Mongolian art

Mongolian people love music and are good at singing and dancing. Known as "music nation" and "poetry nation". Mongolians have lived a nomadic life since ancient times. In the long historical process, Mongolians have created rich and precious musical wealth with their wisdom and artistic genius. Mongolian folk songs have the unique style of national vocal music, and Mongolian music has both the same style of the whole nation and the unique style of each region.

Mongolian dance has a cheerful rhythm and strong movements, characterized by shaking shoulders, rubbing arms and riding horses. Classical Mongolian traditional dances include sword dance, chopsticks dance, Diane dance and bowl dance. Traditional musical instruments mainly include Ma Touqin, Yatoga (Mongolian Guzheng), Mongolian Pipa, Mongolian Creary and Mongolian War Drum. Mongolian yurt is a dome with a circular spire on the grassland, which consists of wooden fence posts, doors, top rings, lining felt, blankets, leather ropes and bristle ropes.

Mongolian yurts are called "felt tent" or "vault" in China classics such as Historical Records and Hanshu. In Mongolian classics, it is called "Vorugetaiger", which means a house without windows. In modern Mongolian, it is called "Benbugegeri" or "Mongolian Legegeri", which means a round or Mongolian house. The word "Bao" comes from Manchu. Manchu calls this Mongolian house "Mongolian yurt", which means "home", and "Bao" is similar to "Bao", so Mongolian yurt has been handed down as a transliteration. Main items: Mongolian music

Long-tune folk songs

Mongolian herders have created long-tune folk songs to express their feelings and show their nomadic life in the long-term nomadic labor. In the long-term spread process, long-tune folk songs have formed a complete system, including grassland pastoral songs, hymns, homesick songs, wedding songs, love songs and other different types of songs.

Long-tune folk songs have a wide range, beautiful and smooth tunes, and the melody lines are mostly undulating, which shows the vast grassland natural environment. Long rhythm, more words, less words. Narrative language rhythm, lyrical long rhythm and decorative "Nogula" rhythm are skillfully combined to form the rhythm of long-tune folk songs.

Haolaibao

Haolaibao, also known as "Haolibao". It is a folk art form in which one or several people sit and perform "rap" in Mongolian, accompanied by Hu Si and other musical instruments. It was formed around12nd century.

"Haolaibao" means "sing together" or "sing together" in Mongolian. The lyrics are four sentences, alliteration. Or four rhymes, or two rhymes, and dozens of lyrics rhyme to the end. Performances can be long or short, and artists often improvise and sing live. The content of the program can be narrative or lyrical, with praise and irony. Rhetorical devices, including metaphor, exaggeration, parallelism and repetition, are widely used. Make its performance humorous, lively and hearty.

Since the 20th century, Haolaibao's performances have been diversified, and the simple apprentice performance is called "Ya Bu Gan". The performance forms of musical instrument accompaniment can be divided into "Ren Hu Haolaibao" accompanied by Hu Qin and "Nairile Haolaibao" accompanied by various musical instruments. The performance form of "Ya Bu Gan" varies with the number of people, and there are also two forms: one solo and two duets. In the content of the program, there are also three types: narrative, ridicule and praise. Besides the programs that show national life, such as Princess yan dan, Rich Lake Chagan, Better Be an Artist, etc. Historical stories of the Han nationality, such as Wang Zhaojun's story, Water Margin and Romance of the Three Kingdoms. It has also been edited and performed by Hollywood artists.

Wuligeer

Wuligeer, which means "storytelling" in Chinese, is also called Mongolian storytelling because it uses Mongolian rap and is a form of Mongolian folk art. Mongolian folks call Wuligeer who only tells stories without using musical instruments "Yabagan Wuligeer", also known as "Hu Rui Wuligeer"; Wuligeer accompanied by Chaoer is called "Ren Chao Wuligeer"; With the accompaniment of Hu Si, Uliger is "Ren Hu Uliger". Ren Chao Wuligeer is widely spread in China, Inner Mongolia, Xinjiang, Qinghai, Gansu and other Mongolian settlements and Mongolia. Ren Hu Wuligeer is widely spread in Mongolian inhabited areas in Liaoning, Guoerluosi in Jilin and rural and pastoral areas in Horqin, Inner Mongolia.

