共查询到20条相似文献，搜索用时 15 毫秒
1.
Wu Zhengguang 《中外文化交流(英文版)》2007,(5):43-44
Guizhou Province, located in southwest China, boasts numerous mountains and valleys. Over the sweep of history, local people have created many calligraphic and painting works on cliffs and rocks, leaving much information about the culture and traditions of the ancient society.[第一段] 相似文献
2.
Gao Cuan 《中外文化交流(英文版)》2008,(10):16-19
The Olympic Games is not only a sports event but also offer a great chance for cultural exchange. In celebration of the 2008 Beijing Olympics, the Capital Museum hosted a grand exhibition Memory of China： 5000 Years of Civilization, aiming to showcase the brilliant Chinese history and culture to the people from the rest of the world. 相似文献
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LinYunfan LiJun WangXie 《中外文化交流(英文版)》2004,(4):38-41
When people are asked about what impresses them most in Xinjiang, they are very likely to mention Turpan grapes and Hami melons. In fact, Xinjiang is also well known for its fine-breed horses. Two thousand years ago, Emperor Wu of the Han Dynasty (206 BC -- 220 AD) bestowed horses imported from Xinjiang 相似文献
5.
By Gao Cuan 《中外文化交流(英文版)》2008,(11):4-7
Golden ornament of sun birds is an object unearthed from the Jinsha site near Chengdu, capital city of Sichuan Province in 2001. Made in the late period of the Shang Dynasty （1300 - 1046 BC）, this hollow-out work is composed of two layers. The inner layer features 12 revolving dented sunrays evenly distributed to form a circle. 相似文献
6.
YangBaomin 《中外文化交流(英文版)》2004,(3):41-43
During the past two centuries, Beijingattracted a great many of people, who madeChina‘s modem history all the more colorful.They came from across the country forvarious motives, worked and settled inBeijing and became part of its history. Theseold houses, submerged among theskyscrapers of the metropolis, maintain theirold appearance. They remind people of a 相似文献
7.
ChenBaoguang 《中外文化交流(英文版)》2005,(5):16-19
The setting of the film Peacock is the smalltown of Heyang, home of the Gao family. The Gaos are not wealthy, but there is no lack of love and warmth among them. The parents are hardworking, honest people. Weihong, the daughter, loves art and is full of dreams, but often feels depressed about her failure to join themilitary. Both her career and her marriage are unsuccessful. The elder son, Weiguo, has a slight mental disorder and is his parents‘ pet, but is often bullied by people outside the family. 相似文献
8.
Fan Di’an 《中外文化交流(英文版)》2010,(3):18-21
<正>The exhibition "Illusive Sky: Hideo Mori’s Painting Works" will be held in the National Art Museum of China in the spring of 2010. This exhibition aims to review the artist’s painting practices since 1970, in particular, his 相似文献
9.
《中外文化交流(英文版)》2005,(5)
The setting of the film Peacock is the small town of Heyang, home of the Gao family. The Gaos are not wealthy, but there is no lack of love and warmth among them. The parents are hardworking, honest people. Weihong, the daughter, loves art and is full of dreams, but often feels depressed about her failure to join the military. Both her career and her marriage are unsuccessful. The elder son, Weiguo, has a slight mental disorder and is his parents' pet, but is often bullied by people outside the family. He also suffers setbacks in finding his ideal mate and has to settle on a less-than-perfect love to marry. The younger son, Weiqiang, is a sensitive, gloomy lad who is silent but self-adoring. He drops out of middle school and marries a divorced actress. Heyang, though a fictional place, is based 相似文献
11.
<正>Liu Haisu was born in 1896 in Changzhou, Jiangsu Province of southeast China. He learned Western painting in Shanghai in 1909 and went back to teach painting in his hometown in the next year. In 1912, he founded a private fine arts school 相似文献
12.
Zheng Chuan 《中外文化交流(英文版)》2007,(4):20-21
The old campus of Sichuan Academy of Fine Arts, located in the city＇s industrial area, have long suffered dust and noise pollution from the thermal power plant, freight yards, the steel plant, the train station and storehouses in the neighborhood. The academy principal Luo Zhongli still remembers that he couldn＇t hold tight the powder-hidden basketball without saliva in his hand when he played basketball gaines as a college student decades ago. It is his lifelong dream to have a beautiful, clean new campus where artists and students can enjoy. 相似文献
13.
