Mongolian food, clothing, customs, language, characteristics of residence (more details)

Architecture Yurt Yurt[15]

Yurt is a kind of sky-dome style housing on the steppe with a rounded spire, made up of wooden fence poles, bag door, top ring, felt lining, felt cover and leather rope, mane rope and other components. [15] yurt in the "shiji", "hanshu" and other Chinese books, is called "felt tent" or "dome". In the Mongolian canon, it is called "斡鲁格台格儿", meaning a windowless house, and in modern Mongolian, it is called "奔布格格日" or "蒙古勒格日" meaning a round or Mongoloid House. The word "bao" comes from the Manchu language. Manchu called the Mongolian people live in this kind of house as "Mongolia Bo", "Bo" means "home" meaning, "Bo" and "bag". "Bo" is close to the sound of "bao", so yurt has been passed down as a transliteration. [15] Music Main article: Mongolian Music Long Tune Folk Song Mongolian herders in the long-term nomadic labor created a long tune folk song form, used to express emotions, performance nomadic life. In the process of long-term circulation, the long-toned folk songs have formed a complete system, including different types of songs such as grassland pastoral songs, hymns, homesickness songs, wedding songs, love songs, and so on. [16] Long tune folk songs have a wide range, beautiful and smooth tunes, and the melody line is mostly wave-like, undulating and falling, showing the natural environment of the grassland with a wide sky and high land. The rhythm is long, with many cadences and few words. The rhythm of narrative language, lyrical long rhythm, and decorative "Nogula" rhythm are skillfully combined to form the rhythmic rhythm of the folk songs in long tune. [16] Hao Lai Bao Hao Lai Bao, also known as "Hao Li Bao". It is a kind of music form performed by one or more people accompanied by their own instruments such as Sihu, sitting and "rapping" in Mongolian language. It was formed around the twelfth century AD. [17] The Mongolian word for "Hao Lai Bao" means "to sing together" or "to sing on a string". 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, their performances are characterized by witty humor, fast-paced, and hearty. [17] Since the early 20th century, there have been diversified ways of performing HaoLaiBao, the simple form of performing with bare mouth is called "YaBuGan", and the form of performing with musical instruments is divided into "HuRenHaoLaiBao" accompanied by huqin and "HuRenHaoLaiBao" accompanied by multiple instruments, and "HuRenHaoLaiBao" accompanied by multiple instruments. Nai Ri Le Hao Lai Bao", which is performed with a variety of musical instruments. The form of "Yabugan" is also divided into one person's one-word performance and two people's duet performance 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," and "It's Good to be an Artist," Han Chinese historical stories, such as "The Story of Wang Zhaojun," "The Water Margin," and "The Romance of the Three Kingdoms," are also performed by Hao Lai Bao artists.[17] Wulai Bao is the most famous of the Han Chinese artists, and the most famous of the Han Chinese is "The Story of Wang Zhaojun. [17] Uligar Uligar, which means "talking book" in Chinese, is also known as Mongolian storytelling because it is sung in Mongolian, and is a form of Mongolian opera. In Mongolian folklore, it is called "Yabagan Uligar" or "Hurei Uligar" for the storytelling without instrumental accompaniment, and "Chaoren Uligar" for the accompaniment of Chaol; and "Chaoren Uligar" for the accompaniment of Sihu. The Uligar accompanied by Chaoer is called "Chaoren Uligar"; the Uligar accompanied by Sihu is called "Huren Uligar". Chaoren Uligar is widely circulated in China in Inner Mongolia, Xinjiang, Qinghai, Gansu and other Mongolian settlements and Mongolia; Huren Uligar is widely circulated in China in the rural pastoral areas of Liaoning Province, Mongolia Zhen, Jilin Province, Guorros and Inner Mongolia, such as horqin and other areas of the mass. [18] The horse-head qin is the most highly regarded of the Mongolian people among the many musical instruments. The horse-head fiddle is a traditional instrument unique to the Mongols, with 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 a horse's tail, which emits a melodious and deep tone 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. [19]Sihu Mongolian artists playing the Sihu[20]

