馬傳江（梁山現(xiàn)代高級(jí)中學(xué)山東濟(jì)寧272600）

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當(dāng)代藏族漢語文學(xué)轉(zhuǎn)型：發(fā)現(xiàn)與探索——評(píng)朱霞《當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型及其多元文化背景》

馬傳江
（梁山現(xiàn)代高級(jí)中學(xué)山東濟(jì)寧272600）

朱霞是當(dāng)下藏族漢語文學(xué)界極為活躍的批評(píng)者之一，她直面當(dāng)代藏族漢語世界里錯(cuò)綜繁復(fù)的文學(xué)圖景，歸類、整理、剖析、抽象，在這里她找到了自己的學(xué)術(shù)坐標(biāo)，并繪制了具有個(gè)人風(fēng)格標(biāo)記的學(xué)術(shù)地圖。由陜西師范大學(xué)出版總社出版的《當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型及其多元文化背景》，作為她所主持的教育部人文社科項(xiàng)目的最終成果，展現(xiàn)了這幅學(xué)術(shù)地圖的一個(gè)側(cè)面。

一、發(fā)現(xiàn)轉(zhuǎn)型：在問題意識(shí)的驅(qū)動(dòng)下

問題意識(shí)是一個(gè)學(xué)者安身立命的根基，它能“反映出人類的自省意識(shí)和接納胸懷，傳達(dá)出人文學(xué)者的種種自覺追求?！盵1]對(duì)于《當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型及其多元文化背景》來說，問題意識(shí)正是它的一個(gè)鮮明特點(diǎn)。

在當(dāng)代藏族漢語文學(xué)的林林總總紛繁復(fù)雜里，朱霞以敏銳的目光發(fā)現(xiàn)了“轉(zhuǎn)型”的意義與價(jià)值。

圍繞“當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型是如何完成的？”這一核心問題，她設(shè)置了一系列的問題域：如何界定當(dāng)代藏族漢語文學(xué)？當(dāng)代藏族漢語文學(xué)轉(zhuǎn)型的步調(diào)怎樣？轉(zhuǎn)型與作家的主體身份有何關(guān)系？轉(zhuǎn)型的文化背景是怎么樣的？藏族漢語文學(xué)轉(zhuǎn)型在審美上是怎么體現(xiàn)的？在這一轉(zhuǎn)型過程中涌現(xiàn)出來的作家作品都有哪些，如何看待這些作家作品？

對(duì)這些問題的回答，構(gòu)成了《當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型及其多元文化背景》的整體框架。

全書共分八章，第一二章首先從理論上廓清了“當(dāng)代藏族漢語文學(xué)”的內(nèi)涵與外延，進(jìn)而梳理當(dāng)代藏族漢語文學(xué)的發(fā)展?fàn)顩r，描述當(dāng)代藏族漢語文學(xué)在多元文化背景下業(yè)已發(fā)生和正在發(fā)生的轉(zhuǎn)型。第三章討論了決定當(dāng)代藏族漢語文學(xué)風(fēng)貌的重要原因：當(dāng)代藏族漢語作家的寫作姿態(tài)。第四章以第三章為邏輯起點(diǎn)，以具體作家為切入點(diǎn)，從宏大敘事、小敘事，到魔幻敘事再到原生態(tài)寫作，從小說、報(bào)告文學(xué)到詩歌等描述了藏族漢語作家的多元化審美追求。第五章從敘事角度觀照藏族漢語文學(xué)，研究其“單邊敘事”特征，以及“單邊敘事”在兩代作家作品中的體現(xiàn)，分析了藏族漢語文學(xué)單邊敘事的利與弊。第六章從文化視野與文化安全的宏觀視域考察當(dāng)代藏族漢語文學(xué)。第七八章分別為當(dāng)代藏族漢語文學(xué)的文學(xué)批評(píng)研究與作家作品研究。

這本書的一個(gè)重要價(jià)值，就在于朱霞置身藏族漢語文學(xué)的現(xiàn)場，以問題的方式辨識(shí)它的來路，然后打開它的地圖洞幽察微，預(yù)見它可能的去向。

