四大年画

<正>柳青木版年画发源于千年古镇杨柳杨青。杨柳青木版年画题材广泛,内容丰富,构图饱满,寓意吉祥,雅俗共赏。它采用刻绘结合的手法,刻工精美,绘制细腻,人物生动,色彩典雅,成为我国著名的年画品种之一。杨柳青年画在中国民间文化和天津文化发展史上占有重要地位。     

漫画

“鹿呜杯”全国诗词大赛终评在温州进行，午餐席上有腰果一盘，王巨农先生与侯孝琼先生均好此盘中之物，二人偏又对面而坐，故转盘在二人手下旋转不止。林从龙先生见状即席吟出一联曰：“王侯席上争腰果，”话音刚落，王巨农就以手指点着杨嘉仁与刘庆云二先生说：“杨柳（谐音刘）池边——”接着用筷子敲了一下水鱼大碗：“钓脚鱼”。“脚鱼”、“腰果”之对真妙绝。     

创特色文化品牌增天津城市活力

笔者分析了天津特色历史文化遗产资源挖掘与利用现状及问题，援引了潍坊创建具有国际影响力城市品牌的经验，指出作为天津的特色文化品牌应具备的特点，指明天津的特色文化品牌非杨柳青年画莫属。因此，全市上下要千方百计紧紧围绕杨柳青年画特色文化资源这条主线，深挖其历史文化内涵，科学谋划天津特色文化品牌发展愿景，做足做好天津杨柳青年画历史文化遗产资源保护和开发利用这篇大文章。     

年画有味是春节

年画在华夏史上有过很多名称,如“纸画”“花纸”“画张”“卫抹子”“斗方”等,只是在清代才出现了“年画”这个名词。其实,过年贴年画的习俗在我国已有千余年的历史了。最初时,年画始于贴门神。东汉梁宗慷《荆楚岁时记》载:“正月一日,绘二神贴户左右,左神荼、右郁垒,俗谓之门神。”     

年画大师杨洛书

山东省潍坊市杨家埠,是我国著名的三大木版年画产地之一。年前,杨家埠老字号“同顺德”画店的第十九代传人杨洛书,被联合国教科文组织授予“民间工艺美术大师”称号。怀着对杨家埠年画的好奇和向往,笔者拜访了有“年画王”之称的杨洛书老先生。杨家埠是一个清洁、宁静的村庄,家     

冯骥才:走在抢救中国年画的路上

冯骥才,中国民间文艺家协会主席,一直以来致力于抢救中国民间文化,其中包括由他主持的中国木版年画普查、抢救工作。至今,中国木版年画普查工作已经完成三分之二,中国木版年画第一卷业已出版。对于濒临消亡的中国年画,冯骥才说:“其实早在民国初年,中国年画已经开始消失,上海清晰呈现了中国年画消失的历程痕迹。”     

杨柳青年画(英文)

中国人过春节(农历新年)有贴年画的习惯。过去,北京的年画是在胡同里叫卖的,临近春节的时候,胡同里就有了“画儿”的吆喝声。北京本地不出产年画,街头叫卖的年画来自天津杨柳青。     

逝去的“月份牌年画”

月份牌年画是我国民间的一种年画，因在画幅旁附印有月份表，所以叫“月份牌年画”。我冈最早的月份牌年画见于桃花坞木版年画中，19世纪末，上海外商利用洋画片及我国仕女画（非木版印刷）等附印月份表和商号，赠送客户以招徕生意。     

陪着父母去踏青

“喧乌覆春洲，杂英满芳甸”。阳春三月，杨柳泛绿，风和日丽。这时节，沐浴着明媚的春光，陪年迈的父母外出春游，是一种无上的享受呢!恰似白居易诗云“逢春不游乐，但恐是痴人”啊!     

