浅说吉州窑捏塑瓷品

吉州窑,因隋至宋代称吉州,而得故名。它位于江西省吉安市,是中国古代江南地区著名的综合性民间瓷窑。它始烧于晚唐,发展于北宋,极盛于南宋,元以后逐渐衰落,终烧于明。吉州窑以生产民间日用陶瓷为主,为综合性民窑,不仅在制作工艺独树一帜,而且装饰艺术特点鲜明,具有浓厚的地方和民间艺术特色。民间、自然、写意的艺术特质渗透于吉州窑的每一件产品中。     

民间艺术审美与当代美学发展

民间艺术审美是我国传统文化的一个侧面,本文对民间艺术的审美特征做了深入的分析探讨,例如朴素美、造型美、工艺美,并结合当代美学的发展深入研究了对传统艺术审美的影响。我国民间艺术具有鲜明的审美特征,是传统文化在民间的积淀,也是我国传统审美观念的集中体现。民间艺术是一个综合的体系,它包括民间工艺美术、民间音乐、舞蹈、戏曲等多种形式。这是我国先民在不断的积淀和创造中形成的文明成果。随着我国社会的不断发展,这些民间艺术的表现的形式发生了一些变     

浅谈陇南民间剪纸艺术的传承与发展

陇南民间剪纸艺术历史悠久,是劳动人民在长期生产劳动中思想智慧的结晶。它继承了古老的民间艺术传统,古拙质朴,粗犷奔放,纯洁明快,大胆夸张,具有极旺盛的生命力。随着时代的发展,陇南民间艺术在内容、形式、风格上都有创新和突破,得到了较好的传承与发扬。     

民间音乐 民歌

编者按：民间艺术是民间文化的重要组成部分,是大众的、生活的、民俗的艺术,反映着劳动人民独特的生活情趣,包含着丰富深刻的社会历史信息,代表着民众的审美理想。民间艺术历史悠久,种类繁多,是人民精神生活的重要内容,是民族文化的宝贵财富。民间艺术的形态和形式包容了各种艺术门类,如民间音乐、民间舞蹈、民间美术、民间说唱、民间戏曲、民间杂技与绝技、民间手艺等等。 中国西部是黄河与长江的发源地,是多民族、多元文化交融的地区．曾经长期占据中国历史文化的中心舞台,拥有独特而丰富的民间艺术,西部民间艺术是我国民间艺术中不可或缺的瑰宝．这些与老百姓生活息息相关的精神文化生活,不仅源远流长,各具特色,而且其中很多是独一无二的少数民族民间艺术。 相对于中国东部地区,西部民间艺术破坏程度较低、保存较完整,因而抢救下来的意义也就更大：但同时西部民间艺术也面临变异、衰亡甚至灭绝的命运、2003年,中国民族民间文化保护工程启动。拥有丰富非物质文化遗产的西部地区,先后有甘肃环县皮影、新疆维吾尔木卡姆、陕西西安鼓乐、青海热贡艺术等被列为国家试点保护工程。2005年,第一批国家级非物质文化遗产申报工作启动？根据“保护为主、抢救第一、合理利用、传承发展”的指导方针,西部各省区相继确定了一批保护项目,有意识地对一些正在消失的文化遗产进行有效保护,并加以宣传和引导,使这些优秀文化艺术得到很好的传承和发展。 为了向广大读者展示中国西部丰富的民间艺术。本刊自2007年第1期开始,新设“西部民间艺术”专栏,按期分类介绍甘肃、陕西、新疆、青海、宁夏五省区的民问音乐、舞蹈、戏曲、曲艺、杂技、工艺美术。陶瓷等艺术瑰宝？同时呼吁全民遵循人类民间文化的艺术规律,及时抢救灏危文化遗产,使人类社会创造的非物质文化能够代代相传,文明成果能够千年流淌。源远流长。这既是国民的责任,更是薪火相传的使命。[编者按]     

辽宁锡伯族民间蛋壳艺术的内涵与审美特点

辽宁锡伯族民间蛋壳艺术的内涵与审美特点韩恒威锡伯族是勤劳、善良、热爱生活的民族,无论是锡伯族先民创造的民族传统文化,还是现代锡伯人吸收传统因素发展,更新而创作出的民间艺术,都体现了这个民族的传统精神。蛋壳艺术是辽宁农村锡伯族习俗生活中较常见的一种独具...     

浅析陕北民间剪纸的寓意

陕北民间剪纸艺术作为陕北民间艺术的重要组成部分,它的价值不仅在于它的装饰性,更重要的是体现了陕北独特的地域文化内涵和艺术表现魅力,本文通过实际调研,从陕北民间剪纸艺术的象征性角度分析和探讨陕北民间剪纸的深刻寓意。     

论客家民间艺术的品类特征与传承发展

什么是民间艺术？名民俗学家钟敬先生在20世纪30年代就较早而确切地提出了“民间艺术”的概念和涵义,并指出民间艺术不仅是指民间美术,其中还包涵了民间学、音乐、神话等。民族学家岑家梧先生在20世纪40年代中期论述中国民俗艺术时将民间艺术粗分为六大类别,即工艺,绘画,建筑,雕塑,舞乐,歌谣。民俗学家张紫晨先生在论述民俗与民间艺术时则指出,民间艺术是民俗活动的直接需要,“它来源于民俗,是民俗的组成部分,它的内容和形式大多受民俗活动或民俗心理的制约。     

