心灵之旅

<正> 旅游是行走之乐,结识天南海北的朋友,同样是旅行中快乐之事。每当旅行回来,认真梳理记忆,总被一些旅途中经历的人或事所感动,如同打开一扇扇心灵之窗,为他们的经历而感动;倾听他们的心声,又丰富着我们自己的人生。探奇山水是乐事,探索人的内心世界更有无穷乐趣。每一个人都是一个不同的世界。我想,从这个意义上说,旅游还     

怒族手工制陶术调查

云南大学对怒族手工制陶进行了调查,对其制陶工具与制陶过程以及陶器的种类与用途作了详细的观察与记录.这些实地调查资料对研究我国古代手工制陶术的发展具有重要的参考价值.     

归心尚湖——陌上花开 归心尚湖

如果说白墙黑瓦、小桥流水的苏杭一带,是一幅天然的江南水墨画。那么,位于苏杭一侧的常熟,则是画上被晕染开来的那一点边际。虽然着色不多,但却给人更大的想像空间。如果要给常熟的江南意象绘上一笔,那么一定是尚湖。江南是离不开水的,没有了水,就少了灵动。常熟是不能没有尚湖的,这里的城、这里的山、这里的田野村庄,只有在尚湖的润泽下,才有了灵秀和风雅,才有了江南的韵昧。无数的文人墨客曾经停留在尚湖,     

Symbols, Myth-Making, and Identity: The Red Hand of Ulster in Late Nineteenth-Century Paterson, New Jersey

Symbols are manipulated to express social identity and to reaffirm or create a sense of place. Smoking pipes recovered from late nineteenth-century privies in the Dublin Section of Paterson, New Jersey, bear the symbol of the Red Hand of Ulster. Today, the Red Hand of Ulster is ubiquitous on Unionist murals throughout Northern Ireland symbolizing Northern Irish Protestant identity. Originally, the Red Hand symbolized the dawn of the Irish High King of Ulster. In late-nineteenth-century Paterson, it is argued here, the symbol was embedded in ethnic politics involving the Irish Diaspora and Irish–American identity developed through the Gaelic revival and Irish–American organizations and labor unions.     

乡情凝聚人心

飘色、花灯、剪纸、乡曲、乡祭……大庙会凝聚乡情凝聚人心。岭南人拯救还原民俗的同时也善用民俗——呼唤情感回归建设美好家园。 考察非物质化遗产,不能不考察大庙会。在普查中,大庙会被分类为化空间。这个空间是古庙、老店、戏曲、手工技艺、宗教信仰、饮食、民间舞蹈、年画、武术、杂技……的集合体,根本就是一幅幅生动的《清明上河图》。 大庙会仅仅是乡间民俗的集合体吗？我们在调查中似乎还找到了另一种回答——大庙会是乡情的最好的载体。在人的所有社会情感当中,乡情是最为温暖柔软的部分,当心中涌起这种美好情感的时候,眼前流动的,往住就是大庙会的某个画面了,一张剪纸、一盏花灯、一缕乡曲、一次乡祭……[编按]     

The Development of Hand Spinning Wheels

Abstract

It has long been noted that there was a decline in the standards of English embroidery from the mid-fourteenth century onwards. A combination of the Black Death, wars, overseas competition and economic stresses have all been recognised as possible reasons for the loss in quality of these embroideries. This article analyses the production techniques employed by artists/designers and embroiderers during the declining period of Opus Anglicanum, a style of embroidery typical of the late medieval period, which was almost always professional work. The discussion focuses on two lower panels of the pillar orphreys on the Whalley Abbey altar frontal, which date from around 1400 and belong to Towneley Hall Museum and Art Gallery, Burnley, UK. The article suggests that similarities in the design of the two panels provide a glimpse into the time-saving solutions developed by embroiderers to produce Opus Anglicanum as its manufacturing quality deteriorated.     

Liu Liqian:An Old Tibetan Hand

ＬｉｕＬｉｑｉａｎ：ＡｎＯｌｄＴｉｂｅｔａｎＨａｎｄ￥ｂｙＤｕＹｏｎｇｂｉｎＩｎｔｈｅＴｉｂｅｔａｎｓｔｕｄｉｅｓｃｉｒｃｌｅｔｈｅｒｅｇａｔｈｅｒｓａｇａｌａｘｙｏｆａｃｃｏｍｐｌｉｓｈｅｄｏｌｄｓｃｈｏｌａｒｓ．Ｆｏｒｓｏｍａｎｙｙｅａｒｓｔｈｅ...     

掌中之戏 晋江布袋木偶戏

<正>晋江布袋木偶戏是一种百姓喜闻乐见的艺术形式,深受闽南广大观众的喜爱。经过长期的实践和发展,具有兼收并蓄、博采众长的特点,地域文化特征明显,艺术积淀丰厚,形象美、语言美、音乐美,从中可以领略到泉南布袋戏的木偶雕刻艺术、表演艺术、语言艺术、唱腔艺术的风采。历史源流布袋戏起源悠久,早在晋代,就有记载:"南陲之南,有扶娄之国,其人善技巧变化……或于掌中备白戏之乐,婉转屈曲于指间。人形或长数分,或