附件2论文中英文摘要格式作者姓名：金光论文题目：传统蒙古包装饰的研究作者简介：金光，男，1981年06月出生，2007年09月师从于内蒙古农业大学郑宏奎教授，于2010年06月获硕士学位。

中文摘要传统蒙古包作为一种穹庐式毡帐建筑，是游牧民族先民不断适应独特地域资源、气候条件以及生活方式的必然产物。

其成熟的室内与建筑装饰既向世人诠释了游牧民族对居住空间的理解，又深刻反映了游牧民族的传统地域文化。

传统蒙古包是游牧民族传统文化的重要组成部分，是展现游牧民族思想情感、精神风貌的独具特色的建筑形式，是在长期的历史发展过程中沉淀和积累下来的传统艺术宝库。

游牧生活和秩序以民族艺术的方式凝固为视觉形态，既有美化生活、传递信息的使用功能，也有表现精神需要、情感需要的审美意识。

本文从建筑学、设计学、民俗学、图案的角度，综合运用测绘、走访以及查阅相关文献资料方法，结合蒙古民族的生活习俗、宗教信仰等传统文化因素，梳理和探究传统蒙古包的室内及建筑装饰特色，总结归纳出传统蒙古包装饰艺术特征和审美价值。

以室内外的构成、造型等为典型素材对其结构装饰及图案特征进行了提炼和总结，如蒙古包装饰的向心装饰、同心圆和由下至上逐级加重的装饰规律等。

旨在为现代设计者提供设计依据，以便达到传承发展的目的。

蒙古民族作为北方游牧民族文化的集大成者和守望者，其历史所积累的生活状态以运动为核心，但这丝毫不影响他们对静态的、凝固的、视觉艺术形态——装饰艺术的热爱和执著。

本人从小生活在内蒙古草原，在浓郁的民族文化氛围中成长，对此深有体会，这也是撰写这篇论文的原动力。

改革开放以来，内蒙古自治区经济保持了较长时间的平稳快速发展。

其中，蒙古包式建筑艺术和蒙古族传统图案在营造草原文化氛围方面起到了重要的作用，也有了许多成功的经验，为草原文化大区建设做出了贡献。

同时也出现了一些违背蒙古民族文化传统和现代设计理念的设计失误，其中一个重要的原因是，对传统蒙古包的装饰特征缺乏深入的了解和系统分析。

本文试图通过民俗学、设计学、图案的视角，对传统蒙古包的结构装饰及图案运用进行初步归纳。

一、传统蒙古包内部装饰特征1、传统蒙古包内部装饰色彩特征传统蒙古包内部装饰色彩具有自己独特的风格，特别是不同色彩的精神内涵及运用，包含着浓郁的民族文化内涵。

主要以大面积的围毡为底色，网纹结构的围壁和其上的皮钉都不做色彩的修饰，整体呈现毛毡的材质和原色。

蒙古包内高度低，一般成年人不能站立，成年人坐姿状态下平视目光所及主要是毛毡的大片底色。

蒙古高原冬季严寒，人们渴望温暖和光明，柔软的毛毡和温和的乳白色系迎合了蒙古族对于温暖的心理诉求。

同时，色调一致的网纹结构和围毡，减少了色彩的层次，使狭小的空间在视觉上有扩大的感觉。

蒙古包内部的次级装饰色彩主要是红色。

柱的颜色多为红色衬底，中间穿插其它颜色的龙凤、云纹等图案。

室内家具底色也多以红色为主，这就造成蒙古包内总体色调为乳白底，红色作为装饰色，鲜艳热烈，突出重点。

2、传统蒙古包内部结构装饰特征（1）向心构图在蒙古包围壁以上的圆锥形空间中，天窗与顶杆连接浑然天成，呈日月射光状，形成向心的空间构成，完美表达了萨满教尚圆、尚日月的原始审美心理。