论民间艺术入志

民间艺术具有浓郁的地方特色与民族特点五千年故国文化,各民族共同创造的绚丽多彩的民族民间艺术,其种类之多,风格之异,特色之浓,举世瞩目。民间艺术,包括民间赞祝词、谣谚、民歌、民间器乐、民间舞蹈、民间曲艺、民间戏曲、民间造型艺术、民间工艺美术等,不仅具有独特的地方特色、民族特点,还有独特的传承方式。一种民间艺术形式,流传于某一特定的地域,被当地人民所喜爱和认可,有其代表性曲剧目和民间艺人（艺术家）,并得以广泛传播,形成一定的艺术氛围,是一个地区、一个民族的文化积淀。这是民间艺术的第一个特点。引吭《茉…     

庆阳民间剪纸艺术现状考察报告——以剪纸大师祁秀梅为例

本文以庆阳民间艺术现状为考察课题,以镇原县已故剪纸大师祁秀梅为重点考查对象。旨在了解庆阳古老的民间剪纸艺术在当今社会环境下是如何发展、传承、抢救和保护的,基层文化部门以何种视角思考并关注剪纸艺人生存环境和生活现状问题,剪纸艺人是如何将创作与经济收益相互协调的。由此,指出了民间艺术枪救、保护中存在的问题,并提出了解决办法及建议。     

东北地区锡伯族的剪纸与刺绣

东北地区锡伯族的剪纸与刺绣韩恒威在中国北方各民族民间艺术形式之中,锡伯族民间剪纸与刺绣艺术以其原始、古朴又蕴涵着民族传统的文化因素,在锡伯族的习俗生活中传承、发展着。并且,在民族文化不断发展丰富的过程中,逐渐形成了锡伯族民族民间艺术的独特风格。锡伯族...     

Advances in Morphometrics in Archaeobotany

ABSTRACT

Morphometric analysis offers an alternative or augmentation to traditional archaeobotanical methods to address differences within and between plant species and their remains, refining and enhancing taxonomic resolution. Morphometrics, the measurement of size and shape, and the multivariate statistical analysis of generated quantitative variables, have long played a major role in biological research, including plant taxonomy and systematics, although its application in archaeobotany is relatively recent. Over the last few decades, there has been an increasing interest in the use of morphometrics for analysing a varied range of archaeological plant materials (mainly seeds, pollen, phytoliths, and starch grains). In particular, morphometrics have contributed to the study of the domestication and spread of many cereals world-wide, as well as that of other taxa including legumes, underground storage organs (USO), and fruits (such as olives, grapes, and dates). This paper reviews current methodologies, recent applications, and advances in the use of morphometrics in archaeobotanical research, discusses its role in exploring major research questions, and suggests possible future directions for its use.     

杏开二月

已经是二月仲春了,大地柔软,天气慢慢热起来了。一场习习的春雨,浇得人心头酥酥的。我第一次注意到,家门前的杏树开了。枝干上,星星点点,挑着几朵白,轻盈得很,把薄薄的心打开,驻足美的枝头,观赏人间烟火。背后是灰灰的庭院,低矮的     

Geography in Higher Education in Australia

Within the last 30 years, geographical information systems (GIS) have been used increasingly in the training of geographers. On the basis of the philosophy of technology and instrumental genesis, we sketch how the use of instruments interacts with learning processes and outline how this can be studied. We empirically analyse students' learning processes and the influences of teaching practice in an introductory course in GIS. We show that students have different strategies for creating their personal instrument for spatial thinking and how teaching interacts with the students' learning processes. Finally, we discuss how GIS may gradually alter future professional development of geographers.     

America in Speech and in Deed

The author's primary aim in what follows is to fully articulate Chantal Delsol's critique of late modern universalism as an attempt to depoliticize the individual for the sake of replacing politics with morality. The result of this depoliticization is a quasi-pantheistic cosmopolitanism that not only effectively denies the significance of individuality, despite rhetorically lionizing it, but also undercuts the freedom of individual conscience that makes moral choice possible. Genuine political prudence and moral judgment are subsequently replaced by the rigid exactitude of a technocratic analysis that reintroduces the "clandestine ideology" it was, despite protestations to the contrary, intended to eliminate. The unhappy paradox produced by the attempt to replace the necessary limitations of political judgment with the universality of a priori moral decree is that a new set of culturally and historically idiosyncratic political attachments are surreptitiously introduced beyond the pale of reasonable debate and disagreement. Delsol's measured response is not a precipitous rejection of universalism as such but a rehabilitation of it that recaptures the Christian moral realism at its core.     

Tibetan-Inhabited Area in Deqen in Development

Deqen, honored as “Shangri La”,is located in the area where three rivers meet to form one in the Henduan Mountains straddling the borders of Yunnan, Sichuan and Tibet. The Deqen Tibetan Ethnic Group Autonomous Prefecture, founded in September 1957, is the only Tibetan autonomous prefecture in Yunnan Province but one of 10 in the