Mongolians are a music-loving people who are good at singing and dancing, and are known as "music nation" and "poetry nation". Since ancient times, Mongolians have been living a nomadic life by water and grass, and in the long process of history, Mongolians have created rich and valuable music wealth with their wisdom and artistic genius. Mongolian folk songs have the unique style of national vocal music, Mongolian music has both the whole nation's **** the same style, but also the unique style of each region .
Mongolian dance is fast-paced, vigorous and powerful, characterized by shoulder shaking, arm rubbing and horse stance. The classic Mongolian traditional dances include "saber dance", "chopstick dance", "Andai dance", "cup and bowl dance" and so on. "and so on. Traditional musical instruments include the horse-head fiddle, yatoga, Mongolian lute, Mongolian ukulele and Mongolian war drum. Yurt is a kind of rounded pointed roof of the sky dome type housing on the grassland, by the wooden fence support poles, bag door, top ring, lining felt, set of felt and leather rope, mane rope and other parts of the composition.
Yurt in the "Historical Records", "Han Shu" and other Chinese books, known as "felt tent" or "dome". In the Mongolian text is called "good luck Rugdai Geer", meaning the windowless house, modern Mongolian language is called "Benbuggegezhi" or "Mongolia Legezhi", meaning the round or Mongolian House. The word "bao" comes from the Manchu language. Manchu called the Mongolian people live in this kind of house for "Mongolia Bo", "Bo" means "home" meaning, "Bo" and "bag". The word "Bo" is close to the sound of "Bao", therefore, the word "yurt" has been passed down as a translation. Main article: Mongolian music
Long-key folk songs
Mongolian herdsmen created long key folk songs to express their emotions and nomadic life during their long-term nomadic labor. In the process of long-term circulation, the folk songs in long tones have formed a complete system, including different kinds of songs such as grassland pastoral songs, hymns, homesickness songs, wedding songs, love songs and so on.
The folk songs in long tones have a wide range of tones, beautiful and fluent tunes, and melodic lines with waves, ups and downs, showing the natural environment of the prairie in the sky and the earth. The rhythm is long, with many cadences and few words. The rhythm of the narrative language, lyrical long rhythm, decorative "Nogula" rhythm skillfully combined, constituting the rhythm of the folk songs of the long tune rhythm.
Hao Lai Bao
Hao Lai Bao, also known as "Hao Li Bao". It is a form of music performed by one or more people accompanied by their own instruments, such as the sihu, sitting down and "rapping" in the Mongolian language. It was formed around the twelfth century AD.
"Hao Lai Bao" means "to sing together" or "to sing on a string" in Mongolian. The words are sung in four stanzas and rhyme with the head. Or four lines of a rhyme, or two lines of a rhyme, there are dozens of lines of lyrics a rhyme to the end of the situation. The program can be long or short, and the artists often improvise the words on the spot. The content of the program can be both narrative and lyrical, with praise and satire. The use of rhetorical devices, including metaphor, hyperbole, prose and repetition, is very common. Thus, the performances are characterized by humor, fast-paced and hearty.
Since the beginning of the 20th century, the performance of Hao Lai Bao has diversified into a simple form called "Yabugan", which is performed with bare mouth; and a form of performance accompanied by musical instruments, which is divided into "Huren Hao Lai Bao" accompanied by Huqin and "Huren Hao Lai Bao" accompanied by multiple instruments, and "Huren Hao Lai Bao" accompanied by multiple instruments. The form of performance with musical instruments is divided into "Huren Hao Lai Bao", which is accompanied by the huqin, and "Nai Ri Le Hao Lai Bao", which is accompanied by various musical instruments. The form of "Yabugan" is also divided into two forms: one person's monologue and two people's duologue, depending on the number of performers. In terms of program content, there are three types of programs: narrative, mockery and praise. In addition to programs that express the life of their own people, such as "Princess Yandan", "The Rich Chagan Lake", "It's Good to be an Artist", etc., historical stories of the Han Chinese, such as "The Tale of Wang Zhaojun", "The Water Margin", and "Romance of the Three Kingdoms", etc. are also performed by Hao Lai Bao performers.
Uligar
Uligar, which means "talking book" in Chinese, is also known as Mongolian talking book because it is sung in Mongolian, which is a form of Mongolian opera. Mongolian folk, said only storytelling without instrumental accompaniment of Uligar for the "YaBaGan Uligar", also known as "Hurui Uligar"; Uligar accompanied by Chaoer, known as "Chaoren Uligar The Uligar accompanied by Chaoer is called "Chaoren Uligar"; the Uligar accompanied by Sihu is called "Huren Uligar". Chaoren Uliger in China's Inner Mongolia, Xinjiang, Qinghai, Gansu and other Mongolian settlements and Mongolia is widely circulated; Hu Ren Uliger in China's Liaoning Province, Mongolia Zhen, Jilin Province, Guoer Luos and Inner Mongolia horqin and other areas of the rural pastoral masses are widely circulated.
