《內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報》
2012年第3期中英文論文摘要、關(guān)鍵詞
藝術(shù)與國運
納日碧力戈
（復(fù)旦大學(xué)社會科學(xué)高等研究院，上海 200433）
摘 要：中國已經(jīng)成為經(jīng)濟(jì)大國，但在社會、人文、美德等方面尚不能自稱最強(qiáng)國。經(jīng)濟(jì)強(qiáng)大給國政奠定了基礎(chǔ)，但經(jīng)濟(jì)不能代替國政，國家良治不足者，由強(qiáng)變?nèi)酰荒艹掷m(xù)。國強(qiáng)靠“政經(jīng)”，即發(fā)達(dá)的政治和經(jīng)濟(jì)；國運靠“生態(tài)”，即經(jīng)濟(jì)、社會、人文、美德之良性對轉(zhuǎn)。國運呼喚強(qiáng)化良治，呼喚經(jīng)濟(jì)、社會、人文、美德之良性共生，而良治和“共生”可出自藝術(shù)生活。藝術(shù)生活即生活美學(xué)。
關(guān)鍵詞：藝術(shù)；國運；良治；生活美學(xué)
Arts and the Nation-State
Naran Bilik
(Institute for Advanced Study in Social Sciences, FudanUniversity, Shanghai 200433)
Abstract: Though China has become an economic superpower it is still yet to be stronger in terms of civil society, humanities, and ethics/virtue. Strong economy has laid a solid foundation for state governance; but economy is not the substitute for state governance. If a state lacks good governance, it will become weakened and will not last long. A strong state needs both strong politics and strong economy; the fate of the state cannot be decoupled from the "ecology" of economy, society, humanities, and ethics/virtue. The good fate of the state demands good governance and the symbiosis of economy, society, humanities, and ethics/virtue. Good governance and "symbiosis" comes from arts of life while arts of life means aesthetics of life.
Key words: arts, the fate of the state, good governance, aesthetics of life
“藝術(shù)知識”：非物質(zhì)文化遺產(chǎn)和
藝術(shù)人類學(xué)
（荷蘭）威爾弗雷德·范·丹姆 著 關(guān) 祎 譯
(荷蘭萊頓大學(xué)藝術(shù)史學(xué)系, 荷蘭 萊頓市 95002300)
摘 要：藝術(shù)人類學(xué)的基本任務(wù)是記錄全世界不同文化中的“藝術(shù)知識”。當(dāng)不同人類群體的各種非物質(zhì)文化遺產(chǎn)被記錄下來，并被放入各自文化語境中之后，下一步就是要對民族志數(shù)據(jù)進(jìn)行比較，由此建立模型，并最終解釋人們不同藝術(shù)觀的相異與相似之處。
關(guān)鍵詞：藝術(shù)知識；本土知識；非物質(zhì)文化遺產(chǎn)；藝術(shù)人類學(xué)；民族志科學(xué)
Art lore: Intangible cultural heritage and art anthropology
Written by Wilfried Van Damme, Translated by Guan Yi
（School of Art History, Leiden University, Netherlands，95002300）
Abstract: Recording "art lore" of different cultures all around the world is basic task of Anthropology of art. Once these types of intangible cultural heritage of various human groups have been recorded and contextualized, the next step may consist of comparing the ethnographic data in order to establish, and eventually explain, both differences and commonalities in the way people conceive of the various dimensions of the arts.