Horsehead stringed instrument

Among many musical instruments, Ma Touqin is most admired by Mongols. Ma Touqin is a unique traditional musical instrument of Mongolians, with a very unique style. The traditional Ma Touqin is about four feet long, with wooden poles, carved horseheads at the top and shovel-shaped leather drums at the bottom. Tie two strings with ponytails, and then make bowstrings with ponytails, which can produce melodious and deep tones when playing. Ma Touqin's performance is different from other stringed instruments. Its bowstring is not caught in the middle of the string, but bounces off the string.

Hu Si

Mongolian Hu Si is one of the most musical instruments with Mongolian characteristics, which can be divided into three categories: tenor Hu Si, tenor Hu Si and bass Hu Si. The high-pitched Hu Si is bright and crisp, which is mostly used for solo, ensemble and ensemble. Hu Si, with a rich and mellow tone, is good at playing lyric music, mainly accompanied by Uliger and Haolaibao, the folk rap art of Horqin. They play a very important role in the cultural life of Mongolian people. Mongolian Hu Si's representative repertoire includes Fa Shi, Ba Yin, accel (pictured above is Da Hu Si), Maud Jorge Lema, Twisted Rattan, Lotus Huaying (pictured above is Xiao Hu Yi) and so on. Mongolian Hu Si has rich cultural accumulation, rich expressive force, self-contained skills and melodious and simple melody. It is an excellent music creation of Mongolian people engaged in semi-agricultural and semi-pastoral production mode, and has high academic research value in Mongolian history, culturology, folklore and cultural exchanges between China and foreign countries.

After the Yuan Dynasty, Hu Si's art was widely spread, once popular in Inner Mongolia Autonomous Region, Liaoning, Jilin, Heilongjiang and North China, which had a far-reaching impact on Han folk rap. Tongliao, located in the hinterland of Horqin grassland, is the most prosperous art area in Hu Si. The earliest ancient Mongolian painting art is nomadic rock paintings, mostly made by folk painters. Reflected the image of people's productive labor at that time. ? A number of famous Mongolian painters appeared in the Yuan Dynasty. For example, the court painter Li Huosun once painted portraits of ancestors such as Genghis Khan and Wokuotai. Yuhan is good at ink painting and bamboo painting. Wind, smoke and Cui Tu are masterpieces in painting. Prince Xiao Gong, the third son of Emperor Taiding, is good at painting and calligraphy, and has created such works as Painting Deer and Butterfly. First, Timur had a "landscape mural"; In the Yuan Dynasty, the scholar was persevering, good at poetry and painting, and drew a picture of bamboo and stone. Hao Zhongnv has "No Escape Map" and so on. Zhang Yanfu, a Mongolian painter at the end of Yuan Dynasty, has works such as Qiu Si in the South of the Yangtze River, Yunlin, Yunshan and Sparse Bamboo Birds.

The painter of the Ming Dynasty was Chen. Wang Qin Bala, a painter in Qing Dynasty, is famous for his paintings such as Castle Peak and White Clouds. Bu Yantu, a famous landscape painter, drew Xiaoxiang Map and wrote Answer to Painting Heart, which made an incisive exposition on some important issues in painting.

Mongolian painting art is also manifested in murals. The tombs of the Yuan Dynasty were covered with colorful murals. There are pictures of male and female hosts sitting opposite each other on the wall, followed by a man and a waitress, whose figure and costume are obviously Mongolian; There are pictures of the owner's life on both sides of the tomb wall, and the background shows the natural scenery of Saibei. There are also many murals in Buddhist temples in Mongolia. Such as Meidai Zhao, Dazhao, Wudang Zhao and Wusu Tuzhao, there are large murals.

Song Nian (1837— 1906), a modern Mongolian painter, studied under a famous painter and a famous teacher in Tongzhi for eight years in Qing Dynasty (1869), and was quite accomplished. In the twenty-third year of Guangxu (1897), he wrote a book "On Art Garden Painting". ? Mongolian literature has a long history, and myths, legends, heroic epics and songs praise it, which truly and vividly reflects the clan society and tribal people's fishing, hunting and animal husbandry production in the early days of slavery, the fierce and frequent battles between primitive tribes, and the ideals and aspirations of ancient laborers eager to conquer natural forces and social evil forces. Ancient heroic epics, such as Gunagan the Warrior and Jianger, reflect the face of a historical era with strong artistic generalization and have a far-reaching impact on the development of Mongolian literature in later generations.