墙上的年俗变身新收藏

在收藏热的今天,曾遭受冷落的年画,再度以其饱满的构图、艳丽的色彩、流畅的线条、浓郁的民俗气息,成为有眼光的收藏者青睐的藏品——在天津杨柳青有一位年画老人王树村,他不仅是一位藏家,还是理论家。在他看来“年画是不可再生的文物”。年画是年俗也是文物王树村对年画的了解可以说是从儿时开始的。当王树村还是小孩的时候,家家逢年过节都贴门画。他回忆,当时逢年过节大家都在大门口贴上守护门神,寓意把小鬼挡在I＇lJ＇b;院子里的小门就不能贴门神了,要不妖魔邪气就会进到院子里,所以在小门上一般贴一些吉祥如意的年画,比如麒麟送子、双喜进宝啊之类的。那时候年画非常普遍,每年过节都要贴一张新的上去,以表达对来年平安吉祥的美好心愿。后来日本人侵占了东北三省,他们就在这些地区利用年画宣传,分化人民抗日的力量。那时候王树村就从周围的邻居手中收集他们不要的年画,看见卖年画的就通通买过来。后来有条件了就到全国各地的古玩市场上去找,慢慢地就积累了一些年画。后来他从华北大学毕业就至【}《美术》杂志任编辑,收集年画的途径就更多一些。王树村不仅收集年画,而且还逐件地研究考证并加以注释。有人曾经帮他统计过,从1936年起,王树村收集年画大约l万件。王树村说,在拍照还不普及的年代,工匠画的年画留下的不仅仅是笔墨、情趣,还是当时的社会背景。比如说像《抢当铺》,可以看出当时的当铺是什么样子,看出当时人们穿的服装,都是什么人去抢当铺,这些画面确实是真实历史事件的再现。天津杨柳青还有一张叫“庄稼忙”的年画,它以连环画的形式反映从庄稼的播种到粮食收获的过程,给人们留下了许多宝贵的形象资料。年画、画版不好保存,容易发霉、虫蛀。老王把它们放在箱子里,这些箱子排在一起就成了他家的床。如今,大部分年画都捐赠给国家博物馆了。2004年,老王收藏的解放区年画在广州的一场拍卖会上全部成交,每张成交价都在万元左右。收藏年画,关注六大领域在收藏已成为时尚的今天,昔日曾遭受冷落的年画,再度以其饱满的构图、艳丽的色彩、流畅的线条、浓郁的民俗气息,成为有眼光的收藏者青睐的藏品。从收藏价值考虑,如下品种值得收藏者关注：1．民国年画。目前,民国时期的老木版年画市场上尚可找到,且价位合理,可以大量收藏。此外,民国月份牌是年画中唯一在市场炒作过的,曾在收藏市场红火一时。此题材切近当时生活风尚,美色诱人,风格独特,中     

新疆维吾尔族桑皮纸的研究与应用

本文对新疆维吾尔族桑皮纸的历史、维吾尔族民间制作工艺和应用等情况进行了探索性研究。桑皮纸在新疆非常古老,历史很久远,而新疆的桑皮纸历代生产以和田地区为中心,古老的和田孕育了悠久的桑皮纸历史文化和民间制作工艺技术。桑皮纸最大特点是结实而有韧性、柔嫩、防虫、拉力强、不褪色、吸水力强,主要用于书画装裱、包扎纸币、制伞、包装、制鞭炮,此外,还被用在印钱、制扇、印刷书籍等文化工艺生产活动中。     

Love Has No End: Ghada Amer

Art, like psychoanalysis, is a site for cultural transmission and its critique. The work of Ghada Amer, an Egyptian living in New York, speaks to issues that beleaguer contemporary psychoanalysis, particularly the relationship between individuals and their cultural/political surrounds. Her gorgeous paintings, often combining brushwork and embroidery, are infused with concerns such as the submission of women to the tyranny of domestic life, sexuality and pleasure, and the incomprehensibility of love. Amer tackles in a candid and personal way the mystique and impasse between the Western gaze and Islam, inviting us to examine the foolishness of war and violence. The different elements in Amer's paintings speak to the multiplicity of identities that confuse our postmodern existence. They share a life on the canvas, creating a sequence of interpellations, each hailing a different self-state yet allowing us to examine how ideologies work to imprison us.     