然而，朱霞何以有這種問題意識(shí)？

我們以為，這是她作為一個(gè)藏族漢語文學(xué)研究者，直面當(dāng)代藏族漢語文學(xué)在轉(zhuǎn)型過程中蕪雜而龐亂的經(jīng)驗(yàn)，從邊緣與中心、自我與他者、民族與現(xiàn)代等多個(gè)視角主動(dòng)思考、深入析理的結(jié)果。在這樣的積極思考之下，她的問題意識(shí)就從被懸置的高空落下，附著在“轉(zhuǎn)型”之上，并由此衍生了一系列的子問題。

如此一來，她由表及里，從具體到抽象，給當(dāng)代藏族漢語文學(xué)描繪出了一個(gè)清晰可辨的脈絡(luò)，并以細(xì)致嚴(yán)密的論證完成了一次獨(dú)特的學(xué)術(shù)行旅。

二、“外部”與“內(nèi)部”：彌合的努力

我們有必要著重提一下朱霞所提出的“當(dāng)代藏族漢語文學(xué)的三次轉(zhuǎn)型”。

她認(rèn)為，自20世紀(jì)50年代西藏和平解放以來，隨著當(dāng)代藏族漢語文學(xué)的文化背景的變遷，當(dāng)代藏族漢語文學(xué)業(yè)已發(fā)生三次轉(zhuǎn)型。第一次轉(zhuǎn)型發(fā)生在西藏和平解放到1980年代中期，這一次轉(zhuǎn)型以政治啟蒙為旨?xì)w，“我們把這種轉(zhuǎn)型姑且名之為政治或意識(shí)形態(tài)啟蒙。西藏和平解放時(shí)期，正值新中國建立不久，社會(huì)主義意識(shí)形態(tài)和新政權(quán)的當(dāng)務(wù)之急是對(duì)全國各民族民眾進(jìn)行社會(huì)主義啟蒙?！盵2](P45)第二次轉(zhuǎn)型發(fā)生在20世紀(jì)80中期后，它以文學(xué)啟蒙為旨?xì)w，伴隨著文學(xué)自主意識(shí)的覺醒?！斑@是一次從政治啟蒙到文學(xué)啟蒙的轉(zhuǎn)型。這次轉(zhuǎn)型主要表現(xiàn)在文學(xué)根本觀念的轉(zhuǎn)型，意味著藏族漢語書寫者以一種新的眼光來重新認(rèn)識(shí)文學(xué)，以新的范型來重新審視以往時(shí)代的文學(xué)礦藏，表現(xiàn)出不同于藏民族傳統(tǒng)文學(xué)和十七年文學(xué)的審美價(jià)值觀念和深遠(yuǎn)渾厚的民族精神?！盵2](P51-52)第三次轉(zhuǎn)型是一次正在進(jìn)行中的轉(zhuǎn)型，它從20世紀(jì)90年代初開始露出端倪，它將文化啟蒙作為其旨?xì)w。在這一時(shí)期，“藏族漢語作家在其文學(xué)創(chuàng)作中既發(fā)揚(yáng)光大藏族的族性文化精神，……同時(shí)也積極汲取其他民族的文化精神和時(shí)代的文化思潮，借鑒國外作家的經(jīng)驗(yàn)，將本民族的歷史與現(xiàn)實(shí)、神話與宗教、民族和風(fēng)情等族性文化和諧地調(diào)配在一起。藏族漢語文學(xué)正通過文學(xué)實(shí)現(xiàn)對(duì)本民族成員的文化啟蒙?！盵2](P57)

