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中国的陶瓷,源远流长,在世上享有盛誉。中国陶瓷的型制与纹饰,一直以中国传统形式为主,直至明代起,随着与西方国家的交往日渐频繁,出现了应海外要求而生产和出口的瓷品。这些瓷器,不论型制或纹饰出现了西洋风格,以迎合西方国家尤其是欧洲国家的市场需求。我们常称这类瓷器为“出口瓷”或“外销瓷”。 绘以西洋纹饰的出口瓷上最初由葡萄牙商人订制。随后由于受到欧洲市场的欢迎,其他国家的商人受到启发,各式西洋风格的纹饰和设计陆续出现,18世纪时最为蓬勃。这些外销瓷上的西洋纹饰,除了西洋人物、楼宇风景、花卉虫鸟,以及徽章等以外,其中更有以圣经故事或希腊故事为主题的纹饰。了解这些纹饰所表达的故事,有助我们对这些瓷器的欣赏。 一 宗教故事 相似文献
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金玉贵重,责在原料上。瓷器贵重,贵在创造上。在世界各国的博物馆中,没有中国瓷器的博物馆不能入流。英文中,“中国”与“瓷器”是同一个单词,作为一个中国人,如果对瓷器一无所知,应该惭愧。今年是景德镇的千禧年,到景德镇走一趟,不仅是旅游,还是一次瓷器知识的扫盲。 相似文献
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中国是瓷器生产最早的国家,唐宋以来随着对外交通的发展和经济交往的扩大,中国瓷器也远销到亚非各国,由于瓷器经济耐用,制作精美,所以受到了国际上的赞扬与欢迎。但是仅凭中国出口的瓷器,还不能满足各国的需要,因而不少国家出现了仿制中国的瓷器。中国造瓷技术传入了各国,这样,具有不同特色的各国造瓷工业发展起来了,中国人民和世界劳动人民共同创造发展着这一项人类的物质文化财富,并促进了各国人民之间友好往来的历史。日本自七世纪初期以来隋唐时期派大批遗唐使、留学僧、学问僧等到中国,回国后,日 相似文献
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晋商成功之道(连载三) 总被引:1,自引:0,他引:1
第二章卓越商才在善于经商的世界各民族中,无论阿拉伯商人、印度商人、中国商人,还是犹太商人,都以其独特的经商术著称于世,而同时他们又有许多相互融会贯通和英雄所见略同之处。晋商是中国商人的杰出代表,在他们身上所体现的与享有“世界商人”美誉的犹太商人在经商智慧和致富 相似文献
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16世纪以来,中国的外销瓷成为了欧洲贵族和富商所追捧的器物,并形成了“中国风”的热潮。到19世纪中期之后,随着科学主义精神的兴起和中国本土瓷器的大量外流,以英法两国为主的欧美学界开始了对中国瓷器的系统化研究。在19世纪末到20世纪初,学者们集中关注于瓷器的定义和分类等问题,并提出了“元青花”“过渡期”和“空白期”等沿用至今的概念。本文通过对这一时期学术史的梳理,可以帮助我们更好地理解中国瓷器研究作为一个学科在西方的建立过程。 相似文献
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中国是世界著名的文明古国,为世界文明的发展作出了巨大的贡献。其中瓷器制造技术对世界的影响尤为深远。一般认为,远在新石器时代,我田的制陶工艺技术就已达到了相当成熟的水平并已形成了一定的规模。商代已出现了原始青瓷器,据考证,瓷器制造技术成熟约在战国到两汉时期。此后工艺上不断推陈出新。 相似文献
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《中国西藏(英文版)》2007,(3)
Art galleries have emerged on the streets of Lhasa since the reform and opening up of China.The earliest ones were Art Gallery of Tibetan Exhibition Hall and Art Gallery of Potala Palace 20 years before.For 20 years as one fell,another rose until now,tens of art galleries of various sizes and centred around the Barkor Street are attracting enormous numbers of tourists from both home and abroad. 相似文献
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《中国西藏(英文版)》2006,(3)
China Exhibition on Contemporary Tibetan Paintings Held in Sidney The exhibitioin was held in the Sofitel Wentworth Sydney Hotel in the evening of March 22, 2006. The three-week exhibition was sponsored the Sidney Wentworth Art Gallery, the China Tibetan Association of Literary and Art Circles, the Li Keran Art Foundation and the Chinese Consulate General in Sidney. It showed some 60 works by 10 contemporary Tibetan painters. 相似文献
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Reg Gadney 《Interdisciplinary science reviews : ISR》2017,42(1-2):180-192
ABSTRACTFrom 1962 to 1966 the author was an undergraduate at the University of Cambridge. During this period awareness of Kinetic Art grew nationally and internationally. Two student-run magazines – Granta and Image – became important platforms for dissemination of information and critical discourse about Kinetic Art in the context of other avant-garde developments. Having met several pioneers in the field in Paris before University, the author soon made contact with Professor Richard