20世纪90年代，随着蒙古国民主政治制度的确立，嘻哈（Hip-hop）伴随着西方文化传入蒙古国。至今为止，蒙古国嘻哈历经了30年的发展时期，已经成为蒙古国社会艺术文化重要的组成部分。论文以蒙古国政治制度变更背景下艺术文化和社会艺术教育状况为研究的逻辑起点，从艺术学理论的学科角度，研究以嘻哈说唱文化为介质的蒙古国社会艺术教育。以蒙古国第一代嘻哈乐队和嘻哈音乐人自述，公众调查、媒体调查、案例分析等研究方法，考察分析蒙古国嘻哈说唱发展历史、公众和传媒的社会影响因素、嘻哈说唱的艺术文化特性，研究表明蒙古国嘻哈说唱发展历史是蒙古国嘻哈合法化的历史；传播主体稳定、传播信息综合化表现、传播媒介集中、受众群体及其音乐偏好稳定、互联网技术提供的社会互动平台是蒙古国嘻哈说唱合法化的路径；嘻哈说唱艺术文化社会互动性、艺术符号组合拼接性、组织的团队凝结性，客观上推动了蒙古国嘻哈说唱的合法化过程，促成了蒙古国嘻哈人的成长。研究还表明蒙古国嘻哈人成长是以自我社会化为标志的社会艺术教育的成果，具有鲜明的社会艺术教育特征；社会艺术教育的自主性、主体选择性、不确定性对完善和补充学校教育、建构“学习型社会”具有一定积极启示。论文第一章从艺术学理论角度分析蒙古国嘻哈艺术文化特点，叙述蒙古国嘻哈说唱发展历史过程，阐释了蒙古国嘻哈说唱发展历史是蒙古国嘻哈合法化的历史。第二章从社会教育影响角度，就公众调查和传媒调查两个方面收集了蒙古嘻哈说唱的社会教育影响数据，阐释蒙古国嘻哈说唱合法化的路径：传播主体稳定、传播信息综合化表现、传播媒介集中、受众群体及其音乐偏好稳定、互联网技术提供的社会互动平台。第三章阐释嘻哈说唱艺术文化社会互动性、艺术符号组合拼接性、组织的团队凝结性，揭示以嘻哈说唱文化为介质的蒙古国社会艺术教育特征：社会艺术教育的成长自主性、主体选择性、结果不确定性，总结了以嘻哈说唱文化为介质的蒙古国社会艺术教育作用。文后所附录“蒙古国最受欢迎说唱作品介绍”、“蒙古国著名嘻哈乐队创立历史”、“蒙古国著名嘻哈乐队与音乐人案例”等内容，是支撑论文研究的主要材料。该研究对填补蒙古国嘻哈说唱艺术文化研究空白、揭示社会艺术教育规律、丰富艺术学理论学科内涵具有学术意义和研究价值。

In the 1990s, with the establishment of Mongolia's democratic political system, hip-hop was introduced into Mongolia along with Western culture. Up to now, Mongolian hip hop has been developing for 30 years and has become an important part of Mongolian social art and culture. This paper takes the artistic culture and social art education under the background of Mongolian political system change as the logical starting point of the study, and studies the social art education in Mongolia with hip-hop and rap culture as the medium from the disciplinary perspective of art theory. In Mongolia for the first generation of hip-hop band and hip-hop music readme, survey of the public, the media, the methods of case analysis, investigation analysis of Mongolia gangster rap development history, social influence factors of the public and the media, gangster rap art culture characteristics, studies have shown that Mongolia gangster rap development history is the history of Mongolian hip-hop legalization; The path to legalization of Mongolian hip-hop and rap is the stability of the communication subject, the comprehensive expression of communication information, the concentration of communication media, the stability of the audience and their music preferences, and the social interaction platform provided by Internet technology. The social interaction of hip-hop and rap art and culture, the combination of artistic symbols and the cohesiveness of the organization have objectively promoted the legalization process of Mongolian hip-hop and contributed to the growth of Mongolian hip-hop people. The research also shows that the growth of Mongolian hip-hop people is the result of social art education marked by self-socialization, which has distinct characteristics of social art education. The autonomy, subject selectivity and uncertainty of social art education have some positive enlightenment on perfecting and supplementing school education and constructing a "learning society". The first chapter analyzes the characteristics of Mongolian hip-hop art culture from the perspective of art theory, narrates the development history of Mongolian hip-hop rap, and explains that the development history of Mongolian hip-hop rap is the history of legalization of Mongolian hip-hop. The second chapter from the perspective of social education, the public and the media survey two ways to collect the social education of Mongolian gangster rap impact data, explain the path of the legalization of Mongolia gangster rap, stable transmission, dissemination of information integrated performance, medium concentration, audience and music preference stability, Internet technologies provide social interaction platform. The third chapter explains the gangster rap art cultural social interaction, combination of art symbol, splicing, organization, team cohesion, reveal to gangster rap culture as the characteristics of the artistic education of Mongolian society medium: the growth of social art education autonomy, subject selectivity, uncertainty as a result, summarizes the gangster rap culture leads to artistic education of Mongolian society. The appendix "Introduction of the most popular Rap works in Mongolia", "The history of the establishment of famous Mongolian hip-hop bands", "The case of famous Mongolian hip-hop bands and musicians" and other contents are the main materials supporting the research of this paper. This study has academic significance and research value for filling the blank of Mongolian hip-hop and rap art culture research, revealing the law of social art education, and enriching the connotation of art theory.