Abstract

In the book, Manchu Shamanist art is studied, expounded and classified; its characteristics in folklore are induced from the three angles of works of art, folk custom life and cultural owners; based on which the aesthetic pursuit and standard of Manchu people revealed by it are explored.

The notion of“Manchu Shamanist art”in the book means“Manchu Shamanist art of molding”, including painting, sculpture, arts and crafts, building, etc. . The Shamanist utensils and costumes -the main categories of Manchu Shamanist art are interpreted mainly in Manchu folk custom life from the double angles of folklore and art. Ula Manchu Town, Jilin City, Jilin Province is chosen as the main community of the book so as to observe Manchu Shamanist art in contemporary context. From the angle of folklore, Manchu Shamanist art is regarded as the folk customs and life practice activities of Ula Manchu people; and its practical role inside and outside Shamanist rites and how it forms a complete cultural system with social environment and cultural owners is studied. From the angle of art, the form of Manchu Shamanist art in Ula is analyzed adopting the methods of art anthropology and iconology.

The book includes introduction, text, conclusion, index and postscript.

In the introduction, the related results of Shamanist art study of domestic and overseas experts and scholars are reviewed, including minority art study, folk art study, Shamanist art study, etc. . In the book, the important notions of“Shamanist art”，“image”and so on are determined; and the methods and goals adopted in the study are put forward.

The first chapter is about Ula folklore ethnography. In the chapter, the generation introduction of Ula Manchu Town, the investigation place, is first made; original form, historical involution, social and cultural foundation and other problems of Ula Manchu Shamanism are clearly stated; and the folklore context of it and the concept of Shamanism exhibited in the Manchu life of northeast China are explored to emphasize its context meaning. Ula is not only the existing space of Shamanism but also the narrating background of Shamanist utensils.

The second chapter is related to the art expounding of Shamanist utensils. In the chapter, they are explored from the point of view of art, their art forms and beauty are explored starting from their lines and appearance, and their art is also generally explored.

The third chapter is involved in the symbols of Manchu Shamanist art. In the chapter, its signs are explained using the theory of symbol anthropology. They are divided into three kinds from presentation:natural objects, people' s life, imagination; and their symbols are divided into color symbol, numeric symbol, start image symbol, etc. . The painting style of the symbols of Manchu Shamanist art and its cultural connotation carried behind it are explored.

The forth chapter narrates the existing value and developing prospect of Manchu Shamanist art. Its existing value is elucidated from the point of view of intangible cultural heritage; and its travel development meaning based on Shamanist culture is explored using cultural reproduction theory

The conclusion is that Shamanism is a kind of folk religion. Its artistic characteristics are explored from its works of art.

Keywords: Religious Art; Manchu Shamanist Art; Manchu Shamanist Art