile techniques used in the production of the S elj uk and Beylik periods.

The Deficiency and Embarrassment of Chinese Music History

Chinese music history is a rigorous discipline of analyzing, studying and describing Chinese music development and evolution process, which has typical historical factors. Chinese music covers a wide range, which includes China traditional opera, minority drama, local and regional opera, and the song and dance drama and music with the sense of the times.However, in the music history research and teaching in our country currently, because the current art education of the old system and the traditional mechanical reasons, study on the history of music lacks of effective view in the breadth and depth.Because of these reasons, there is a lack of the object of study and research methods, so in the course of study on the China music history, it has some deficiency and embarrassing phenomenon.In this paper, it takes the analysis on deletion and embarrassing situations in our country at present on the history of music, and finds out the corresponding solutions for it.

Trial by Fire： The Eastern Ordination of Stephen Dedalus

Section five of James Joyce＇s A Portrait of the Artist as a Young Man is designed, among other things, to dramatize a young poet＇s ascension to the rank of ＂priest of art,＂ Where Stephen had previously contemplated being a Catholic priest, he now decides to embrace the world girdling Catholicity of global culture and its full range of spiritual traditions. To show how Stephen becomes a priest of art, Joyce has Stephen face three challengers in the form of MacCann, Davin, and Cranly, who all upbraid Dedalus to abandon his apostasy and conform. These three all try to tempt Dedalus away from his devotion to his individuality and personal integrity, and are analogues to the temptations faced by the Buddha on the eve of his enlightenment under the Bo tree. The Buddha faced Kama, the God of Desire; Mara, the Lord of death; and Dharma, who represents Duty. Stephen faces the temptations of social activism （and its attendant ego inflation） in the form of MacCann, a self-destructive Irish Nationalism in the figure of Davin and finally his obligation to his parochial and demanding family as represented by Cranly＇s arguments. Cranly （Dharma） even enjoins Stephen explicitly to make his Easter duty. These are dangerous distractions which can all keep Stephen from his goal, which is the Nibbana of artistic achievement. When Stephen triumphs over these three tempters he has come through the fire of self-doubt and is ready for his larger fate as an artist.

Reference and Application of Peking Opera Aria in National Vocal Music Singing

Peking Opera is one of ancient opera arts in China, known as the ＂national essence＂ , which has a very high artistic achievement. Because of its unique and systematic aria, phonology, performance and modeling, Peking Opera is favored by people, which is an art that vocal music artists mutually research and learn. The Peking Opera aria has already formed a set of professional theories, which has practical significance to guide the national vocal music. It not only can inherit the Peking Opera but also can carry forward the national vocal music. This paper illustrates the reference and application of Peking Opera aria in national vocal music singing according to examples, which provides the reference advice for the development of national vocal music.

The Income Security System in Japanese Traditional Performing Arts： A Strategy for Utilizing the Nation＇s Traditional Arts Resources

The objective of this paper is to examine an effective strategy for maintaining and utilizing the traditional arts resources of Japan. The authors explore two pillars of the strategy. One is to improve the quality of Japanese traditional performing arts by securing incomes for artists. The other is to utilize the traditional arts as a medium to expand Japanese cultural influence in foreign countries and to improve Japan＇s branding as a nation. First, the authors focus on the income security system practiced in traditional Japanese music and describe the discrepancy between short- and long-run optimality. The authors prove that the reputation of this art form affects its popularity and that it is optimal for the Iemoto （the head of the music school） to restrict the number of pupils in onstage performances in order to maintain stage quality. Second, the authors provide evidence that effective methods for a country to expand its cultural influence across the world differ among nations. The authors conduct willingness-to-pay （WTP） experiments and find that while German audiences largely prefer traditional Japanese music, those in the USA are slightly partial to its mixed fusion form. Therefore, the effective ways to expand Japanese cultural influence in foreign countries differ from one country to another.

Jean-Paul Sartre, Europeans, the ＂Feminine＂ and the Negritude Poems in the Black Orpheus

The paper examines the development of ＂Negro poetry＂ from the Negritude movement through the analysis of Sartre as featured in Black Orpheus （1976）. Following the analysis of Sartre, the author looks at the Black/White binary and its cultural and political context, which is based on the dominance of Europeans over Blacks. Then the author examines how Blacks have attempted to subvert this binary through alternative political stands, such as the practice of anti-racism, and innovative cultural art and literary forms, such as the Negritude movement. Like Sartre, the author focuses on ＂Negro poetry＂ and examines its limits and the challenges it put forth against the White supremacist elements in White dominant culture. The author concludes that while ＂Negro poetry＂ reflects a step forward in the anti-racist development of Black political and cultural identities, it is a limiting method of approach that does not subvert enough White dominant culture. This position enables the author to argue that, for example, the essentialist, racist, and gender--and sex--biases within the representations and images of the ＂feminine＂ and Black women are not sufficiently critically re-represented in ＂Negro poetry＂ of the Negritude movement. The method of this approach is （1） to look at Sartre＇s writing in Black Orpheus, （2） to include the secondary literature of this text within my analysis, （3） to examine sections of ＂Negro poetry＂ as featured in Black Orpheus, and （4） to critically access the racial, sex, and gender dimensions of ＂Negro poetry＂ as they relate to the achievements of the men or artists of the Negritude movement.