The Mongolian Sihu is one of the most distinctive Mongolian musical instruments, divided into soprano Sihu, alto Sihu and bass Sihu three categories. Soprano sihu tone bright, brittle, 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, and is an outstanding musical creation of the Mongolian people engaged in semi-agricultural and semi-pastoral mode of production, which has high academic research value in the aspects of Mongolian historiography, culturology, folklore, and Sino-foreign cultural exchanges, etc.[20] The Yuan Dynasty is the first time that the Mongolian people have played the Sihu. [20] After the Yuan Dynasty, the art of Sihu was widely circulated, once popular in 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. Painting the earliest ancient Mongolian painting art, is nomadic rock painting, mostly by folk painters. It reflected images of people's production and labor at that time. [21]? The Yuan Dynasty Mongols appeared a number of well-known painters. For example, the court painter Li Huosun, who painted portraits of his ancestors such as Genghis Khan and Vogtai. Yudai Khan specialized in ink and bamboo paintings, and the Wind Smoke Cui Tu is a masterpiece of painting. Emperor Taiding's third son of 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", "Cloud Mountain", "sparse bamboo and ghostly birds", etc.[21] Ming dynasty. [21] Painters during the Ming Dynasty included Chen Xi. In the Qing Dynasty, the painter Wangchenbaler, famous paintings include Green Mountain, White Clouds and so on. Famous landscape painter Bu Yan Tu, painted "Xiaoxiang Figure", the compilation of the "painting of the mind to answer", on some important issues related to painting are made a pithy exposition. [21] The art of Mongolian painting is also manifested in murals. The Yuan Dynasty tombs are covered with colorful murals. Wall painting has a male and female master sitting on the figure, behind him there is a man and a woman serving children, the figure form and attire obviously have Mongolian characteristics; tomb wall on both sides of the life of the tomb masters, 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. For example, there are large murals in Meidaizhao, Dashao, Wudangzhao, and Usutuzhao. [21] modern Mongolian painter Song Nian (1837-1906), 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 the twenty-third year of the Guangxu period (1897), he wrote a book entitled "Yi Yuan on Painting". [21] Literature Mongolia has a long history of literature, myths and legends, heroic epics and songs and praises, etc., real and vividly reflect the clan society and slavery early tribal people's fishing, hunting and animal husbandry production, the primitive tribes fierce and frequent conquests, as well as ancient laborers thirst for conquest of the natural forces and the evil forces of the society's ideals and aspirations. Ancient heroic epics like the Warrior Gunagan and the Jangal reflected the face of a historical era with great artistic generalization and had a profound influence on the development of Mongolian literature in the coming 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 the economic and cultural ties with the Han Chinese in the Central Plains, the various ethnic minorities in China, and even the countries of Eurasia were strengthened, 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 historical and biographical literary masterpieces such as The Secret History of Mongolia (formerly translated as 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 Birch Book of the Golden Palace) and Songs of Alekhine Bir, signaled the emergence of writer's literature and the continued prosperity of various types of folklore. [22] 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 among Mongolian ministries and settlements. The protracted feudalism provoked widespread discontent and resistance from all sides of the society, and the people's desire for peaceful unification was clearly shown in the first short story "Ubashkhunjidai" and the history book "Golden History" with a strong literary color in the history of literature. During this period, the biographical long heroic epic "Gesar's Biography" was also orally circulated for a long time and formed into a written work. This excellent work was born out of the Tibetan epic, "The Legend of King Gesar", but it has been passed down for generations in Mongolia, and has been fully Mongolianized, becoming an independent work with 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 poetry and Ming and Qing dynasty novels) and Tibetan folklore (such as folk tales, aphorisms and proverbs) had a deep impact on Mongolian literature. Many works of Chinese and Tibetan literature, such as Water Margin, Romance of the Three Kingdoms, Speaking of Tang, and The Legend of King Gesar, were adapted or rewritten and widely disseminated in the form of Mongolian storytelling books and tales, almost to the extent that they became household names. [22] Modern Mongolian literature arose and grew in the fire of national and class struggle. Directly linked to the survival of the nation and the fate of the people, it is rich in a 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, popular in the fallen areas of eastern Inner Mongolia, are examples. [22] After the founding of the People's Republic of China *** and the State, the poet Na Saiyin Chaoktu, Ba Brin Beihe, novelist Maraqinov, A. Odesser, Ankor Chinov (Murnan), Zalagahu, playwright Chaoktu Naren, Yun Zhaoguang and so on, have written a lot of 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. [22] Dance China's Inner Mongolia Autonomous Region and Jilin, Heilongjiang and other provinces of Mongolia inhabited areas of folk dance. 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 Yinshan cliff paintings and Ulanqab cliff paintings 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, as independent forms, have been lost, but they are still reflected in the shamanic dances. The Mongols are a nomadic people in northern China, engaged in animal husbandry and hunting production. Due to living in the geographical environment and climatic conditions of the grassland for a long time, 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 music and dances in their lives, such as the "Milking Dance", "Chopsticks Dance", and "Cup and Bowl Dance", etc. These dances are mostly lost as independent forms, but are still reflected in the shamanic dances. Chopsticks Dance", "Cup and Bowl Dance", of which the most famous is "Andai Dance". [