王蒙是中国当代文学中的著名作家，2019年9月获得“人民艺术家”国家荣誉称号。王蒙1963年12月到新疆，1979年返回北京，他在新疆生活、工作、劳动锻炼了16年。1965年初到1971年之间他在伊宁县红旗公社二大队参加“劳动锻炼”。在这里他跟伊犁各族农民一起生活，一起劳动，学习了维吾尔语。在这块土地上，王蒙从文化上的“异乡人”变成了一个“巴彦岱人”，从“北京来的作家”变成了“巴彦岱的一位农民”。王蒙学会了维吾尔语以后，跟当地各民族社员一起生活与劳动过程中深入理解了他们的民俗文化和文化内涵，能够走进他们的“心灵世界”。 王蒙在新疆16年的生活经验基础上创作了《在伊犁》系列小说和长篇小说《这边风景》。王蒙1974年开始写作《这边风景》，1978年完成，约40年后，2013年4月由花城出版社出版，2015年8月荣获第九届茅盾文学奖。这些作品在王蒙的文学世界和中国当代文学史上同时占有重要的地位。作家以新疆生活经历为基础，详细描写了新疆乡村传统民俗文化的方方面面，绘就了一幅优美生动的伊犁农村风俗画。精彩的民俗文化描写彰显了文艺作品文化内涵，增强了作品的地域文化色彩，为王蒙作品的新疆叙事注入了活力，增强了作品的阅读感。 新疆各民族传统民俗文化素材为王蒙文学作品带来了丰富的地域文化特色，成为了作家展现乡土风俗的艺术手段。这种特点为研究王蒙作品中的民俗文化提供了充分的研究依据与文本资料。民俗在文学中承担着叙事功能，王蒙在小说中对于新疆民俗文化的表达上采取了一种肯定与理解的态度。研究王蒙的少数民族叙事和新疆民俗文化书写不仅有助于全面认识王蒙作品的文学价值，还可以透视中国当代文学民俗文化表现的深度和广度。本文从民俗文化学、文艺民俗学和文学人类学的视角对王蒙新疆叙事中体现的民俗文化及其内涵进行深入的文化解读，讨论了这些作品中民俗文化的叙述特点。

Wang Meng is a famous writer in contemporary China. In September 2019, he was awarded the national honorary title of “People‘s Artist”. Wang Meng arrived in Xinjiang in December 1963 and returned to Beijing in 1979. He lived and worked in Xinjiang for 16 years. From early 1965 and 1971, he participated in“labor training” at the Second Brigade of Hongqi Commune in Yining County. Here, he lived and worked with farmers of various ethnic groups in Ili, and learned Uyghur language. On this land, Wang Meng transformed from a “cultural stranger” into a“Bayandai person”, and from a “writer from Beijing” to a “farmer of Bayandai”. After learning the Uyghur language, Wang Meng gained a deep understanding of their folk culture and cultural connotations through living and working with local members of various ethnic groups, and was able to enter their “spiritual world”. On the basis of 16 years of life experience in Xinjiang, Wang Meng created the series of novels “In Ili” and the novel “Scenery Over Here”. The creation of “The Scenery Over Here”was completed in 1978， Nearly 40 years later, it was published by Huacheng Publishing House in April 2013 and won the 9th Mao Dun Literature Award in August 2015. These works also hold an important position in the literary world of Wang Meng and in the history of contemporary Chinese literature. The author, based on his life experience in Xinjiang, described from various aspects of traditional folk culture in rural areas of Xinjiang and created a beautiful and vivid painting of rural customs in Ili. The wonderful description of folk culture highlights the function of cultural connotations in literary and artistic works, enhances the regional cultural color of the works, injects vitality into the Xinjiang narrative of Wang Meng‘s writing, and enhances the reading sense of the works. The traditional folk cultural materials of various ethnic groups in Xinjiang have brought rich regional cultural characteristics to Wang Meng‘s literary works, becoming an artistic means for writers to showcase local customs. This characteristic provides sufficient research basis and textual materials for studying the folk culture in Wang Meng‘s works. Folk customs have very important narrative function in literature. Wang Meng adopts a positive and understanding attitude towards the expression of Xinjiang folk culture in his novels.The study of Wang Meng‘s ethnic minority narratives and the writing of Xinjiang folk culture not only helps to comprehensively understand the literary value of Wang Meng‘s works, but also provides a perspective on the depth and breadth of contemporary Chinese literature and folk culture research.This article provides an in-depth cultural interpretation of the folk culture and its connotation reflected in Wang Meng‘s Xinjiang narrative from the perspectives of folk culture, literary folklore, and literary anthropology, and discusses the narrative characteristics of folk culture in literary works.