蒙古萨满的祈祷词曰：“上有九十九尊腾格里天神，为首者是蒙客•腾格里（意为“永恒的天神，常译作‘长生天’）”。

蒙古族认为草原万物都是长生天赐予的，蒙古包的天窗是牧人与长生天沟通的通道。

正是由于蒙古历史和萨满教对天窗的神化与重视，使得蒙古包内部装饰形成以天窗为中心的向心装饰构成。

在蒙古包地面到围壁上端的环形空间中以火撑为中心，向心组织空间和摆放陈设家具。

不仅在空间关系上与天窗和顶杆对应，而且在精神内涵上也有呼应，蒙古人一向崇拜火，火代表着温暖，与天窗代表的太阳一样，是蒙古民族原始的图腾，为蒙古人带来吉祥幸福。

在这两个空间中，立柱作为支撑构件，形成整个室内空间纵向的中心轴，在视觉上起到联系、沟通、过渡作用，使上下两层空间完美衔接，浑然一体。

（2）同心圆在蒙古包内，以灶火为中心形成一个半球形空间。

在这个空间中，天窗是最顶部的一组同心圆，其次，顶杆与围壁的交界线“呼希格”形成了蒙古包空间中部环绕的另一个圆，地面是底部的圆，这三个不同高度的圆都以灶火—天窗中心线为圆心，构成了不同层次空间位置的同心圆组，使得蒙古包内部空间具有一种独特的秩序和美感。

在这个大范围同心圆构成影响下，蒙古包内部结构呈现多次层级同心圆组合，如天窗为2～3个同心圆；顶杆由顶端至末端不同层次的装饰色彩也构成一系列同心圆；甚至围壁上交叉点的皮绳也成为一种点状的水平虚线重复构成的同心圆组。

（3）自下而上的分层装饰蒙古包的围壁网状结构本身为平行四边形网纹构成，其装饰较为朴素，一般为木本色。

顶杆为向心式射线排列，装饰性高于围壁，顶杆经常在顶杆头饰以装饰图案，中部装饰图案结束处用指向天窗的“箭尾”装饰，把顶杆分成了上端重装饰区和下端轻装饰区。

加之顶杆的向心排列，顶杆头密度远远超过顶杆根密度，也加重了上部的装饰力度。

装饰最为华丽的是蒙古包的最高处——天窗，通常满铺底色，讲究的蒙古包在这里才会出现描金的龙等高等级装饰纹样，顶级的蒙古包天窗用浮雕装饰，进一步强化了向心构图装饰理念。