Keywords: art lore, local knowledge, intangible cultural heritage, anthropology of art, ethnoscience
論21世紀(jì)戲曲導(dǎo)演的藝術(shù)自覺
王 萍
（蘭州城市學(xué)院文學(xué)院中國古代小說戲劇研究所，甘肅 蘭州 730070）
摘 要：21世紀(jì)戲曲導(dǎo)演的藝術(shù)自覺，即體現(xiàn)為對戲曲這一民族藝術(shù)流變乃至興衰的理性反省，包括戲曲藝術(shù)的文化特質(zhì)、藝術(shù)特點及當(dāng)代語境下戲曲發(fā)展走向等的自我認(rèn)識和自覺追求。具體表現(xiàn)為：對傳統(tǒng)藝術(shù)敬重、傳承的自覺；堅持時代性與民族性的自覺；充分發(fā)揮演員主體性的自覺。
關(guān)鍵詞：21世紀(jì);中國；傳統(tǒng)戲曲；導(dǎo)演;藝術(shù)自覺
On 21st century art consciousness of drama directors
WANG Ping
(School of Chinese Language and Literature, Lanzhou City University，Lanzhou730070，China)
Abstract: In the globalization brings the multicultural impact and fusion, the art of Chinese drama directing faces a lot of problems that how to deal with reality, how to choose the path of development. It is a art consciousness that response to these times the proposition for contemporary drama directors. This is reflected in the change of national opera rise and fall of the rational reflection for 21st century art consciousness of drama directors, which including the opera art culture, the artistic characteristics and the context of contemporary drama development trend of self awareness and conscious pursuit. The specific performance: the traditional art, inheritance consciousness of respect,adhere to the age and nationality consciousness; give full play to actors subjectivity consciousness. Keywords: 21st century ;drama directors ; Art Consciousness
神 人 以 和
——三星堆器物坑中的圖像與巫儀
胡紹宗
（湖北省黃岡師范學(xué)院，湖北省 黃岡市 438000）
摘 要：以考古資料為據(jù)，結(jié)合歷史文獻(xiàn)和人類學(xué)資料，分析三星堆出土各類圖像的類型與系統(tǒng)，討論各類圖像之間的風(fēng)格關(guān)聯(lián)，試圖建構(gòu)與這一圖像系統(tǒng)可能存在的宗教儀式，以及青銅人物圖像不同風(fēng)格的角色對應(yīng)，藉此說明中國古代社會巫祝等神職人員的身份及社會等級關(guān)系。
關(guān)鍵詞：藝術(shù)考古；三星堆；青銅人像；典型器；祭祀禮儀
Mixing of Man and God
—— Images and witch appearance in Sanxingdui artifacts hole
HU Shao-zong
(Huanggang Teacher's College, Huanggang, 438000, HubeiProvince)
Abstract: According to the archaeological data with combination of historical documents and anthropological data, this article gives an analysis of the unearthed various image types and the system, and discusses the style association between the various types of images, trying to construct religious rituals that may exist in this image as well as the role of the different styles of bronze figures image corresponding to the identity and social class relations of the clergy of the ancient Chinese social witchcraft.
Key words: art archeology; Sanxingdui; bronze portrait; typical device; sacrificial rituals
物的語義標(biāo)記：黎族人的“插星”與“禁星”
袁曉莉
（海南大學(xué)藝術(shù)學(xué)院，海南 ?？?570228）
摘 要：黎族人原始記事方法中一類特殊的標(biāo)記，即是田間地壟的“插星”與村頭屋前的“禁星”。 此類標(biāo)記在黎族五大支系中相當(dāng)普遍，也是黎族社會中人人必須遵守的習(xí)慣法則，對于民間出示廣告、啟事、禁令之類的事務(wù)，“插星”與“禁星”顯示出強(qiáng)大的語義功能。集中反映了黎族社會的道德法制、宗教觀念、生活習(xí)慣和價值取向等，同時，也是黎族適應(yīng)自然環(huán)境的生存結(jié)果，延續(xù)至今，成為黎族傳統(tǒng)文化的一個有機(jī)組成部分。
關(guān)鍵詞：黎族人；標(biāo)記；“插星”；“禁星”；語義；傳統(tǒng)文化
The Semantic Markers: Li people's " Inserted Star " and "Ban Star "
YUAN Xiao-li
( Art Institute of HainanUniversity, Haikou 570228, HainanProvince )
Abstract: There was a kind of special marker used in the method by Li people to take note, they were " inserted star " on the field ridge and "ban star" in front of the house or village. Such markers were quite common in five Li branches, and they were the customary rules that everyone of Li society must abide by. The" insert star" and "ban star" had a strong semantic function to the affairs such as producing ad, advertisement, ban things. They reflects the moral, religious beliefs, habits and customs and value orientation of Li society, at the same time, they were the survival results to adapt to the natural social environment, so far, have become an organic component of the Li nationality traditional culture.
