The Structural Space And Cultural Representation Of Yurt

Mongolian yurts are produced,changed and developed in the history of Mongolian nomadic culture,which have intimate relationship with herders’ daily life,cultural histiory,religious belief,production activities and other aspects.The components of yurt,including Taonao,Hana,felt tent and even every traditional decorative design,show the wisdom of nomadic peaple and contain plenty of Mongolian nomadic traditional culture.Its mature structural system,space layout and traditional decorative design display the intelligent of nomads in dwelling space to the world,and vividly reflect the traditional ethnic identity of the nomadic people.Yurt is the mainstay of Mongolian traditional culture,as well as an indispensable part of world culture.Nowadays,many foreign and domestic academics have written numerous book and periodical documents related to yurts from the perspectives of developing history,comparing region,protecting environment,researching architectural structure and other aspects,but there are lack of detailed studys on the the traditional culture of yurts from the perspective of space.The mode of life of herdsmen has gradually changed from nomadism to settlement,due to the development of economic,and more and more young people who grown in the grassland are longing for urban life,to a certain extent,which lead to obstruction in the development of traditional yurts.Therefore,it is necessary and impending to propose a systematic and feasible theoretical research on the architectural structure,building artistry,conventional ornament and Mongolian historical and folk culture of yurts.By collecting literature,investigating field,visiting exhibitions and experts,I studied and sort out traditional yurt culture,and summarized the relationship about architectural culture and herders between traditional yurts and othe felt tent in Northwest China,in addition,sumerize the problems they encountered in the evolution.In this paper,starting from the space,I will study the spatial structure,internal and external spatial layout and decroative culture of the yurt in the first three chapters,and try to place them in the yurt architectural space to return to the original state.Using the combination of the learning of architecture,psychology,folklore and history,according to the different roles they played in spatial order of yurts,I will analyze their practical functions,symbolism and the impact on the aesthetic idea and value purposes of Mongolian nomads,as well as conclude the immeasurable impact on Mongolian nomadic folk culture.Therefore,this paper is not a simple study on traditional culture of yurt,but rather a systematic and all-round study on its spatial architecture and inhenrent conventional culture.In accordance with the previous research,this paper will make a comparison of Mongolian yurt.Based on the previous research,this paper will make a comparison of Mongolian yurt,Xinjiang felt tent and Tibet black tent in terms of structure,spatial arrangement,color,and folk culture to summarize the general problems they faced in the progress of traditional yurt in Northwest China.This paper will do further research on the basis of Mongolian yurt,and make some feasible proposal on its traditional culture to achieve continuance development.In the background of multiculture,it’s a question worth discussing on the architectural space of yurts and its cultural representation.This article will accurately reflect the instrinsic value of the traditional yurt culture and provide theoretical foundation for its protection to facilitate its development.This paper also will play an enlightening role and have reference value for other related fields about traditional yurt culture.