From Genghis Khan's unification of Mongolian tribes to the establishment of the Yuan Dynasty, the Mongolians' political and economic development was unprecedented, and their economic and cultural ties with the Han nationality in the Central Plains, China's ethnic minorities and even Eurasian countries were strengthened. Therefore, the cultural tradition with national characteristics has been greatly carried forward, forming a heyday in the history of national literature and art, such as the famous historical and literary masterpiece The Secret History of Mongolia (the old translation of the Secret History of the Yuan Dynasty), the excellent folk narrative poem Two Horses of Genghis Khan, The Orphan, the lyric ballad The Song of Mother and Child (namely The Lotus Book in the Golden Temple) and Alqinbai

From the end of Yuan Dynasty to the whole Ming Dynasty, Mongolian feudalism retreated to the north and south of the desert from Europe, Asia and the Central Plains. The economic and cultural ties between ethnic groups have been greatly weakened, and since then Mongolian literature has entered the so-called "snowstorm period". Although the development of the whole literature has not been interrupted by this, the development of literature in various ministries and settlements in Mongolia is unbalanced, and the protracted feudal separatist regime has caused widespread dissatisfaction and resistance from all sectors of society. Biographical epic "Biography of Gerstle" is a written work that has been passed down orally for a long time. This excellent work was born out of the Tibetan epic "Biography of King Gesar", but it has been circulated in Mongolia for generations, and has been completely Mongolian, becoming an independent work with Mongolian national characteristics. With the unification of China in Qing Dynasty, the Mongolian melee and separatist regime gradually ended, and the society tended to be stable. With the recovery of economic and cultural ties between ethnic groups, the Han classical literature (mainly poems and novels in Ming and Qing dynasties) and Tibetan folk literature (such as folk stories and proverbs) have a growing influence on Mongolian literature. Many Sino-Tibetan literary works, such as Water Margin, Romance of the Three Kingdoms, Tang Dynasty and Biography of King Gesar, have been adapted or re-created, and have been widely circulated in the form of Mongolian storytelling and stories, which are almost household names.

Mongolian modern literature was produced and developed in the fire of national struggle and class struggle. It is directly related to the survival of the nation and the fate of the people, and it is full of strong spirit of the times. Gadamer, a folk narrative poem praising the heroes of the uprising, and Song of the Nation, a popular anti-Japanese and anti-Manchu folk song in the occupied areas of eastern Inner Mongolia.

After the founding of New China, poets Nasayin Chaoketu and Baburin Behe, novelists Malaqinfu, A Audes, Ankeqinfu (Monan), Zaragahu, playwrights Chaoketuren and Yun Zhaoguang all created many influential works. After them, a group of new literary talents emerged in the new period. They are determined to innovate in themes, styles and literary concepts, and have shown remarkable and gratifying achievements in all fields of literature. In addition, great achievements have been made in the collection, collation and research of Mongolian folk literature and classical literature. Many new versions or chapters have been found in the epics Gestler and Jianger, and the long poem "Hero Gestler Khan" sung by the famous folk artist Pajie has also been recorded and sorted out. Classic works such as The Secret History of Mongolia, Romance of Qing History, First Floor, Crying for Hong Ting, etc. It has been compiled and published one after another. After these works were translated into Chinese, they had a good influence on all ethnic groups in China. Folk Dances in Inner Mongolia Autonomous Region of China and Mongolian inhabited areas in Jilin and Heilongjiang Provinces. Mongolian dance culture is closely related to their hunting and nomadic life. The primitive dance forms of Mongolian ancestors are vividly and truly manifested in Yinshan rock paintings and Wulanchabu rock paintings carved in Neolithic Age and Bronze Age. In ancient times, Mongolian people had many dances that imitated fierce animals, such as "Bai Haiqing" (white eagle) dance, bear dance, lion dance and deer dance. As an independent form, most of these dances have been lost, but they are still reflected in shaman dance.

Mongolians are engaged in animal husbandry and hunting production. Living in the geographical environment and climate of grassland for a long time, coupled with the worship of mountains and rivers and eagle totem since ancient times, herders have created a lot of music and dances in their lives, such as "milking dance", "chopsticks dance" and "bowl dance", among which the most famous one is "Diane dance".