Key words: Li people; markers; " inserted star "; "ban star"; semantic meanings; traditional culture
非物質(zhì)文化遺產(chǎn)在民間
——藝術(shù)人類學(xué)視野下的常山戰(zhàn)鼓
王永健 于 宙
（中國藝術(shù)研究院藝術(shù)人類學(xué)研究中心，北京 100029）
摘 要： 常山戰(zhàn)鼓藝術(shù)是流行于河北省正定縣一帶鄉(xiāng)村的鼓樂藝術(shù)形式。通過對其的田野調(diào)查，從藝術(shù)人類學(xué)的視角，對常山戰(zhàn)鼓的基本概況與文化生態(tài)、歷史變遷與現(xiàn)代性語境下的重構(gòu)，以及非物質(zhì)文化遺產(chǎn)保護(hù)背景下的藝術(shù)傳承作一探討。
關(guān)鍵詞：常山戰(zhàn)鼓；藝術(shù)人類學(xué)；功能；傳承
The Intangible Cultural Heritage among People
——Changshan war drum from the perspective of anthropology of art
WANG Yong-jian, YU Zhou
(ResearchCenter for Anthropology of Art, ChinaAcademy of Art, Beijing 100029 )
Abstract: Changshan war drum music art is popular in the villages of Zhengding County of Hebei Province. Based on the field investigation, from cultural anthropology perspective, this article tries to discusses the basic overview and cultural ecology of Changshan war drum, the change of history and the reconstruction of modernity context, as well as the protection of the intangible cultural heritage.
Key words: Changshan war drum; the anthropology of art; function; inheritance
民間藝術(shù)與地方形象再定位
——從“金羅店”到“龍船羅店”
許莉萍 陳志勤
(1.2.上海大學(xué)社會學(xué)院，上海 200444)
摘 要：上海市寶山區(qū)羅店鎮(zhèn)曾經(jīng)是明清時代的商業(yè)大鎮(zhèn)，素有“金羅店”之稱，在非物質(zhì)文化遺產(chǎn)保護(hù)背景下，“龍船羅店”已經(jīng)成為這個鎮(zhèn)的文化符號，可見民間藝術(shù)之于地方形象在新的社會時期再定位的重要性。當(dāng)非物質(zhì)文化遺產(chǎn)作為文化客體被認(rèn)識的時候，就可以發(fā)現(xiàn)“保護(hù)”“利用”以及“發(fā)明”，都不過是我們現(xiàn)階段理解非物質(zhì)文化遺產(chǎn)的幾個側(cè)面而已。
關(guān)鍵詞：羅店;劃龍船習(xí)俗;民間藝術(shù);非物質(zhì)文化遺產(chǎn)保護(hù);地方形象;再定位
Folk Art and the Local Image Repositioning
—— from " Jinluodian " to " Longchuanluodian "
XU Li-ping CHEN Zhi-qin
( 1.2. Faculty of Social Sciences o ShanghaiUniversity, Shanghai, 200444)
Abstract: Shanghai Baoshan District Luo Zhen used to be the era of the a very large commercial town in Ming and Qing dynasty, known as " Jinluodian ". Under the background of the protection of intangible cultural heritage, " " Longchuanluodian " has become the town's cultural symbols, showing the importance of the relocation of folk art in the local image in new period and social orientation. When intangible cultural heritage is recognized as a cultural object, we can discover that " protection " " use " and " invention " are but several aspects of our understanding of the intangible cultural heritage at present stage.
Key words: Luodian; Dragon Boat custom; folk art; intangible cultural heritage; local image; repositioning
民間傳統(tǒng)技藝傳承的美學(xué)視角
——以點翠工藝為例
韓 澄
（北京聯(lián)合大學(xué)廣告學(xué)院，北京 102200）
摘 要：我國以翠鳥羽毛加工為主的點翠工藝流傳范圍廣、時間跨度大、工藝特征強(qiáng)，堪稱世界羽飾文化藝術(shù)的瑰寶。在當(dāng)下，點翠工藝因文化變遷與社會生活方式的轉(zhuǎn)變已漸消失于公眾視野之外，由此針對點翠工藝文化的研究愈發(fā)顯得尤為緊迫。文中以飾翠歷史、工藝、審美、文化四個方面對點翠藝術(shù)加以闡釋，以期增加相關(guān)研究的立體維度。
關(guān)鍵詞：中國；羽飾藝術(shù)；點翠；裝飾審美；工藝傳承
Folk Tradition from Aesthetic Perspective
——Case Study of Kingfisher Blue Art
HAN Cheng
(The Advertizing College of BeijingUnionUniversity, Beijing 102200)
Abstract: The Kingfisher Blue Art in China is known as its wide spread range, long history, and its unique craft characteristics. It is regarded as the treasures of the feather decoration art in the world culture. Due to the change of the culture and lifestyle today, Kingfisher Blue Art is disappearing from the public. Thus the deep study and development of Kingfisher Blue is particularly urgent. This paper elaborates Kingfisher Blue Art in the aim of a deep research by a stereo dimensions: History of decorative Kingfisher Blue, technology, aesthetics aspects, and its handicraft heritage.