Chinese Contemporary Art Design from the Perspective of National Culture

The progress of social economy drives the progress of humanity art. Due to historical condition reason, the pace of art design development in China is late. Since the reform and opening up, the art design obtains a long-term development in China. In order to adapt to the trend of world economy integration, all aspects of art design fields in China are learning from the foreign countries, however, it is hard to have a breakthrough creation in itself, and it lacks of domestic art design ＂localization＂ , which can not fully reflect the national culture and national elements. At the same time, the self-innovation power is weak, and the creation ability is insufficient, which also restricts the independent development of art design field to a higher level in China. The art design, as a comprehensive subject, is affected by many factors of society, science and technology and market for its own improvement. This paper mainly discusses from national culture level for art design, thinking that if the art design in China wants to develop higher, it needs to be based on the national culture and profound cultural base, constructing the art design products with Chinese national styles.

Inheritance and applications of Qu River Arts in Culture Village construction

Many scientific and irrational factors exist in the cultural development of the country, in the current housing reconstruction project in the village, residential style, building materials, and architectural culture are not conducive to the Wa architectural culture, history, culture and home and other cultural heritage＇ s protection and development, there is lack of integrity, long-term, historical, cultural, ethnic, heritage qualities and so on. Increased emphasis is on the development of national culture, implementing the development of a good culture, protection, inheritance. Development of national culture is a broad and urgent and we need to address issues that require more in-depth study of scholars and experts, and play to their strengths to further increase the cultural industry development.

Exploration of the Spiritual Pursuit of Traditional Chinese Painting Similarity and Dissimilarity

Chinese painting has a long history and distinctive national characteristics, self-contained in the field of world art. It is unique and become the mainstream of oriental art. Traditional Chinese painting is artistic conception as the soul, melting into poetry, books, paintings as a whole, poetic romance as the connotation, expressing feelings and thoughts. It exhibited virtual static beauty in thinking of Taoist philosophy of nature, becoming a unique Chinese aesthetic art. Artistic spirit is an important part and aesthetic standard of Chinese painting aesthetics, in the ＂paintings goods recorded,＂ ＂Lively spirit＂ is defined as the highest state of painting, artistic spirit is not a very mysterious thing, it was born from the pen and ink. NO pen and ink, no artistic spirit. Pursuing vivid artistic spirit, emphasizing ink skills, giving vent to feelings of oneself for its purpose, Chinese painting has generated a large number of outstanding works of art in thousands of years, constructed a unique cultural spirit, shaped the nation ＇ s aesthetic temperament and character.

Aesthetic art development and protection of Tujia waving dance in Hunan Province

Tujia dance is an advanced, special form of human aesthetic activities. The so-called aesthetic, simply put, is to feel, and understand the objective things or phenomena presented by the United States itself： specifically, it refers to the people in their social practice and objective process of historical things or phenomena occur and construct a special performance relationship. There are basically three kinds of relationships of man and objective things or phenomena： firstly, cognitive relation of science; Secondly, ethical norms relations; thirdly, aesthetic performance relationship. Focus on the relationship between the performances of the aesthetic object vivid sense of the expressive form of regularity is the unity and purpose, with freedom. The essence of aesthetic is liberty. Art aesthetic and general aesthetic are different, mainly because of its aesthetic objects, which is based on works of art as an aesthetic object. General aesthetic contemplation of beauty of reality, the reality of objective things or phenomena, not as people practice the original object mad the object of knowledge exists. In social practice, they first form a rational understanding of relationships and will practice relationship. On this basis, when the society develops to the degree of no direct utilitarian attitude, practical attitude towards the object of an object only when there has been more mature, purely aesthetic relationship. The beauty of art is different from the reality beauty, which is produced and existed as an aesthetic object.

Passing on the Ethnic Korean Farmers’ Dance

Wangqing County,located in Jilin’s Yanbian Korean Autonomous Prefecture,is known as the hometown of the Chinese elephant cap dance.Fifty-six-year-old Jin Mingchun is leading ef orts to preserve the traditional folk art.As director of Wangqing’s Center for Preservation of Intangible Cultural Heritage,Jin has devoted 35 years to continuing the ethnic Korean farmers’dance.