Ren Uli Siegel Generation

One culture communicated in another cultural zone would conflict and blend with the local culture. The culture of Tibetan and Han nationality has had the great impact on the cultural diversities of Mongolian culture. Due to the political reasons, Mongolians tended to accept rather than resist the more influential foreign culture. They did not apply it mechanically. Instead, they combined local culture and the foreign one organically to form a more diversified artistic type. Huurin-Ulger is a case in point.Huurin-Ulger mainly spreads in the left-wing and right-wing flag of Horchin, Mongoljin, Gorlos, Durbed, Jaruud, Baarin, Heshigten Uzemchin of Inner Mongolia and Oriental Province, Dariganga flag, Central Province, Large Kulun region of the State of Mongolia. The singer(Huurch)holds Huuchir to sing Mongolian stories as well as novelettes and novels of Han nationality. This art form is not only rooted in the Mongolian culture but in Han talking-singing art. It has absorbed many elements from Han folk art forms and developed into storytelling and widely circulated in the eastern Mongolian areas.The research on Huurin-Ulger focused primarily on literature and art and the perspective of genealogy of Huurin-Ulger is relatively few. Such research mainly explains the relationship between Huurin-Ulger and Mongolian heroic epics. This dissertation attempts to employ historical comparative theory, the theory of cultural change and the theory of bibliography to explore the intrinsic characteristics of genealogy and development of Huurin-Ulger.This dissertation consists of introduction, body(three chapters), conclusion and appendix.Introduction section introduces the terminology, the research scope, research time and research trends of Huurin-Ulger. To define the relative terminology is the premise of academic writing. The author first explains the narrow and broad concepts of Huurin-Ulger and applies the second one in his thesis. Since previous research ignores the relationship between Huurin-Ulger and Han literature, this dissertation intends to employ comparative method to explore the genealogy of it.Chapter one explains the origin of Huren Uliger in the historic,geographic and political context. In the early and middle period of the Qing Dynasty, Han people from Shandong, Hebei and other areas came to settle in Josot Union and formed a semi-agricultural and semi-nomadic life style. They brought both tangible and intangible cultures to the Northeast. The formation of Huurin-Ulger was closely related to the collision of the two cultures. During the reign of Emperor Guang Xu of Qing Dynasty, Jindandao uprising in Josot Union expanded the spread of Huurin-Ulger. Later on, large amounts of translated literary works enriched the materials of this art form. Both the internal and external factors helped to promote the development of this influential literary genre.Comparing Huurin-Ulger with folk art forms of Han nationality, the second chapter demonstrated the features of the formation of Huurin-Ulger. In terms of the spreading, the plot of the story and performance, Huurin-Ulger and story-telling and Dagushu have much in common with each other. The author concludes that Huurin-Ulger was influenced by operas of Han people, especially in tunes and dress.Chapter three focuses on the formulas. From micro perspective, the author compares the formulas from Huurin-Ulger and story telling and Dagushu of Han people. They have similarities in the formulas such as the history of rise and fall of the dynasties, the lineup of the army, going to court, troop march, poem composition to the women generals, appraisal of the beauties. This indicates that talking-singing literature of Han nationality has played an important role to the formation of Huurin-Ulger.