Keywords: China; Feather Decorations Art; Kingfisher Blue Art; Decorative Aesthetic; Handicraft Heritage
審美教育與民族文化的活態(tài)傳承
——以云南劍川張紹華民間美術(shù)教育為例
向 麗
（云南大學(xué)人文學(xué)院，云南 昆明 650091）
摘 要：關(guān)注日常生活方方面面與美的關(guān)系，結(jié)合本地的地方特色，并將其巧妙地轉(zhuǎn)化為美術(shù)課堂資源，進(jìn)而詮釋民間藝術(shù)的藝術(shù)法則與美學(xué)精神，這將是通過審美教育活態(tài)傳承民族文化的一個重要途徑。云南劍川張紹華的民間美術(shù)教育將民族文化納入美術(shù)課堂中，主要以“參與、體驗、分享、成長”作為課題開展的宗旨，使民族文化在審美活動中得以藝術(shù)性地傳承，取得了良好的教學(xué)效果。
關(guān)鍵詞：美術(shù)教育；審美教育；民族文化；云南劍川；張紹華；活態(tài)傳承
Aesthetic education and the living inheritance of national culture
——Take zhang shaohua's folk art education in jianchuan of yunnan province for example
XIANG li
(College of Liberal Arts, YunnanUniverstity, Yunnan, Kunming, 650091)
Abstract: It is one important way of inheriting national culture through aesthetic education that Paying close attention to the relation of everyday life and beauty, combing the local characteristics, skillfully converting everyday life to the resource of art course, and interpreting the art law and aesthetic spirit of folk art. Zhang shaohua who live in jianchuan, yunnan pronince reintegrates national culture into the art course, " participation, experience, share and growth" are conceived as the aim of zhao shaohua's research project. In zhao shaohua's folk art course, the local national culture are aritsitcally inherited through aesthetic activity, and the teaching efficiency is favourable.
Key words: art education, aesthetic education, national culture, jianchuan in yunnan province, zhang shaohua, living inherit
內(nèi)蒙古和林格爾武家泥塑田野調(diào)查報告
黃雋瑾
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要：武家泥塑從清乾隆初年發(fā)展至今已有三百年的歷史，卻因種種原因近乎失傳。直到近幾年，經(jīng)過武家泥塑的第七代傳人武文勝師傅的不斷努力，使得更多的人了解到了這一民間藝術(shù)。由于政府的重視，武家泥塑于2009年入選內(nèi)蒙古自治區(qū)級非物質(zhì)文化遺產(chǎn)的保護(hù)名錄。
關(guān)鍵詞：內(nèi)蒙古；武家泥塑；民間藝術(shù)；工藝流程
The Field Investigation of Wu family Clay in Helingeer Inner Mongolia
Huang Jun-jin
(Art Department of Art College of Inner Mongolia Univesity，Hohhot 010 010，China )
Abstract： Wu family clay has been developed already three hundred years from the Qianlong early years, but almost lost due to various reasons. Until recent years, more people are aware of this folk art because of the continuous efforts of Wu Wensheng who is the seventh-generation descendant of the Wu family clay. Government also give more attention to this folk art. Wu family clay has been selected for the Inner Mongolia Autonomous Region level intangible cultural heritage protection list in 2009.
Key words： Wu family clay; folk art; technological process
九十年代以來麗江古城木雕繪畫旅游藝術(shù)品的田野考察
周蔚蔚
（香港中文大學(xué)，香港特別行政區(qū) 999077）
摘 要：在田野調(diào)查的基礎(chǔ)上，整理出了20世紀(jì)90年代至今麗江古城納西民間木雕與繪畫發(fā)展線索。從云南旅游藝術(shù)品市場的形成，討論了近十年來麗江古城旅游紀(jì)念品（包括藝術(shù)品）的概況，木雕繪畫旅游藝術(shù)品的類型特點和發(fā)展階段以及藝人們的發(fā)展困境等，以期進(jìn)一步深入研究。
關(guān)鍵詞：田野考察；麗江古城；木雕繪畫；旅游藝術(shù)品
The Field Report on the Tourist Arts of Woodcrafts and Paintings in the Old Town of Lijiang Since 1990s
ZHOU Wei-wei
(The ChineseUniversity of Hong Kong, Hong Kong SAR 999077)
Abstract: Based on the field trips from 2007 to 2012, this paper studies the development of Naxi woodcrafts and paintings in the old town of Lijiang since 1990s. This paper also discusses the formation of the tourist art market in YunnanProvince, as well as general summary of tourist souvenirs (including tourist arts) in the old town. Further analysis focuses on the characteristics and development stages of woodcrafts and paintings as tourist arts, and the current predicament that the local folk artists are facing.