舌尖上的幸福

“时光中有青梅煮酒”,中国人会把“节气菜”做成尘世的一卷诗章,也会把山川风物收到盘中,让味蕾融入城市芳华,还会在盘中做一幅水墨画,彰显中华美食的“国风古韵”。曾经,我们在美食中回味成长的痕迹;当下,让厨房升腾起迷人的烟火,在“舌尖的幸福”中迎接新的一年。     

文化建设与创新是职业教育改革发展的必然之道

中国的职业教育历来拥有"使命文化"、"精神文化"和"观念文化"等文化"基因"。然而,在现实社会中,中国职业教育却遭遇着使命模糊、精神缺少、观念偏颇等文化困境。为了实现职业教育的发展,必须从文化角度去改革职业教育,创新职业教育的观念文化、制度文化以及其人才培养模式。     

‘Farewell Red Balloon’ – visual analysis of illustrations inspired by a children’s book

Lee Hall’s recent play The Pitmen Painters, based on William Feaver’s account of ‘unprofessional painting’ by miners in a Northumbrian coal mining village, raises issues surrounding the representation of the North in visual culture. This paper considers the now increased visibility of the Ashington Group and their adoption as nostalgic symbols of self-improvement and the intellectual life of the working classes. The reproductions of the Group’s paintings in Hall’s play prompt consideration of current debates around access to education, the use of art as social improvement, the loss of traditional Leftist values in the British Labour Party, the transformation of sites of heavy industry to cultural/heritage sites and the perceived poverty of ambition in communities such as Ashington today. The focus on the Group here also reignites problematic questions for art history itself: the art historian’s urge to critically frame groups of artists and the continued equation of non-professional art with ‘authenticity’ in art history and criticism, as well as the ethical issues involved in ‘speaking on behalf of others’ (Craig Owens).     

The Father's Love and Guidance in“the Magic Barrel”

"The Magic Barrel" is a short story written by Bernard Malamud.The same titled collection of short stories was published in 1958,and won the National Book Award next year.The cultural motif of "father and son" runs through the whole Jewish cultural history,and is well embodied in the story.This thesis mainly talks about how "father" guides "son" to complete their self-salvation and how the father's love runs through the whole story.     

Can I own my writings and sell them too? A brief history of copyright in China from the late Qing era to Mao's China

This article briefly reviews the growth of copyright, as an idea, an industrial practice and a state policy, in the context of social transformation in China from the mid-nineteenth century to the late 1970s. Understanding copyright as one dimension of cultural commodification, it aims to reconceptualize Chinese copyright history by focusing on China's development and the transformation of cultural industries and cultural control. It argues that private control over cultural products is not alien to Chinese tradition, and calls for a shift of attention from anti- or pro-copyright assumptions about Chinese culture to the changing political economy of cultural industries that gives rise to certain forms of cultural privatization. It also analyzes copyright's role in state developmental policy and in the reshuffling of social classes and hierarchy.     

From Ethnic segregation to impact integration: state schooling and identity construction for rural Tibetans

This paper examines the context of ethnic identity formation in schools for rural Tibetan children. It reviews rural primary education within Tibet and the secondary education for Tibetans in boarding schools across China. Data are presented on policies, student recruitment, curriculum, teachers and the campus environment, as they impact on students' identity formation. Although there is little that is multicultural about the learning process in these schools, these schools do not strictly deny Tibetan culture to Tibetan children. The school architecture, sculptures, photographs, wall paintings and so forth provide representations of Tibetan culture, albeit selectively and interpreted by the state in terms of the ideological themes of national unity, patriotism, revolutionary traditions, civilised behaviour and love of Tibet. The conclusion points to a make‐or‐break opportunity for state education to support a more even‐handed cultural policy, rather than the dichotomy of segregation and impact integration.     

凤翔泥塑 点“泥”成金

位于陕西宝鸡的凤翔县素有中国民间艺术之乡的美誉。当地的凤翔泥塑造型古朴别致,不仅深受广大群众的喜爰,而且承载着丰富的历史文化信息,被民俗学专家称为历史的“活化石”,2006年被列入第一批国家级非物质文化遗产名录。     

新常态下中小企业民间融资的现状及对策研究

2014年5月习近平在河南考察时首次提及"新常态"。经济新常态意味着中国经济进入了一个新的发展阶段,经济发展的条件和环境已经或即将发生诸多重大转变。在这一背景下,中小企业民间融资呈现怎样的现状,对此应采取何种措施值得我们深思。本文主要剖析了经济新常态下企业融资的环境,探讨了民间融资难的突出问题,从而提出自己的建议,为后期的研究与实践提供参考意义。