Gregory in the Experimental Psychology Department of the Cambridge Psychology Laboratory with whom he then collaborated. He worked closely also with Mike Weaver, an academic in the English Literature faculty, who initiated the First International Exhibition of Concrete, Kinetic and Phonetic Poetry at St Catharine’s College in November 1964. They infused the Cambridge context with influences in Concrete Poetry and Kinetic Art from elsewhere. This article describes this period of early experimentation and reflects briefly on its legacy. 相似文献
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常书鸿先生40年代只身前往敦煌 ,在极其艰难困苦的条件下 ,对敦煌莫高窟进行了卓有成效的保护 ,并开展了临摹研究等一系列工作 ,终于迎来了敦煌的解放和中华人民共和国的成立。为了事业 ,他吞下了妻离子散的苦果 ,心血沥沥 ,饱尝艰辛。他以牺牲个人幸福为代价 ,保护了祖国优秀文化遗产。全国解放初期 ,中央即决定在北京举办“敦煌艺术展览” ,周总理亲临参观指导并对他进行了亲切表彰勉励 ,中央人民政府政务院文教委员会为敦煌文物研究所颁发了时任政务院副总理的郭沫若先生亲笔书写的奖状。 相似文献
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Here be monsters: the Irish Industrial Exhibition of 1853 and the growth of Dublin department stores
Stephanie Rains 《Irish Studies Review》2008,16(4):487-506
This article explores the juxtaposition of the 1853 Irish Industrial Exhibition in Dublin and the dramatic rise of department stores in the city during the same decade. It analyses the aims, structure and reception of the 1853 Exhibition within the context of the Irish industrial movement, the economic modernity of the post-Famine era and the dramatic changes to consumer culture which were occurring during the 1850s. The article takes as its focus the hitherto neglected ‘monster house’ controversy – conducted in pamphlets and public lectures – regarding the growth of Dublin's department stores. Coinciding with the 1853 Exhibition, the controversy rehearsed many of the same concerns regarding economic and social structures in Irish urban society in the wake of the Famine. Consideration of the ‘monster house’ controversy alongside the issues raised by the 1853 Exhibition allows a new perspective on the development of middle-class urban life in Dublin during the mid-nineteenth century. 相似文献
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会展企业简介是参会企业借助会展平台展示企业风貌,传递商业信息的手段。会展企业简介翻译要全面考虑参会企业的目的、意图及参会客商的文化差异和审美意识,以参会客商为中心,关注参会客商的期待视野,实现参会客商与企业简介的"视野融合"。本文从接受理论的角度讨论会展企业简介的翻译,从信息效度、文体结构、审美差异等方面探讨其翻译原则和方法,旨在发挥企业简介的呼唤诱导作用,提升企业形象,实现其商业价值。 相似文献
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信息定位型展览:提升中国博物馆品质的契机 总被引:1,自引:0,他引:1
信息定位型展览以博物馆的综合素质为基础,涉及到博物馆的收藏政策,藏品研究的深度与系统性,展览组织的合理性,展览的传播技术及与展览相关的辅助教育等。只有各个环节都符合科学的要求,才有可能建造观众喜欢看、看得懂,能得到启迪与教益的展览。因此,应以信息定位展览的建设为契机,确立以"保存社会记忆"为核心价值观的收藏政策;加强藏品研究,为信息定位型展览提供学术支撑;建立合理的程序与标准,开展展览评估,打造具有良好传播能力的展览;拓展深化传播效果,开展丰富的公众教育活动,从而从根本上提高当代博物馆的品质。 相似文献
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《Textile history》2013,44(2):195-218
Abstract The year 1996 is being celebrated as Visual Arts Year in the North of England. From 21 September 1996, an Exhibition ‘People and Patterns’ at The John and Josephine Bowes Museum, Barnard Castle, County Durham, will describe the local carpet industry, which supplied the London and provincial trade for many years during the nineteenth century. The Exhibition closes on 5 January 1997 相似文献