Research On The Figure Of Mongolian Characters

Research on plastic arts of Mongolian characters is a new direction in the field of Mongolian character research. As the maincarrier of Mongolian writing system, traditional Mongolian characters, since Mongolian used Mongolian characters in Uighur forms, generated rich plastic arts of characters. It is part of plastic arts of characters in China, also it is an important part of world culture heritage of plastic arts of characters.The shrinking of users and areas of traditional Mongolian plus the limitation of traditional printing technology lead to the simplification of modern Mongolian characters. The development of computer technology offers the circumstance for the revitalization of Mongolian character arts. It is a practical way to explore, save and revitalize plastic arts of Mongolian characters using modern computer technology with the vast treasures of the plastic arts of Mongolian character as it base. It will also provide impetus for the inheriting and spreading of modern Mongolian character. This research starts with the forms of ancient Mongolian characters and explores the forms of Mongolian characters in Uighur form appearing on the inscription in Arjai Grotto 32. It sums up its artistic characteristics. This research does some fundamental works to make Mongolian appear in modern forms with computer technology and meet the needs of communication in modern information society. The Mongolian characters on the inscription in Arjai Grotto 32 are typical Mongolian characters in Uighur form in 15-16th century. It has unique research value as for the plastic arts of characters given its location and content. From plastic arts'point of view, this paper analyzes the characteristics of it from by breaking down and renaming the letters and syllables. It presents the artistic features of Mongolian characters by analyzing 46 comparatively complete hymns in Uighur form on the inscription of Arjai Grotto 32 by the way of name-breaking, figure-analyzing. On the basis of this, we get a satisfactory result in reparing the three pieces of Worship of Twenty One Taras in Arjai Grotto 32.To feel the way of the prospect of our research result, we applied our research result in designing the covers of two Mongolian folk song CDs and their posters. It must be pointed out that this research is only the primitive work of getting ancient Mongolian characters into modern forms of communication and it will take a long time to get it into data stage.