The Horse-head fiddle
The horse-head fiddle is the most respected musical instrument among the Mongolians. The horse-head qin is a traditional instrument unique to Mongolians and has a very distinctive style. The traditional horse-head qin is a four-foot-long, wooden pole, carved with a horse's head at the top, a spade-shaped leather drum at the bottom, two strings tied with a horse's tail, and then a bowstring made of horse's tail, which emits a melodious and deep sound when played. The performance of the horse-head qin is different from that of other stringed instruments in that its bowstring is not sandwiched between the strings, but is played outside the strings.
The Sihu
The Mongolian Sihu is one of the most distinctive Mongolian musical instruments, and is divided into the soprano Sihu, alto Sihu and bass Sihu. Soprano sihu tone bright, crisp, more for solo, repertoire, ensemble; bass sihu tone thick, mellow, good at playing lyrical music, and mainly for the horqin national rap art wuligel and good to accompany the treasure. They play a very important role in the cultural life of Mongolian people. The representative repertoire of Mongolian Sihu includes "Catching the Road", "Eight Voices", "Asir" (above is the big Sihu), "Modrema", "Bending Grape Vine", and "Hoying Flower" (above is the small Sihu), etc. The culture of Mongolian Sihu is rich and rich. Mongolian Sihu has rich cultural deposits, rich expressive power, self-contained skills, melodious, simple and ancient, is engaged in half-farming and half-pastoral mode of production of the Mongolian people's outstanding musical creations, in the Mongolian historiography, culture, folklore, Chinese and foreign cultural exchanges and other aspects of the high value of academic research.
After the Yuan Dynasty, the art of Sihu was widely circulated, and was once popular in the Inner Mongolia Autonomous Region, Liaoning, Jilin, Heilongjiang and North China and other areas inhabited by the Han Chinese, which had a far-reaching impact on the Han Chinese folk rap. Tongliao City, located in the hinterland of the horqin steppe, is currently the most prosperous area of the four hu art. The earliest ancient Mongolian painting art was nomadic rock paintings, mostly by folk painters. Reflecting the image of people's production and labor at that time. ? A number of famous painters appeared in Mongolia during the Yuan Dynasty. For example, court painter Li Huosun, who had painted the portraits of Genghis Khan and Vogtai and other ancestors. Yudai Khan specialized in ink and bamboo paintings, and "Wind Smoke Cui Tu" was a masterpiece of painting. Emperor Taiding's third son, Prince Gong is good at painting and calligraphy, had created "painting deer", "nymphalid" and other works. Yixian Timur has "landscape mural"; Yuan Huizong when the scholar Bo Yan Shouren, poetry and painting, painted "bamboo and stone map". Hao Zhong Nu has "Wu Yi Tu" and so on. Mongolian painter Zhang Yanshu in the late Yuan Dynasty, there are "Jiangnan Autumn Thoughts", "cloud forest map", "cloud mountain map", "sparse bamboo and ghostly birds map".
The Ming Dynasty painters include Chen Xi. Qing dynasty painters wangchenballe, famous paintings have "green mountains", "white clouds" and so on. Famous landscape painter Bunyan Tu, painting "Xiaoxiang Tu", the compilation of the "painting method of mind to answer", some important issues related to painting are made a pithy discussion.
Mongolian painting art is also manifested in murals. Yuan Dynasty tomb, covered with colorful murals. Wall painting has a male and female master of the sitting figure, behind a male and a female child, the character form and attire obviously have Mongolian characteristics; tomb wall on both sides of the life of the owner of the tomb, the background of the performance of the natural scenery of the northern part of the Serbian. Buddhist temples in Mongolia, there are also many murals. Such as Meidaizhao, Dazhao, Wudangzhao, Usutuzhao and other places, there are large murals.
Mongolian painter Songnian (1837-1906) in modern times, had in the Qing dynasty Tongzhi eight years (1869) to worship the famous painter Ru Shan as a teacher, by the famous teacher instruction, quite attainment. In 1897, he wrote the book "Yiyuan on Painting". Mongolian literature has a long history. Myths and legends, heroic epics and ballads and hymns truly and vividly reflect the fishing, hunting and animal husbandry production of tribal people in the clan society and the early stage of slavery, the fierce and frequent conquests between primitive tribes, as well as the ancient laborers' ideals and aspirations of conquering the forces of nature and the evil forces of the society. These ancient heroic epics like "Warrior Gunagan" and "Jangal" reflect the face of a historical era with great artistic generalization, and have had a far-reaching influence on the development of Mongolian literature in the future generations.