（4）标志性结构装饰元素从结构形式来看，蒙古包内部有三种标志性结构装饰元素。

一是最重要的核心元素——天窗，其造型为内外圈同心圆组成。

二是向心排列的顶杆，宏观上它以近似平行的直线排列指向天窗。

三是网格结构的围壁，它一般用在最下面。

据蒙古族古老的传说，蒙古包的天窗代表太阳，顶杆是四射的阳光，围壁是广阔草原的丘陵。

由此可见，蒙古包的三种主要标志性结构元素都有其明确的传统使用位置。

二、传统蒙古包外部装饰特征传统蒙古包近似半圆球的特殊造型是为了适应草原地区的气候等自然条件，同时也体现了蒙古民族崇尚日月图腾的原始信仰，具有强烈的民族特征。

距今6500—5000年间出现的红山文化祭坛以方圆二坛为主，方坛在北，表示大地；圆坛在难，表示天穹。

古称天圆地方，是最古老的宇宙模式。

蒙古包的外部以围毡的白色作为建筑的基色，即外部毛毡的色彩。

白色在蒙古族文化中是最美好、吉祥的颜色之一。

蒙古人自古以来崇尚白色，把白色当做高贵、纯洁、善良、忠诚的象征。

由于他们在日常的生活和生产实践中，接触的白色最多，各种奶制品、羊毛、皮张等等，这些东西越多生活就越富裕、幸福。

白纛是用白色兽尾做的大旗，含有瑞祥、崇敬、至高无上的寓意；牧民们穿着的白色蒙古袍和敬献给客人的白色哈达等均有纯洁的意思。

蒙古族这些古老习俗及传统中对色彩的理解，被运用到了蒙古包的外部装饰上。

这不仅是蒙古族人民对色彩的审美取向，同时也是蒙古人向往幸福生活美好心愿的体现。

从室外看，木门是蒙古包唯一的木质建筑构件，其装饰手法主要有彩绘和雕刻，并且色彩运用大胆，与整体建筑的素雅色调形成强烈对比。

不仅图案形式饱满丰富，而且蕴含丰富的象征意义和民俗内涵。

另外，捆扎蒙古包的结绳在其建筑形式中也占有非常重要的位置，不仅是蒙古包建筑力学的支撑构件，而且形成的如盘肠纹的图案形式也是对建筑的重要装饰。

关键词：传统蒙古包；室内装饰；建筑装饰；装饰结构Study on the Decorate of Tradition Mongolian YurtJin GuangABSTRACTTraditional Mongolian yurt is a kind of architecture which is dome shaped and covered felt. It is a result of which the nomadic ancestor exploited the region resources, adapted the climate conditions and also a reflection of their lifestyle. The mature style of architecture and interior shows us not only their comprehension on living space but the profoundly regional nomadic culture.The Mongolian yurt is one of the important component of nomadic traditional culture. It is a unique architectural form whose characteristic is combined the sentiment and spirituality of nomadic nation, and it is a treasure of traditional arts and accumulated during the development of history. Concentrated on a visual form, the nomadic life and custom has a function which can beautify living environment and transfer some information. And it is an aesthetic consciousness to fulfil spiritual and emotional need.In the view of architechture, art design, folklore and decoration, using some methods such as surveying, mapping, documentary searching, this article tries to excavate the aesthetic value and art feature of the Mongolian Yurt through the decoration research of interior and architecture form. Having studied the structure and ornament of the Yurt, we can summarize some decoration rules hidden in them, for example, centripetal decoration, concentric circles and the color turns denser gradually from the bottom up to the top, etc. Providing a reference to modern designer, so as toinherit and develop traditional culture of the Yurt is the aim of this thesis.As a patron saint and a successor, Mongolian lived a mobile life in the history, but it does not make any affection to the love and persist on decoration arts in their daily life though the decoration is static, concrete somewhat and just a visual art. I have been living in the prairie of Inner Mongolia and grown up in a full-bodied atmosphere of national culture. Having the strong feelings to the Mongolian culture, I think I have the responsiblity to study and write the Mongolian traditional culture.Since 1984, the economical development of Inner Mongolia maintains highly and continuously. On building the atmosphere of grassland culture, mogolia pachage and mongolian traditional patterns take the key affection, we have many successful expeiences in the area for grassland culture region building while there are several wrong design ways what tradition crosses with modern design ideas, the essential fector is that we are lack of understanding the feature of mongolian decoration, the essay tries to conclude the decoration and patterns of mongolian culture essentially through folklore, design and pattern structure.The Inside Decoration of Traditional Mongolia Packagea、The Inside Colour Decoration of Traditional Mongolia PackageThe inside colour decoration of traditional mongolia package has its own feature, it expresses strong national cultrure inside especially in the usage of different colours’ inside meaning. The mongolia package uses round mat usually as basement, the surrounded fence and the nails on it have not dec oration in colour but want to use their original basical colour, it’s lower inside so that the adult can not stand entirely, the front colour of sitting people inside is the mat’s own colour. It’s tough freezing in mongolian highland winter,people ache warmness and lightness, the soft mat and milk white colour is fit on the wish of mogolians for warmness.In the mean while, the similar colour of wet structure and mat reduce the colour differences so that it’s broadened in visual. The inside colour of pachage is red mainly, the pillar’s colour, dragons and phoenix crossing on the pillar and cloud patterns are also red usually. The furnitures are red almost, it tell us that the colur style of mongolian packages is white in basement and decorated by milk white, brightly and obviously.The Inside Decoration of Traditional Mongolia