著名文學(xué)理論家希利斯·米勒在論及西方文學(xué)時(shí)說，“階段名稱的問題完完全全是個(gè)形而上學(xué)的問題，因?yàn)殡A段劃分涉及整個(gè)由假想構(gòu)成的網(wǎng)絡(luò)，包括關(guān)于開始、因果、結(jié)局以及構(gòu)成西方形而上學(xué)結(jié)構(gòu)基礎(chǔ)的種種設(shè)想……”[3](P68)朱霞對(duì)于轉(zhuǎn)型的劃分，綜合考量了政治意識(shí)形態(tài)、歷史節(jié)點(diǎn)與當(dāng)代藏族漢語文學(xué)自身發(fā)展的內(nèi)在邏輯——這種邏輯主要依據(jù)此一階段與彼一階段文學(xué)敘事的美學(xué)裂變。正如她在之后論及當(dāng)代藏族漢語文學(xué)的審美追求時(shí)所說，“當(dāng)代藏族漢語文學(xué)從一個(gè)以集體為單位，講述革命與成長的時(shí)代，緩緩步入了以個(gè)人為單位講述個(gè)體生存處境與生活體驗(yàn)，并在這種個(gè)人經(jīng)驗(yàn)中容納對(duì)集體、國家的切身感受的時(shí)代?！盵2](P83)

由政治啟蒙而文學(xué)啟蒙，由文學(xué)啟蒙而文化啟蒙，她對(duì)轉(zhuǎn)型的劃分，照顧到政治意識(shí)形態(tài)，文學(xué)審美以及文化因素的綜合影響，體現(xiàn)了融合文學(xué)“外部研究”與“內(nèi)部研究”的努力。

說起文學(xué)的“外部研究”和“內(nèi)部研究”，二者之間的隔閡不可謂不久。這一對(duì)由韋勒克提出，原本指涉“經(jīng)驗(yàn)事實(shí)”與“語言結(jié)構(gòu)”的范疇，經(jīng)過理論的旅行之后，業(yè)已發(fā)生了微妙的變化，現(xiàn)在我們所說的“內(nèi)部研究”主要關(guān)注“文本的語言技巧、文學(xué)修辭，挖掘文學(xué)作品的審美內(nèi)涵，提煉文學(xué)的形式意義。”[4]而外部研究則注重文本中隱藏的意識(shí)形態(tài)，注重其與社會(huì)、歷史、文化的聯(lián)系。如果說，內(nèi)部研究與外部研究之間一直有裂隙甚至對(duì)立存在，那么，朱霞在《當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型及其多元文化背景》里，則試圖彌合二者。

拿對(duì)尼瑪潘多的分析來說，既有內(nèi)部意義上的研究——在“鄉(xiāng)村小說：唱給青藏高原的樸素情歌”這一節(jié)里，朱霞詳細(xì)討論了尼瑪潘多的美學(xué)風(fēng)格：鄉(xiāng)村代言形態(tài)、敘述干預(yù)的祛除、“鄉(xiāng)下人進(jìn)城”的敘述結(jié)構(gòu)——又有站在轉(zhuǎn)型社會(huì)的歷史角度以及女性寫作的文化角度對(duì)外部世界的關(guān)照。

尤應(yīng)說明的是，這種融合不是生硬的、隔膜的、一分為二的，而是有機(jī)的、滲透的、合二為一的，她對(duì)全書的結(jié)構(gòu)設(shè)置即體現(xiàn)了這一點(diǎn)。就在她從一個(gè)具體而微的角度切入當(dāng)代藏族漢語文學(xué)這個(gè)宏闊而廣袤的疆域時(shí)，她就準(zhǔn)備好了外部與內(nèi)部這兩個(gè)視角，兩副武裝。

三、小說性：對(duì)一種文體的征用

正如西北大學(xué)博士生導(dǎo)師段建軍教授在給這本書所寫的序里所說，朱霞“對(duì)當(dāng)代藏族漢語文學(xué)的追蹤與描述，主要建立下如下幾個(gè)重要概念上：文化研究、現(xiàn)代性、新歷史主義?！盵5]可貴的是，這些理論僅僅是朱霞進(jìn)行文學(xué)研究的一個(gè)武器。她并不是一個(gè)為了證明理論的當(dāng)然正確而對(duì)研究對(duì)象狠下殺手的削足適履者，她對(duì)自己的研究對(duì)象是嚴(yán)謹(jǐn)而負(fù)責(zé)的，在論述一個(gè)問題時(shí)，她經(jīng)常放棄簡單的線性描述，而將之納入到具體的作家作品來討論。