Key words: Field study, the old town of Lijiang, woodcrafts and paintings, tourist arts
祖先的世界
——澳大利亞土著巖洞與巖畫世界
保羅·塔森 著 李迪 譯 羅易扉 校
（格理菲斯大學(xué)，昆士蘭 澳大利亞 999029）
關(guān)鍵詞：澳大利亞土著；巖洞；巖畫
The Ancestral World
——The world of Australian Aboriginal Cave and Rock Paintings
Written by Paul Tarsen, Translated by Li Di, Proofread by Luo Yi-fei
(Griffith University, Queensland 999029, Australia)
Key words: Key words: Australian Aboriginal; rock paintings; cave
二十世紀(jì)前哈薩克斯坦的藝術(shù)創(chuàng)作
劉文斌
（浙江理工大學(xué)藝術(shù)與設(shè)計學(xué)院，浙江 杭州 310013）
摘 要：20世紀(jì)以前是哈薩克斯坦歷史巨變的年代。俄羅斯為了對哈薩克斯坦資源與社會進(jìn)行全面的控制，對其進(jìn)行了各種科學(xué)探險活動。參與探險的藝術(shù)家以其藝術(shù)創(chuàng)作為俄羅斯政府提供了詳細(xì)的人文與自然資料的同時，也進(jìn)行了以哈薩克斯坦為主題的繪畫創(chuàng)作，拉開了哈薩克斯坦藝術(shù)創(chuàng)作的序幕。
關(guān)鍵詞：20世紀(jì)前；哈薩克斯坦；藝術(shù)創(chuàng)作
Kazakhstan Artistic Creation in the 20th Century
LIU Wen-bin
(Art and Design Institute of ZhejiangUniversity, Hangzhou 310013, ZhejiangProvince)
Abstract: The time before the 20th century is an age of great changes in the history of Kazakhstan. For its full control of the Kazakhstan resources and socity, Russia had made various scientific expeditions in Kazakhstan. The artists involved in the exploration provided details of the humanities and the natural data with its artistic creation for the Russian government and carried their creation of painting with Kazakhstan theme, and opened the prelude of artistic creation in Kazakhstan. Key words: before the 20th century; Kazakhstan; artistic creation
民間服飾文化遺產(chǎn)的保護(hù)與傳承體系建構(gòu)
崔榮榮 牛 犁
（江南大學(xué)民間服飾傳習(xí)館，江蘇 無錫 214122）
摘 要：隨著“衣隨人葬”“人亡藝絕”等現(xiàn)實狀況的發(fā)生，保護(hù)和傳承服飾文化遺產(chǎn)顯得尤為緊迫。通過從藝術(shù)人類學(xué)、社會學(xué)和藝術(shù)學(xué)等多角度的研究可以更科學(xué)、真實地掌握民間服飾的形態(tài)、技藝以及文化內(nèi)涵和社會價值，在此基礎(chǔ)上分析民間服飾文化保護(hù)與傳承的路徑，可以為保護(hù)好民間服飾文化生態(tài)空間打下良好的基礎(chǔ)。
關(guān)鍵詞：中國；民間服飾；文化遺產(chǎn)；保護(hù)傳承；生態(tài)空間
The protection and inheritance system construction of folk dress cultural heritage
CUI Rong-rong ,NIU Li
（Folk Costume Studio of jiangnan university, Jiangsu, Wuxi ,214122）
Abstract: With the occurrence of reality such as "people was buried with the clothes" and " people must perish art ", it is particularly urgent to protect and inherit dress cultural heritage. This paper attempts to study from the multi-angle such as anthropology of art, sociology and art theory to master the form, skill, cultural connotation and social value of folk dress more profoundly. On the basic of this, analyse the protection and inheritance path of the folk dress culture. All of this above can lay a good foundation for protecting the folk dress culture ecological space.
