The Research On The Articles' Artistic Design Of Horchin Bo

The Mongolian minority, which boasts a long history and rich culture, is an important member in the big family of Chinese people. The ancestors of the Mongolian people had long been believing in the Shaman religion sincerely and it has been melted into different layers and fields of their daily life and social culture. The Bo culture plays a vital role of culture-explaining society-shaping in the social life of the Mongolian tribes. Horchin Bo is one of the branches of the Mongolian Bo. Originated from the clan society, it went through the slave and feudal societies and has absorbed many other nations'culture till now. Though slightly changed, the current Horchin Bo culture still holds the original cultural spirit of the Mongolian minority's culture and the initial model of the nation culture.This paper starts from Horchin Bo culture, the one that possesses important status in the aboriginal religion, then pays great attention to the classification of the different kinds of artistic designs that Horchin Bo uses and gives detailed description to the material, shape, color, pattern, using purpose and function of the artistic works. What's more, the writer put forward his own ideas. At last, it accounts the artistic features and cultural distinctions of the Horchin Bo's religious articles and makes more exploration to its combination with modern design.The paper presents itself in four parts. The 1st is called The origin and development of the Mongolian Shaman culture. It mainly deals with the conception of the Shaman and Shaman religion and the rise, development, fall of the Shaman culture in Mongolian people. There are different explanations to Shaman around the world. In this text the anther takes the saying from Altaiman-Tongousian group. About the origin of the Mongolian people, the author takes the Toungous-Weith's to narrate the Mongolian's totem worship and the relationship between the totem worship and Shaman spirit. At last, it discusses the customs, culture and the Bo culture that lies in the art of the modern Mongolian people. The 2nd is The artistic works of the Horchin Bo. This part discusses the religious cane, clothes, and divine focus that the Horchin Bo will use when performing religious prays. Those divine focus are mainly from Kulun-Laxisuron, such as wongyong, fa dress, religious crown,Bo drum, signet and paper-cut and so on. The 3rd part is The cultural and artistic features of the Horchin Bo's artistic works. The author gave a comprehensive description to the culture and art of the Horchin Bo's artistic works and summarized the shapes and decorating features of the Horchin Bo's divine focus, then put forward his ideas about the shape and pictures. The 4th is The artistic works of the Horchin Bo and the modern artistic woks. This part mainly deals with how to combine the ancient artistic civilization with the modern design and further explains that the Horchin Bo's artistic civilization isnot just a concrete holder of the religious concept, but represents the understanding about the relationship between the nature, all the creatures and the human beings from the Mongolian people, it's their philosophical conceptions about the world. We can take this philosophical conception in to modern design and use this research of Horchin artistic works to refine designing elements.