在描述當(dāng)代藏族漢語文學(xué)的多元化審美追求時(shí)，朱霞將次仁羅布作為小敘事的代表提出，詳細(xì)討論了他的美學(xué)風(fēng)格：去歷史化而趨個(gè)人化的敘事情境、內(nèi)聚焦的敘述視角、分層的敘述方式、小說語言與情節(jié)結(jié)構(gòu)的缺省等等。然而如果僅僅是美學(xué)風(fēng)格的探討，如何表現(xiàn)一個(gè)小說家對(duì)歷史與現(xiàn)實(shí)的深度思考？朱霞在這一基礎(chǔ)上繼續(xù)勘探，在另外一章又深入挖掘了次仁羅布小說中歷史與現(xiàn)實(shí)、過去與現(xiàn)在的關(guān)聯(lián)：次仁羅布“通過講述‘小人物’的生活際遇、悲歡離合以及在現(xiàn)實(shí)生活中所遭遇的困境、尷尬、無奈和悲傷，用普通人的視角把歷史與現(xiàn)實(shí)、過去與現(xiàn)在貫通起來，展示了在社會(huì)轉(zhuǎn)型期人們靈魂的悸動(dòng)。”[2](P204)

如果換一個(gè)角度來考慮問題，她的這種寫法，就類似于司馬遷在《史記》中所應(yīng)用的“互見法”?；ヒ姺ㄖ饕袃煞N：“一種為一人異事之互見”，另一種為“一事異人之互見”。[6]

朱霞在學(xué)術(shù)著作中對(duì)“互見法”的運(yùn)用，主要為“一人異事”之互見，當(dāng)然，這里的“事”，并非史家視野里的敘述，而是對(duì)于同一個(gè)作家來說，其作品的不同面向。

除此，書中在論及康巴藏族詩人桑丹，藏族宏大敘事代表作家降邊嘉措、益希單增，魔幻現(xiàn)實(shí)主義代表作家扎西達(dá)娃時(shí)，都運(yùn)用了這種筆法。

朱霞這本書的寫作還體現(xiàn)了一個(gè)比較明顯的特點(diǎn)：珠花式結(jié)構(gòu)?！爸煜紝?duì)于當(dāng)代藏族漢語寫作的轉(zhuǎn)型，涉及文學(xué)觀，文體觀，文學(xué)批評(píng)，作家論等多個(gè)角度，它們穿插交錯(cuò)，構(gòu)成了一種珠花式結(jié)構(gòu)。”[5]段建軍教授對(duì)此已有較為詳細(xì)的闡釋，在此不再贅述。

互見法、珠花式結(jié)構(gòu)，這些都是小說或者其他敘事性文體，如史書中常見的一種筆法，如今朱霞將之運(yùn)用于文學(xué)研究之中，這當(dāng)然可以說是“小說性”的表征——巴赫金認(rèn)為“小說不僅是一種文學(xué)體裁，而且是一種特殊種類的力量，他稱之為‘小說性’。小說性具有巨大的顛覆力量，它能夠動(dòng)搖，并瓦解官方的、形而上學(xué)的一元權(quán)威、等級(jí)體制和話語霸權(quán)，因?yàn)樾≌f從本質(zhì)上來說是反規(guī)范的，小說是一種認(rèn)識(shí)論意義上的不法之徒，是一位文本領(lǐng)域內(nèi)的‘羅賓漢’?！盵7](P96)——這是小說的顛覆性力量的體現(xiàn)，可又何嘗不是朱霞在長期從事藏族漢語小說批評(píng)的情況下，對(duì)小說文體的信手征用？這種征用不僅為她的轉(zhuǎn)型敘事帶來了便利與支援，同時(shí)也為她的學(xué)術(shù)研究打上了一種風(fēng)格標(biāo)記。由此，我們得以從在藏族漢語文學(xué)研究之路上跋涉的眾多學(xué)者中，辨識(shí)出她的獨(dú)特身影。