Keywords:China; Folk clothes. Cultural heritage; Protection and inheritance; Ecological space
蒙古語誦經(jīng)音樂中唱誦音樂的形態(tài)類型初探
楚高娃
（中央民族大學(xué)音樂學(xué)院，北京 100081）
摘 要：對蒙古語誦經(jīng)音樂中唱誦音樂形態(tài)類型的分析和解讀及其對它進(jìn)行深度闡釋，目的是證實：蒙古語誦經(jīng)音樂在發(fā)展過程中所形成的體系化和系統(tǒng)化特點；以唱誦音樂中三種形態(tài)類型的分析證實藏傳佛教蒙古化的特點。
關(guān)鍵詞：宗教音樂；蒙古語誦經(jīng)音樂;唱誦音樂;形態(tài)類型
Thick description on the morpho-types of chant sutras music of Mongolia
CHU Gao-wa
( Minzu University of China, Music College, Beijing 100081）
Abstract: This paper makes an analysis and thick description on the morpho-types of chant sutras music of Mongolian, so that the author tries to verify that the characteristics of systematism and systematization which are formed in the development of chant sutras music of Mongolian. It also proves that Tibetan Buddhism has been assimilated by Mongolian culture through analyzing the three morphotypes of chant sutras music.
Key words: religion music, chant sutras music of Mongolian, chanting music, morphotype
試論蒙古史詩講唱中的“替罪羊”現(xiàn)象
阿婧斯
（內(nèi)蒙古師范大學(xué)文學(xué)院，內(nèi)蒙古 呼和浩特 010022）
摘 要：“替罪羊”現(xiàn)象普遍存在于各個原始民族風(fēng)俗信仰中，蒙古史詩講唱同樣也存在類似現(xiàn)象。通過對史詩講唱“替罪羊”現(xiàn)象的分析，使我們獲得了一個了解古代蒙古人精神世界與風(fēng)俗信仰的角度。今天曾經(jīng)在民眾心中具有神圣地位的蒙古史詩早已被現(xiàn)代文明觀念所消解，但這綁在氈包前代人受過的羔羊卻能向我們傳達(dá)出千年前蒙古先民的原始思維以及蒙古史詩那神異威嚴(yán)的力量。
關(guān)鍵詞：蒙古史詩；風(fēng)俗信仰；“替罪羊”；精神世界
An Approach to the "Scapegoat" Phenomenon in Mongolian Epic Sing
A Jing-si
(College of Liberal Arts of Inner MongoliaNormalUniversity, Hohhot 010022, Inner Mongolia)
Abstract: "scapegoat" phenomenon is widespread in the customs and beliefs of primitive peoples, and there is a similar phenomenon in the Mongolian spoken or sung epic. Analysis of the spoken or sung "scapegoat" phenomenon of the epic, we get an understanding of the spiritual world and the customs and beliefs from the ancient Mongol angle. Mongolian epic, the once sacred status in the minds of the people today have long been digested in the concept of modern civilization, but this tied lamb in front of the yurt can tell us the original thinking of the Mongolian ancestors in the and convey to us miraculous majesty's forces thousands of years ago in the Mongolian epic.
Key words: Mongolian epic; customs and beliefs; "scapegoat"; spirit world
2012年中國藝術(shù)人類學(xué)學(xué)術(shù)研討會綜述
楊維娜
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古呼和浩特 010010）
摘 要：由中國藝術(shù)人類學(xué)學(xué)會、內(nèi)蒙古大學(xué)藝術(shù)學(xué)院共同主辦，內(nèi)蒙古大學(xué)藝術(shù)學(xué)院承辦的“2012年中國藝術(shù)人類學(xué)年會暨學(xué)術(shù)研討會”在呼和浩特市召開。此次研討會主題為：中國少數(shù)民族地區(qū)的民族民間非物質(zhì)文化遺產(chǎn)保護(hù)與藝術(shù)人類學(xué)研究。會議收到論文近130篇，有80余位學(xué)者在研討會上發(fā)言與討論。僅對研討的主要內(nèi)容作一歸類概述。
關(guān)鍵詞：中國；藝術(shù)人類學(xué)；學(xué)術(shù)研討會；綜述
Sum Up of the 2012 China Art Anthropology Academic Seminar
YANG Wei-na
(Art College of Inner MongoliaUniversity, Hohhot 010010, Inner Mongolia)
Abstract: The 2012 China Art Anthropology Academic Seminar sponsored jointly by the China Art Anthropology Institute, Art College of Inner Mongolia University, and Inner Mongolia College of Art was held in Hohhot. The conference theme is: the study of protection of national and folk intangible cultural heritage of Chinese ethnic areas and research on art anthropology. The conference receives around 130 papers, more than 80 scholars at the workshop gave speech and participated in the discussion. This article only a sum up and categorizing of the main contents of symposium.
Key words: China; art anthropology; academic seminar; sum up