九旬贺友直 画展闹杭城

6月30日在浙江美术馆闭幕的"谈情·说爱——贺友直艺术展"让一批又一批的男女老少赶来看满墙的"小人书"。贺友直是连环画创作的一代宗师,其作品被誉为"中国连环画的里程碑"。贺友直,浙江宁波北仑人,今年91岁。吴山明、刘国辉等著名画家在签到本上签名时一个个都说:     

连环画巨擘贺友直

2012年春天,连环画大师贺友直迎来91岁高龄,而一场“率真贺友直·经典老上海”画展在上海市与广大观众见面。人们看到的这个画展有些另类,陈列的线索不是画,而是人,一个满肚子故事的老人贺友直。     

投资连环画,也能赚大钱

连环画又称"小人书",可读性强,欣赏价值高.以前的人家里,谁没有三五成套地搁着?渐渐地,家里的孩子长大了,随着住房的搬迁,那些代表了一段过去岁月的"小人书"大多散落了.如今连环画已成了集藏品市场的宠儿.据行家们认为,连环画在今后若干年里将有可能大大升值. 是否升值要看七要素 近几年来,随着连环画精品的艺术价值逐渐被世人发现,一些早期版本由于难觅成了当代文物,投资连环画的人越来越多.连环画的升值潜力已不可估量.在此掌握连环画升值的七个要素对连环画投资者来说至关重要.     

回首,695——贺友直先生逝世周年怀念

正695,巨鹿路上一里弄号。2017年初春去上海,又不知不觉走向695。是个阳光淡淡的日子。走进弄口,吹来一阵冷风。是风寒?是心境?天色有些阴沉下来,下垂的双手抚摩裤缝,不知迈步拾阶,还是并拢伫立。抬头瞥见朱红木门,拜识画界前辈贺友直先生的诸多往事,尤其是他浓浓的乡情,像打开了记忆岁月的录像机,一一回放。初次拜访是2009年的一个夏日,那时因为在组织策划《慈孝句章》连环画创作,欲聘请贺先生为顾问,便从宁波去上海。拜访的三人都与贺先生不熟。作为具体联系人的我,怕生头陌脚的窘     

用连环画,打开一扇望向世界的窗

正上世纪80年代,浙江人民出版社推出了《世界文学名著连环画》丛书,至今豆瓣评分9.7。数百位网友留言点评,说出了记忆里的阅读往事。而黄云松就是这套丛书的策划者。黄云松可能自己也未曾想到,他80年的人生中,竟有近40年承担了一个特别的角色——先是与众多     

痴情丹青终不改

柯里,字号百里,副教授,省美术家协会会员、省残联美术 协会特邀理事,作品多次参加省及全国性美展并获奖,国画、插图、连环画、书法、速写作品经常发表于《文汇报》、《新民晚报》、《安徽日报》、《新安晚报》、《农村天地》、《保健与生活》等报刊,并被海内外许多单位和收藏家收藏。百里先生擅长山水、人物、书法,尤擅小写意青绿山水,在中国美术史论方面有很深的研究。     

新时代浙江书画巡礼

9月29日，“丹心·丹青——庆祝中华人民共和国成立六十周年浙江省第十二届美术作品展览”在浙江美术馆开幕。来自全省的中国画、油画、版画、水彩、粉画、雕塑、壁画、漆画、陶艺、艺术设计、年画、动画、漫画、连环画、插图、综合材料等2163件作品参加展出。到会专家、市民反响热烈，称这些作品彰显了当代美术真善美的审美思想，展现了浙江美术创作的繁荣和兴旺。     

道教“承负”思想论析——基于中国道德文化的逻辑必然

道教是中国土生土长的宗教,对中国人民的性格与灵魂的塑造都产生了深远地影响。鲁迅也曾讲过:"中国文化的根柢全在道教。"因此,对中国人民的性格与中国文化的研究就决然抛不开对道教的研究。中国的儒家文化为中国的世俗社会树立了一套道德准则,道教使这一套道德准则在神圣领域得到延伸,这一切集中地反映在了道教的"承负"思想之中。可以说,在中国漫长的历史长河中,"承负"思想成为了中国人行为的准绳,为中国的"道德"在神圣领域获得了备书。本文就道教"承负"观产生的历史维度和道教"承负"观产生的逻辑维度两方面展开论述。     

2014“中国梦”国际传播评价

正"中国梦"集中表达了中国建设的愿景,体现了中国的治国思路与理念,回应了"中国崛起将给世界带来什么"等国际关切。因此,介绍好、讲述好和解读好"中国梦"将为"中国更好地了解世界,世界更好地了解中国"发挥重要积极作用。那么,经过两年多的努力,我们的"中国梦"对外传播工作取得了怎样的效果?为此,本文借鉴"国家形象"概念提出者、英国政策顾问西蒙·安霍尔特(Simon Anholt)等人的研究成果,     