毋庸諱言，朱霞在抵達(dá)并置身藏族漢語文學(xué)的現(xiàn)場之后，就具有了兩種身份：一個(gè)是充滿熱情的批評(píng)者，一個(gè)是冷靜沉著的研究者。盡管朱霞在從事此書的研究時(shí)，一直試圖忘卻批評(píng)者的身份，可仍舊遺憾地留下了它的痕跡，這在“作家研究”一章多多少少有所表現(xiàn)。當(dāng)然，盡管“當(dāng)代文學(xué)研究非常迫切的任務(wù)是祛除批評(píng)化，建立起歷史意識(shí)和學(xué)術(shù)意識(shí)，”[8]可對(duì)于當(dāng)代藏族漢語文學(xué)來說，文學(xué)批評(píng)的邊界究竟在哪？文學(xué)研究的規(guī)范如何建立？這是需要朱霞，也是所有當(dāng)代藏族漢語文學(xué)研究者應(yīng)著力解決的課題。

[參考文獻(xiàn)]

[1]朱崇科.術(shù)語的曖昧：“問題意識(shí)”中的意識(shí)問題[J].暨南學(xué)報(bào)，2008（4）.

[2]朱霞.當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型及其多元文化背景[M].西安：陜西師范大學(xué)出版總社，2014.

[3]希利斯·米勒著，郭英劍等譯.重申解構(gòu)主義[M].北京：中國社會(huì)科學(xué)出版社，1998 .

[4]徐杰.文學(xué)內(nèi)部與外部研究的“斷裂”與“彌合”[J].殷都學(xué)刊，2011（1）.

[5]段建軍.藏族漢語文學(xué)現(xiàn)場：抵達(dá)以后[A].朱霞.當(dāng)代藏族漢語文學(xué)的轉(zhuǎn)型及其多元文化背景[M].西安：陜西師范大學(xué)出版總社，2014.

[6]李淵良.史遷筆法：藏美刺于互見[J].文藝評(píng)論，2011（12）.

[7]夏忠憲.巴赫金狂歡化詩學(xué)研究[M].北京：北京師范大學(xué)出版社，2000.

[8]賀仲明.去批評(píng)化：對(duì)當(dāng)代文學(xué)研究方法的思考[J].山東師范大學(xué)學(xué)報(bào)，2012（3）.

[責(zé)任編輯夏陽]

[校對(duì)陳鵬輝]

Tibet,“The Ancient Tang-Bo Road”and the“Belt and Road”Construction

Zhou Weizhou
(Institute for Western Frontier Region of China,Shaanxi Normal University,Xi’an,Shaanxi,710062)