From the time of Genghis Khan's unification of the Mongolian ministries to the establishment of the Yuan Dynasty, the political and economic development of the Mongols was unprecedented, and economic and cultural ties were strengthened with the Han Chinese in the central plains, the various ethnic minorities in the country as well as with the countries of Eurasia, so that the cultural traditions of the national characteristics were greatly developed, forming a heyday in the history of national literature and art. The emergence of the masterpieces of historical and biographical literature "The Secret History of Mongolia" (the old translation of "The Secret History of the Yuan Dynasty"), the excellent folk narrative poems "The Two Stallions of Genghis Khan" and "The Orphan's Biography", and the lyrical ballads "Mother and Child Songs" (i.e., "The Golden Palace of Birch Skin Book"), and "The Songs of Araiqinbai" etc., signaled the emergence of the writer's literature and the continued prosperity of all kinds of folklore.
From the end of the Yuan Dynasty to the entire Ming Dynasty, the Mongolian feudal lords retreated successively from the vast areas of Eurasia and the Central Plains to the north and south of the desert. The economic and cultural ties between the various ethnic groups were greatly weakened, and from then on Mongolian literature entered a so-called "period of wind and snow". Although the whole process of literary development was not interrupted, the development of literature was unbalanced in the various Mongolian ministries and settlements, and the prolonged feudalism aroused widespread discontent and resistance in all aspects of society. The biographical long heroic epic "Gesar Biography" was orally circulated for a long time and formed a written work. This excellent work was born out of the Tibetan epic "Legend of King Gesar", but it has been circulated for generations in the Mongolian region and has been fully Mongolianized, becoming an independent work rich in Mongolian national characteristics. After the unification of China by the Qing Dynasty, the situation of Mongolian war and division gradually ended and the society stabilized. With the restoration of economic and cultural ties between the various ethnic groups, classical Chinese literature (mainly poems and novels of the Ming and Qing dynasties) and Tibetan folklore (such as folktales, aphorisms and proverbs) had a deeper and deeper impact on Mongolian literature. Many works of Chinese and Tibetan literature, such as Water Margin, Romance of the Three Kingdoms, Speaking of the Tang Dynasty, and Legend of King Gesar, were adapted or rewritten, and widely spread in the form of Mongolian storytelling books and tales, almost reaching the level of being known by every household.
Modern Mongolian literature arose and grew in the fire of national and class struggle. It is directly linked to the survival of the nation and the fate of the people, and is rich in the strong spirit of the times. The folk narrative poem "Gadamerin", which glorifies the heroes of the uprising, and the anti-Japanese and anti-Manchurian folk song "National Soldiers' Song", which is popular in the fallen areas of the eastern part of Inner Mongolia, are just a few examples.
After the founding of the People's Republic of China, the poets Na Saiyin Chaoktu and Ba Bulinbehe, and the novelists Marachinov, A. Odesser, Ankorchinov (Murnan), and Zalagahu, and the playwrights Chaoktu Naren and Yun Zhaoguang all wrote many influential works. Following them, a number of new literary talents emerged in the new period and have shown remarkable achievements in various fields of literature by innovating in themes, styles and literary concepts. In addition, great achievements have been made in collecting, organizing and researching Mongolian folklore and classical literature. Many new versions or chapters of the epics "Gesar" and "Jangal" have been found one after another, and the long poem "Heroic Gesar Khan" sung by the famous folk artist Pajer has been recorded and organized. Classical masterpieces "Secret History of Mongolia", "Green History", "a floor", "sobbing red Pavilion" and other proofreading and revision, published one after another. After these works were translated into Chinese, they had a good influence among various ethnic groups in China. Folk dances of the Inner Mongolia Autonomous Region of China and the areas inhabited by Mongolian people in Jilin, Heilongjiang and other provinces. The dance culture of the Mongolian people is closely related to their hunting and nomadic life. The primitive dance forms of the ancestors of the Mongolian people have vivid and true expressions in the cliff paintings of Yinshan and Ulanqab chiseled in the Neolithic and Bronze Ages. In ancient times, the Mongols also had many dances imitating ferocious animals, such as the "White Sea Green" (White Eagle) Dance, Bear Dance, Lion Dance, Deer Dance, etc. These dances, as independent forms, were mostly performed by the Mongols. Most of these dances were lost as independent forms, but they are still reflected in the shaman dance.
The Mongolian people are engaged in livestock hunting production. Due to the long-term living in the geographical environment and climatic conditions of the steppe, they have worshipped the heaven and earth, mountains and rivers and the eagle totem since ancient times, and the herdsmen have created a large number of musical dances in their lives, such as the "Milking Dance", "Chopsticks Dance", "Cup and Bowl Dance", and the "Bowls Dance". Chopsticks Dance", "Cup and Bowl Dance", of which the most famous is the "Andai Dance".