“新常态”下中国经济的国际责任

<正>改革开放三十余年来,中国经济在高速发展的同时也积累了不少矛盾与问题,投资拉动的高能耗高污染的粗放型经济发展方式已经不可持续。2014年,中国经济增长了7.4%,创下了1990年以来的最低值,中国经济已经走到了改革的关键点。针对中国经济发展的新特点,2 014年5月,习近平总书记在河南考察时首次提出"新常态"的概念,自此对中国经济发展步入"新常态"的认识开始正式进入中国战略决策层。美国总统奥巴马曾在媒体上公开抱怨中国经济的发展是搭了美国的便车,于是中国"搭便车论"甚嚣尘上,国际舆论不乏指责中国之     

永远的艾青 世界的骄傲

正为什么我的眼里常含泪水因为我对这土地爱得深沉—艾青"给我一个火把!/你们看/我这火把/亮得灼眼啊/这是火的世界/这是光的世界……"艾青的这首《火把》在民族生死存亡的危急关头,为中华民族发出自己的呼声与呐喊。在抗战时期,艾青的诗歌就像火把,鼓舞着国民奋起抗战。2015年,在纪念中国人民抗日战争暨世界反法西斯战争胜利70周年的日子里,中国青年出版社同时出版了《我爱这土地—艾青抗战诗集》与《时代:艾青诗选》两本书。其中《我爱这土     

Contents of Volume 39

Volume Contents

Contents of Volume 39     

杜鹃:寂寞守望王星记雅扇

"板凳要坐十年冷."敲下这几个字的时候,我眼前就浮现出清瘦的杜鹃淡定的脸容.以前我对这句话的理解是模糊的,现在总算找到现实版了,而且她的板凳坐了快40年了. 　　……     

Art collections and taste in the Spanish <Emphasis Type="Italic">Siglo</Emphasis><Emphasis Type="Italic">de Oro</Emphasis>

We analyze art pricing in a unique dataset on Madrid inventories between 1600 and 1750. We estimate a price index for the Spanish art market that is used for a general historical analysis of art during this period, showing a large increase in the real price of paintings during the XVII century. Then we examine the price differential between domestic and foreign paintings: At the beginning of the century domestic production was priced substantially below imported paintings, but the price gap was gradually reduced during the century. We argue that such a price convergence was not the fruit of variations in real exchange rate, relative supply or home bias, but was associated with increasing prices for the new domestic painters of the XVII century. Increasing remuneration for painting may have induced artistic innovations by domestic producers and created the conditions for the development of the Siglo de Oro of Spanish art.     

Laser cleaning of terracotta decorations of the portal of Palos of the Cathedral of Seville

Laser cleaning has been used to restore the soiled terracotta statues and decorations of the tympanum of the portal of Palos of the Cathedral of Seville in Spain. A simultaneous laboratory study performed on a representative sample helped to identify the optimum laser conditions to remove the dark soiling layer produced by air pollution. It was found that irradiation at 1064 nm with a Q-switched Nd:YAG laser was more effective than the harmonic wavelengths of 532 or 266 nm. LIBS and Raman microscopy gave information on the composition of terracotta and identified the presence of a protective layer made of gypsum and calcite. As detected by Raman spectroscopy, laser irradiation caused the elimination of the carbon component of the soiling layer and the appearance of an anhydrite component in the laser irradiated gypsum layer applied over the terracotta substrate for protective purposes. Local heating of the surface caused by laser irradiation at 1064 nm, the laser wavelength used for restoration of the portal, might be responsible for a process of partial dehydration of gypsum into anhydrite.     

The sound of the cathedral-mosque of Córdoba

In all cultures, and in many different ways, man has searched for God, and architecture has been a fundamental element in this search. The cathedral-mosque of Córdoba is a unique example of this particular history of the search for God through architecture: first with its choice of a horizontal space on a human scale, adapted to the praying practices of the Islamic period, and then with a vertical space, symbolizing the grandeur and spirituality of the Christian period. The different religions that have been accommodated in this building in the course of its history have brought with them different conceptions of space and different liturgies. These needs, peculiar to each form of worship for the propagation of the faith, imply different acoustic conditions for the particular space. The aim of this study is to look at the sonic characteristics of the space and analyze the evolution of its acoustic characteristics and their adaptation to the different liturgical needs of each period.     

La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation

The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes.     

<Emphasis Type="Italic">Ex-ante</Emphasis> versus <Emphasis Type="Italic">ex-post</Emphasis>: comparison of the effects of the European Capital of Culture Maribor 2012 on tourism and employment

The estimation of the economic effects of cultural events is a topic that has stirred numerous debates in cultural economics. Although economic impact studies and contingent valuation have been the most frequently used methods, both suffer from numerous problems. In this article, we use ex-post econometric verification as a new and promising method in cultural economics in the estimation of the economic effects of cultural events and apply it to the estimation of the effects of the 2012 European Capital of Culture Maribor on tourism and employment. This enables us to compare results from economic impact and ex-post econometric verification studies to find significant differences in particular in terms of new employment. We determine the net effects on new tourism and find that they were mainly present in Maribor, the holder of the project, and not in the other five partner cities. We conclude by reflecting on the state of the art of the studies of economic effects of cultural events in cultural economics and their relevance for the study of cultural tourism.