Abstract:“The Ancient Tang-Bo Road”was the road from Chang’an to Lhasa in Tang Dynasty.It con?nects Tang Dynasty and Tubo Kingdom in politics,economy and culture.“The Ancient Tang-Bo Road”consti?tuted an important transportation as southern Silk Road which plays a significant role in China and world history.In terms of history and geopolitics,Tibet has close connection with south and middle Asia.It is believed that Ti?bet still has an important position in construction of“Silk Road economic belt”. The paper elaborates the special relationship between Tibetan Buddhism and ancient Silk Road by analyzing historical documents.The birth and spread of Tibet Buddhism is based on ancient Silk Road,and it also contributed a lot to the stretch of the Road.It is argued that the ancient Silk Road and the spread of Tibetan Buddhist culture complement each other. The link between Tibet and south Asia is related with four opportunities.Building road leading to south Asian is an opportunity for Tibet in implementing“Belt and Road”strategy.This opportunity is differ?ent from other opportunities in history in terms of content and feature.It is significant for Tibet to realize modern?ization and well-off society. The binding form of Buddhist-classic binding,originating in India with the form of“Palm leaf scriptures”,gradually spread outward with Buddhism through the Silk Road.The monks who passed through Ti?bet brought into the Buddhist culture and the Buddhist classics,and the Chinese papermaking and printing were also brought into Tibetan areas by ancient Tang-Bo Road,which combined with the traditional form of“Palm leaf scriptures”and then produced a new look of book binding.This book binding form then influenced Chinese book binding in return. This paper takes two representative Tibet’s intangible cultural heritage,“Guozhuang”,“Duix?ie”,as examples,and analyzes the core problems in construction of intangible cultural heritage knowledge ontol?ogy.The key problems such as data set construction,word segmentation,ontology annotation,ontology associa?tion and ontology visualization are studied.On this basis,an intangible cultural heritage knowledge ontology con?struction system is designed and implemented.This paper also constructs a certain scale of intangible cultural heritage knowledge ontology. Frequent exchange among various nationalities has mutual influence on national culture in?volved.The Confucianism culture historically is the crystallization of multi-ethnic culture,and it still needs to strengthen the integration of Confucianism culture in the new historical period with special attention to promo?tion and exchange of Confucianism culture in the Border area multinational area with emphasis.In order to ad?vance the Confucianism culture and exchange this systems engineering in the Border area multinational area pro?motion,it needs to follow the cultural propagation principle and form various strategic measures,including fur?ther reorganization of the ancient book,the modern research and populace textbook; Brings out,the strengthened idol and example system; Improves various levels the social culture organizational systems; Construction vision transmission system; Standard etiquette formal system; The reinforcement learning,propagandizes the system; The substantial personnel strength,establishes the specialized talented person system; Establishes the financial and welfare guarantee system; Builds the facility and hardware support system. Based on a large number of British original archives and materials,this paper gives an account of the first contacts between British India and Chinese Tibet,analyzing and revealing that Chinese had the absolute?ly authoritative power in Tibet.The translator and this journal did not agree with the wrong opinions such as treating China and Tibet as an equal and readers’discretion is needed. During more than six hundred years of performance practice,the Tibetan Opera has generated three specific and stylized structural models,including Rngon Pa’don,Gzhung and Tashi.Gzhung is the core of the whole performance,while Rngon Pa’don and Tashi have the characteristic of rituals operas,which makes the performance structure of Tibetan Opera display unique features of both rituals and operas.The Tibetan Opera contains folk music and dance which drift away from the story,acrobatics alternating with musical telling and narrative intertwining with first-person narration,all of which reflect the unique aesthetic taste and viewing cus?tom of the Tibetan nationality.Analysis on the performance structural model of Tibetan Opera could provide viv?id case to the study of Chinese operas in how to develop from rituals operas to traditional operas,to go beyond musical telling and singing and dancing performance,and to evolve from narrative to first-person narration. Nang Ma club is a main entertainment place for people in Tibet,and a unique form of mass enter?tainment.Nang Ma is transformed from traditional art,and becomes a symbol of mass culture consumption.The paper analyses the club and its role in spreading Nang Ma,reveals its consuming features,and discusses the rea?son for the phenomenon.The paper also discusses the multiple meanings for its popularity and makes suggestion for modernization of traditional art In view of its openness,real-time,interactive,virtual of digital media features,online games which is regarded as an emerging cultural and creative industries has become one of the important medium of in?formation dissemination in modern society.And it also has the important practical significance for the dissemina?tion and development of national culture.Tibetan clothing,one of Chinese national treasures of art,its decorative pattern has a unique artistic style and profound culture.The article combines Tibetan clothing pattern with on?line games character design,by means of making a thorough inquiry about the characteristics of national,func?tional,artistic in the Tibetan clothing patterns,trying to make it as a source of creation game character design,to find a meeting point of Tibetan clothing patterns and network game character design,to explore more broad thoughts to the online game character design and inheritance and development of national culture. This chapter translation mainly presents activities of the eighth Buddha Garmaba in his late years.The author also comments highly on his entire life. The 9th Panchen Lama pan-chen-blo-bzang-chos-kyi-nyi-ma (1883-1937) left Tashilhunpo and traveled other provinces since1923-1937.The Nanjing speech made at New Asia Association’s Member Congress,on Dec.24 1932,which emphasized Tibet forms an integral part of the territory of China based on his?tory truth.The Shanghai speech happened on June 3th 1934,discovery that people who not lived Monglia and Ti?bet,would ignored the means of Mongolia and Tibet to China’s whole security,the Mongolian and the Tibetan al?so know little about inner China situation.He strongly appealed both sides to increase communication.The speeches here revealed the national identity of 9th Panchen Lama and his follows,which made the academic and reality value of the speeches greatly. Cuona County Lebugou is the Monpa’s main inhabit region,and is the 6th Dalai Lama Tsang?yang Gyatso’s birth place.The Lebugou area has advantageous natural landscape and rich unique national cul?ture resources.The local area,by holding“travel festival of Tsangyang Gyatso love songs”,develops featured tourism,and builds Lebugou’s tourism brand.This promotes the local economy as well as the protection and in?heritance of Monpa’s traditional culture.