Huan ming 《中外文化交流(英文版)》2006,(2):24-25
The past decade has seen Quanzhou Marionette Troupe＇s most frequent exchanges with the outsideworld. The troupe has toured more than 30 countries and regions around the world, staging some 80 performances to show the marvelous art of Chinese marionettes which enjoy a history of 2000 years or so. In 2005, the troupe was invited to show at the UN headquarter in New York, gaining worldwide acclaims with its outstanding skills and performance. 相似文献
14.
Zou Qishan 《中外文化交流(英文版)》2012,(10):24-27
<正>During the Senegalese presidential election this February, world well-known singer Youssou N’Dour entered the race for the presidency, which attracted great ... 相似文献
15.
Mōri Yoshitaka 《Inter-Asia Cultural Studies》2013,14(1):17-29
This paper examines new cultural and political movements that have developed outside of traditional leftist politics since the early 1990s in Japan. The new movements, including Dame‐ren, the Cardboard House Art movements in Shinjuku and recent anti‐war protests on the Iraqi war, were mainly led by young people, in particular, the freeter generation, who did not experience the leftist politics of the 1960s. These movements are different from traditional Marxist political ones and even from the new social movements in the 1960s and 1970s in the sense that they incorporate more cultural practices such as art, music, dance and performance into their political activities. The paper also explores the historical background against which the new movements were born and have developed since the end of the Bubble economy. It sees freeters, young part‐time workers, as emerging, new political actors that have appeared through the transition of a mode of production from Fordism to post‐Fordism. The transformation of society, economy and politics, known as ‘post‐modernization’ or recently as ‘globalization’, has asked us to re‐consider and re‐define the basic concepts such as class, proletariat, power, labour and work which we once shared. The paper tries to locate, through a critical examination, the new movements within a broader context of anti‐neo‐liberalism and anti‐globalization and find political potentiality within it. 相似文献
16.
Ming Gao 《Inter-Asia Cultural Studies》2017,18(2):281-301
The suffering, struggling status and controversial political identity of Chinese internal migrant workers have put them in the academic spotlight for decades. An abundance of literature has analysed the problems faced by Chinese migrant workers from mainly three theoretical perspectives. However, not enough attention has been paid to migrant workers’ subjective understandings and feelings about their work and lives. The current article tries to illuminate the ambivalent feelings of migrant workers of the service sector in Shanghai, based on a brief comparison between migrant workers of three Asian countries, and the interviews with 16 Chinese migrant workers, two government officers and two local citizens in Yan community attached to Po district of Shanghai. It is argued that the migrant workers share an unsettled “structure of feeling” in everyday practices. They simultaneously feel bewildered and sanguine, depressed in a sombre mood and happy, passionate and indifferent. The unsettlement of the structure of feeling constitutes a political passivity for migrant workers. It is urgent to find ways to break up such a stalemate of consciousness. 相似文献
17.
LiShegxian 《中外文化交流(英文版)》2004,(5):6-11
The night of July 2, 2004. The Palace of Versaille. Chinese-style red palace lanterns glittered amid trees and lotus lights with oriental charm floated in the lake. Distinguished guests from China and thousands of French celebrities and officials gathered to await the closing of China Cultural Year. When the clock struck twelve, vigorous music suddenly sounded 相似文献
18.
Wang Feng 《中外文化交流(英文版)》2009,(2):12-17
In the beginning of his career, Gao Feng served as an apprentice in a ceramic workshop, doing errands for his masters. With several months of practicing and training, he acquainted himself with every process of ceramic making and developed interest in this profession dealing with clay and fire, One year later, he was transferred to the ceramic studio of the Central Academy of Fine Arts in Beijing. At that time, except Jingdezhen and a few other ceramic sites in frontier areas, the technique of ceramic throwing had been generally replaced by machine molding and infilling. 相似文献
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Yi Jun 《中外文化交流(英文版)》2010,(2):32-33
<正>The four treasures of the study, including writing brush, ink stick, ink slab and paper, have been favored as curios by emperors, noblemen and elite scholars in dynastic China. The appreciation and collection 相似文献
20.
Jin Zhilin 《中外文化交流(英文版)》2006,(6):10-13
Paper cut is one of the most distinctive folk arts that Chinese women have created and developed over the sweep of Chinese history. The art of paper cutting, originating from the pre-history era and dubbed as ＂living fossils of Chinese civilization＂, has been carried forward for hundreds of years in the vast countryside of China and survived with great vitality until today. 相似文献