Packagea、The Centripetal Structurethe cone ceiling of mongolian package structures centripetally and entire with the top window and pole, it expresses that the warship of circle , sun and moon in Shaman. Shaman warships as that:“There are ninty-nine tingeri gods in the air, and the initial one is monke tingeri( means the god who lives forever)”. Mongolians think that all beings growing in the grassland are from tingeri, the top window of mongolian package is the way of connecting with him,. And for that deification, itmakes the top window as the core of mongolian package.On the ground in the package, mogolians put the stove in the middle where is right below the top window and take it as the center to furnish package, it’s not a simple balance between top window and the stove, but also a spirit need. Mongolians have warshiped the fire since before for the fire means warm and hapiness, as well as top window on the behalf of sun.The pillar supporting the top is the axis one to make the space around it connecting entirely and perfectly.b、Concentric CircleIn mongolia package, there is a hemisphere area surrounding the stove. In the area, the top window is the topest circle, the second circle which forms the middle space of package at the crossing line of pillar and fence and the last one is the ground inside package, those three circles are concentric around the line of stove and the top window. The circle groups make the package inside order and aesthetic. Under the influnce of those concentric circles, it spreads siries of concentric circles gradually. For instance, the top window has two or three circles, the decoration colours from top to bottom construct groups circles as well; even the crossings of leather ropes on the fence construct concentric circles by the points trances.c、the Decoration of LayersThe constructure of fence in mongolian package is shaped as a wet parallelogram, it’s simple and origional colour. Pillars are concentric and more decorated than fence, it’s always decoreated patterns on in the top of pillar, the middle part ends with the arrow pattern to point at the top window, it also seprates the pillar to top and bottom decoration areas. The most decorated part of mongolian package is the top window, the package always colours simply but using gilt dragon decorated here especially, and the most decorated package will use relief patterns here to strengthen the idea of concentric construction.d、From the construction, the inside mongolia package has three fectors in decoration.The most significant part is the top window, forming by concentric inside and outside cirlces, the second one is the concentric pillars supporting the top window, it’s parelleled generally, the last one is the wet fence, and it’s always at the bottom. As the ancient mongolian myth saying, the top window represents the sun, the pillars are sunlight spreading everywhere, and the fence is grassland and hills. It suports that three main fectors have their own positions in mongolia package.The Outside Decoration of Traditional Mongolia PackageThe shape of trditional mongolia package looks as a semicircle,it’s for adaptting to the climate in grassland, and reflectiing the origi onal religion’s worship on the sun and the moon.In Hongshan Culture which is 6500 or 5000 years before is forms by a square and a circular altar, the square locates in the north to represent the earth and the oher one is in the south to represent the air.I t’s themost ancient universe mode. The package uses thecolour of mat oustide to be the basement for that the white is the most kind and auspicious colour in mogolian culture.The mogolians have warshiped the white colour since before, they consider it as the feature about royalty, pureness,kindness and loyalty. The reason is that the white colour is the most frequent colour they could touch and use in daily life,for instance, various dairy products,sheep’s fur and leather are white exactly, the more white products you have, the more rich and happy you must be.The white banner is a flag making by white animal’s fur, it means auspicious and supreme. The white hatha what mogolians sending to guests and their white mogolian dresses means pureness.Mogolians practise their colour ideas in the outside decoration of mongolia package. It shows the aesthetic of mongolians and it’s also the wish to lead a happiness life.The wooden door is the only wooden structure from outside viewing. The decoration on the door is painted patterns and relief.It shows mongolian culture strongly here and another important structure outside is the knots, they are not only the supporting parts of mongolia package and the significant in its panchangpatterns as wellKey words: Traditional Mongolian yurt; Indoor decoration; Architecture decoration; Decoration structure。