Key words:“The Ancient Tang-Bo Road”,the“Belt and Road”Strategy,Tibet the“Belt and Road”Strategy,ancient Silk Road,Tibetan Buddhism,active role south Asia,channel,opportunity,feature book binding,paper making,print,ancient Tang-Bo Road Intangible Cultural Heritage,Ontology Construction,Ontology System border,ethnic,Confucian,spread British Raj,Chinese Tibet,first contacts Tibetan Opera,structural models,China operas,evolution Nang Ma club,Nang Ma,consuming change,reason Tibetan clothing,decorative pattern,online games,game character design Mkas-pavi-dgav-ston,the 8th Garmaba,late years the 9th Panchen Lama,Tibet,China’s territory,Mongolia and Tibet,National Defense Cuona County Lebugou,Monpa,featured tourism,travel festival of Tsangyang Gyatso love songs

Tibetan Buddhism and the“Belt and Road”Strategy

Wang Changyu
(High-Level Tibet Buddhism College of China,Beijing,100120)

South Asia Channel Construction:an Opportunity for Tibet

Niu Zhifu
(Xizang Minzu University,Xianyang,Shaanxi,712082)

Evolution of Binding Forms of Buddhist-Classic Binding and Cultural Integration along the Ancient Tang-Bo Road

Zhou Yi
(Zhejiang Daily Chart Weekly,Hangzhou,Zhejiang,310020)

Design and Implement of Intangible Cultural Heritage Knowledge Ontology Construction System——the“Guozhuang”and“Duixie”as examples

Huang Yong,Lu Wei,Cheng Qikai,Deng Shengli
(School of Information Management,Wuhan University,Wuhan,430072; Institute of Information Retrieval and Knowledge Mining,Wuhan University,Wuhan,430072)

The Awareness of Confucian in Border and Ethnic Districts

Zhou Yong,Xu Wenhua
(Tibet Academy of Social Science,Lhasa,Tibet,850000)

Selected Translation of Tibet and the British Raj

Written by Alastair Lamb，translated by Liang Junyan,edited by Deng Ruiling
(History Studies Institute,China Tibetology Research Center,Beijing,100101)

Discussion on Structural Models for the Performance of Tibetan Opera

Li Yi
(School of Literature,Xizang Minzu University,Xianyang,Shaanxi,712082)

Nang Ma Club and Consuming Changes of Tibet Traditional Art Symbols

Zhang Xuehai
(School of Literature,Xizang Minzu University,Xianyang,Shaanxi,712082)

Research on the Application of the Tibetan Clothing Patterns in Online Games Character Design

Feng Dong,Nyima Wangchen,Ding Zhuo
(Northwestern Polytechnical University,Xi’an,Shaanxi,710072)

Translation and Annotation of Garma-gam-tshang in Mkas-pavi-dgav-ston (XXX)

Written by Dpav-bo-gtsug-1ag-phreng-ba; Translated by Zhou Runnian & Han Juexian
(Center for Study of Tibetology,Minzu University of China,Beijing,100081)

Tibet Forms an Integral Part of the Territory of China and The Importance of Mongolia and Tibet to China National Defense——speeches at Nanjing and Shanghai by 9th Panchen

By Liu Jiaju,collected by Zhong Yuhai
(College of History and Culture,Minzu University of China,Beijing,100081)

Survey of Tourism in Menpa’s Inhabiting Area in Lebugou,Cuona County

Chen Liming,Zhao Yong
(School of Ethnology Research,XizangMinzu University,Xianyang,Shaanxi,712082)