Analysis Of Liangshan Yi People’s Bimo Grass Modelling Arts

There is a large room for theoretical knowledge of the Yi people’s indigenousreligion art, especially the modeling of Bimo Grass Accidentally art is an importantcognitive domain. Bimo grass model （BGM） is Yi indigenous religion modeling art;its specific form of the modeling reflects the historical background and cultural contextof Yi nationality, and it is the visible and living history of Yi people, reflecting that Yipeople know how to express their life style in the local environment. Therefore, it istotally different from secular arts, Bimo religion art is art activities, as well as religiousbehavior. Meanwhile, it includes the presentation of the image itself, but also containsthe corresponding texts. Comprehensive Bimo religion arts make Bimo grassaccidentally plastic arts have rich content. The Bimo grass model arts culture not onlycontains the plastic arts creation, but also is related to religion, history, scholars,regional culture and so on.Current research of BGM lies in a very awkward position, only the imagecollection without systematic knowledge and theory study. This situation is obviouslynot consistent with the value of its own, is not conducive to the construction of richbrilliant art treasure of the Chinese nation. Therefore, the author has collected relevantmaterials in some small liangshan counties, such as Mabian, MeiGu, Ganluo, by meansof MianNingXian field research, using archaeological field investigation method, expertinterview method, literature and folk visit to liangshan Yi Bimo grass model. I will givesome theoretical knowledge of BGM art in my thesis. First, an overview of theliangshan yi bimo grass accidentally plastic arts, including Bimo, Bimo grassaccidentally noun meaning; Bimo grass accidentally art of intangible cultural propertyclassification, modelling, modelling materials overview. Second, its origin will bediscussed through the literature and archaeological Bimo interviews to originalmodeling Bimo grass accidentally roots. Third, to explore BGM aesthetic values; acomprehensive study on the basic characteristic of it. Fourth, to highlight this artproblems in the process of inheritance and protection; finally, some suggestions are putforward. The author has conducted a study on this valuable Bimo art through the abovevarious tests, to reveal its cultural connotation and aesthetic values, at the same time, the author makes efforts to seek the jade effect, hoping more experts and scholars indifferent views show off the hidden cultural treasure deep in the mountains of humanintangible cultural heritage to the world.