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少数民族文化艺术作为“多元一体”中华文化的重要组成部分而构建的中华民族文化的形态格局,是历史存在,也是当今的现实状态;它更是中国文化艺术在全球化背景下朝着“存同求异”、“各自实现”、“求异创新”推进人类文明进步的重要组成部分。在全球性、重点强调民族文化保护与传承的当下,民族地区真正原生态的审美活力与审美形态的文化艺术元素,已成为现代人精神文化需要的重要组成部分。区域的独特性特征和不同生产形态是造就蒙古族审美文化模式的母体元素,是草原游牧民族审美理想的最终归宿和不竭的艺术创作源泉。蒙古族的宗教信仰、语言、风俗、习惯、生活等民族文化因素,是少数民族审美模式得以成型并且固化外显和承传的重要载体和土壤。
The ethnic pattern of ethnic culture constructed by ethnic minority culture and the arts as an important part of the “multi-dimensional” Chinese culture is both historical and present-day state of reality. It is even more important for Chinese culture and art to move toward the direction of globalization “Existence and Discrepancy ”, “Achieve ”, “Innovation and Innovation ”, "an important part of promoting the progress of human civilization. At the moment of global emphasis and emphasis on the protection and inheritance of national culture, the elements of culture and art of the truly original aesthetic vitality and aesthetic form in minority areas have become an important part of the spiritual and cultural needs of the present generation. The unique characteristics and different forms of production of the region are the mother elements that create the aesthetic and cultural patterns of Mongolian people. They are the ultimate destination for the aesthetic ideals of nomadic peoples in the grasslands and the source of endless artistic creation. Mongolian ethnic groups, such as religious beliefs, languages, customs, habits and life, are the important carriers and soil for shaping and curing the ethnic aesthetic model.