毕摩

那么为什么特别强调毕摩教对性别角色社会化的影响呢？

Then why emphasize effects on socialization of gender roles ?

毕摩文化与彝族旅游开发

Bimo Culture and the Development of Tourism in Yi Areas

第三，对彝族图腾文化中毕摩绘画的文化内涵的分析。

Third , the cultural connotation of the Yi totem culture Bimo paintings .

女性文化精英和仪式从业者对于毕摩的文化实践是否构成补充作用？

Does the work of Yi women intellectuals and practitioners complement Bimo practices ?

它不仅是一部毕摩宗教经籍，同时也是一部优美的神话叙事诗。

It not only is a classic of Bimo , but a beautiful fable epic .

毕摩文化是彝族文化的重要组成部分，是极有开发价值的民族文化旅游资源。

Bimo cultural tourism resource deserves exploitation .

其次，对彝族毕摩绘画中的龙、鸟、火和虎图腾崇拜的研究。

Secondly , the Bimo painting the dragon , birds , fire and the tiger totem worship .

凉山彝族信仰的表达与嬗变&对毕摩仪式的经验研究

The Expression and Transition of the Religious Belief of Yi : An Empirical Study on Bimo Ritual

《玄通大书》是毕摩文化中最重要的占卜经典。

The Xuan Tong Da Shu is one of the most important works of divination in Bimo Culture .

贵州彝族毕摩文化传承人问题研究&以贵州省盘县淤泥乡为个案分析

Guizhou Yi Bimo Study on Cultural Heritage of People & Guizhou Province as a Case Study of Panxian Yuni Country

传承形式可分为纯正传承型的与原始宗教信仰粘合在一起的毕摩的各种祭辞的传承；

One is purity initiation and inheriting mixtured with the words from offering sacrifices to gods of originality religion belief ;

毕摩经书与语言是安全永续的，抑或仅是学习汉语的一个台阶？

Is the Script and Language of the Bimo Safe for ever or Only a Stepping Stone to Learning Han ?

彝族毕摩文化是彝族文化的重要组成部分，是彝族传统文化的精髓。

Bi mo culture is an important part in the culture of Yi nationality , and it is the core of Yi traditions .

毕摩文化，是彝族传统文化的核心，它在民间的长期实践中形成了传统的文化资源。

Bimo practice is the core of Yi traditional culture and takes shape of traditional cultural resource through long-term practice among the people .

图腾崇拜是在远古时期就存在，而毕摩产生于母系氏族公社时期，成熟于父系氏族公社时期。

Totemism existed in ancient times , Bimo produced in the period of matriarchal commune , mature in the patriarchal clan commune period .

仪式中，由毕摩在现场剪制，大量、重复使用的白色的呈带状名叫巧伙涅的剪纸显得独立而特别。

During the ceremony , a white zonal paper-cut called " Qiao huo nie " which produced by Bimo looks very dependent and special .

第四，对论文的总结，提出了对毕摩绘画的传承和保护的方法，并对彝族毕摩绘画有待深入的研究进行探讨。

Fourth , a summary of the papers presented on the Bimo painting heritage and protection and Bimo painting to be in-depth studies to explore .

在民族文化旅游日益受到重视的今天，彝族毕摩文化的旅游开发也受到越来越多的关注。

Today ethnic tourism has been attached more importance to , and more and more people are also attracted by the development of Bi mo culture .

如果你到诺苏彝人居住的村子里转悠一圈，或许你会遇见头戴蘑菇状黑毡帽的毕摩。

If you spend any time around Nuosu villages , eventually you will see one of the bimos , wearing a toadstool-shaped hat of black felt .

云南彝族毕摩绘画是属于一种本土的宗教绘画，跟彝族的图腾崇拜、英雄崇拜、自然崇拜等有着密切的关系。

Yi Nationality the Bimo painting is a local religious painting , with Yi totem worship , hero worship , nature worship , have a close relationship .

毕摩文化是彝族文化的核心，是各地彝族人民的精神依托，也是祖国文化遗产之一部分。

Bimo Culture is the core of Yi Culture , the spirit support of the Yi people , and a part of cultural legacy of China as well .

具备彝文读写能力的人主要有两种：一种是彝族毕摩。一种是现代彝语的学习研究者，包括民族语言专业的学生和老师。

Yi literacy concludes two kinds of people : one is Bimo , the other is the modern Yi language learning researchers , including national language professional students and teachers .

总之，只有在掌握了毕摩文化的精髓要义以后，我们才能不断地发展并延续其多重价值与文化生命力。

In a word , as long as we make a deep understanding of the essence of bimo culture , we can develop and continue its multiple values and cultural vitality .

对哨冲乡莫测甸、慕善村的实地调研，运用了专家访问法、田野调研法、对比分析法等对云南彝族毕摩绘画艺术进行了一次较详细的梳理。

Mu Shin Estate , the use of experts to visit the art of painting , field research method , and comparative analysis of Yi People in Yunnan a more detailed comb .

在彝族社会，以祖灵信仰为核心的毕摩文化已成为具有社会规范性质的一种势。

In Yi society , taking grandfather 's clever faith as the core to is it rub culture is it have society standardize a kind of " tendency " of nature to become already to finish .

凉山彝族女性总体而言，相对男性群体处于弱势，在社会结构中从属于男性，而根植于父系家支组织的毕摩教对女性成长有不容忽视的影响。

The female group is inferior and subject to male group in social structure of Yi in Liangshan so Bimo Religion which took root in patrilineal families is sure to shape women in their whole life .

《梅葛》没有文字的记载，毕摩、歌手皆是靠耳听心记史诗的内容曲调，在各种展演场域反复演练，形成以传统为取向的“大脑文本”。

' Mei Ge'has no writing record , Bimo and singer are to learn all by using ear hear and heart memory , relapse performance and practice in various place , and forming into tradition'cerebrum text ' .

毕摩是该传说的主要讲述者，对于该传说的核心内容，他们是世代口头相传。

Bimo is the legend teller , for the core content of the legend , they are the generations word of mouth , and was elected to the villagers of the ceremony inheritors must be clearly remember the legend .

首先，以云南彝族图腾文化中的毕摩绘画为主要的研究对象，对彝族图腾文化和毕摩绘画的关系进行论述，并对毕摩绘画的题材、工具材料、色彩以及载体的概述。

Totem culture of the Yi Nationality in Bimo painting as the main object of study , discussed the relationship between the Yi totem culture and painting Bimo and Bimo painting themes , tools , materials , color and vector overview .

文中笔者对梅葛音乐的传统分类做了一点补充，第一次从音乐学的角度把毕摩调也纳入梅葛音乐的范畴，通过谱例分析对梅葛音乐的特点做了总结和归纳。

In article the author made some points for the traditional classification of Meige by classifying Bimo tune into the category of Meige music from the perspective of musicology for the first time , summarized and classified on Meige music features by analyzing examples of music scores .