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在世人的眼里,紫砂无疑是中华文明的一个符号,她的经典造型、古朴色彩以及与茶禅酒道的联想,勾画出一个伟大民族的悠久历史文化。在紫砂艺术的发源地、在太湖西南岸的古城浙江长兴,优质上乘的紫砂原土踢脚可得,朴实憨厚的紫砂艺人随处可遇,商场货架上陈列的紫砂壶让人眼花缭乱,特别是那十把世界巨壶,更是凝聚了长兴壶人的心血,震撼了整个紫砂艺术界。《茶经》巨壶占鳌头1999年9月20日,日本静冈谷前车水马龙,佳宾如云。“茶乡博物馆”正在举行开馆仪式。当中国国际茶文化研究会会长王家扬掀起大厅中央《茶经》巨壶神秘的面纱时,顿时掌声雷动… 相似文献
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沃伦·本尼斯是麻省理工学院博士,美国当代杰出的组织理论、领导理论大师。他曾是四任美国总统的顾问团成员,并担任过多家《财富》500强企业的顾问。1993年及1996年两度被《华尔街日报》誉为“管理学十大发言人”,被《福布斯》杂志称为“领导学大师们的院长”,《金融时报》最近则赞誉他是“使领导学成为一门学科,为领导学建立学术规则的大师”。 相似文献
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一家子全“玩”陶艺
虽然生活在太湖边的小县城浙江长兴雉城，但青年陶艺家钱樟法却常有上海、杭州、南京及国外喜欢陶艺、紫砂人士的拜访，一些国际性赛事和会议也常邀请他参加。就在去年5月，他应邀向在日本举行的2008年日本美浓国际陶艺展寄去了作品《溪水源源》；接着又收到9月在西安举行的第43届国际陶艺协会大会的参会邀请。这是联合国教科文组织在中国首次举行的大会，钱樟法的作品通过筛选将参加“精品”展…… 相似文献
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浙江省歌舞剧院合唱团不久将赴意大利参加第十届国际民歌合唱比赛,带去无伴奏混声合唱《八骏赞》《太阳出来喜洋洋》《牧歌》《二泉映月》和女声合唱《采莲曲》《半个月亮爬上来》《采茶舞曲》等曲目,以强大的阵容参加角逐。 在出访前夕,笔者采访了合唱团长、国家一级演员、著名青年歌唱家严圣民。严圣民这个名字与一连串骄人的成绩联系在一起:文化部组织的声乐比赛一等奖及两次优秀演员奖获得者、三次入围中央人民广播电台“全国听众最喜爱的歌手”、2000第九届“步步高杯”全国 相似文献
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王桂君，山东省冠县人，原任山东省冠县林业局局长。系中国书法家协会会员，山东省书法家协会会员，中国林业书法家协会会员。早年师法欧体，后专攻王羲之、赵孟顺行书及怀素小草。在《书法导报》等全国十余家报刊发表作品百余篇。2004g-2月，在“金猴之春”中国楹联书法大赛中荣获金奖；2005年，在第二届“盛世中华杯”中国美术书法作品大赛中获金奖，并被授予“中华书画艺术精英”称号。 相似文献
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2009年8月2日，一场名为“我和我的祖国”的演唱会在浙江电视台唱响。演唱会上，一位男高音歌唱家深情地演唱了《我和我的祖国》《天路》《草原之夜》等经典爱国歌曲。一时间，台上激情澎湃、台下掌声如雷，就连电视机前的观众，也都产生了强烈的共鸣。中共浙江省委常委，杭州市委书记王国平还为演唱会题词：“歌唱祖国，颂扬人民。” 相似文献
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李玉刚惊艳悉尼歌剧院 总被引：1，自引：0，他引：1
2009年7月28日晚7点，澳大利亚悉尼歌剧院灯火辉煌，随着一曲悠扬的“枉凝眉”，中国歌剧舞剧院国家一级演员李玉刚“盛世霓裳个人演唱会”拉开了帷幕。他以妩媚动人的扮相和柔肠百转的演唱，赢得了观众雷鸣般的掌声与喝彩，而当李玉刚在最后一个篇章《东方神韵》中褪去华丽服饰，现出男儿本色时，全场2000多名观众一片惊呼，无不为他男扮女装的雍容华美和精湛表演所折服。此次演出，澳大利亚总理陆克文亲自发来贺信并题词，演出结束后， 相似文献
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“一国两制”在香港的实践是成功的
《对外大传播》：香港回归祖国已经十年，请你对这十年作一个整体的评价，好吗？ 相似文献
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Merja Heikkinen 《Journal of Cultural Economics》1995,19(3):261-272
The paper deals with the relationship between direct public support for artists and the economic situation of artists. The empirical findings stem from a research project on the situation of artists in Finland. Some problems connected with obtaining relevant data on artists' economic situation are presented. The effects of direct financial support granted to individual artists on their income level and income discrepancies are illustrated with different patterns of impact. A brief presentation of the goals and measures of public policy towards artists in Finland is given, and the relationship with policy objectives and income effects of direct artists support is discussed. Two issues relevant for evaluating artist policy are raised: the need to account for the fundamental differences between art fields and artistic occupations, and the need to study the actual functions grant income has for the artists. 相似文献
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Roger A. McCain 《Journal of Cultural Economics》1994,18(2):101-112
This paper explores the implications of models of bargaining power for issues having to do with the droit de suite, a legal right of graphic artists to a share in capital gains when a work of art is resold by the first purchaser. It is found that, if both artists and art buyers are risk averse, a positive resale share will be the outcome of a bargaining process that is Pareto-optimal as between the bargainers. This does not depend on bargaining power but is a form of risk-sharing, and to the extent that art buyers are risk averse will be preferred to a zero shareby the buyers. Since resale royalties are not ordinarily a feature of art sale contracts in the absence of legislation, this appears anomalous, and the paper explores alternatives to the received bargaining theory such as might correspond better with casual empiricism. 相似文献
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Private or Public? 总被引：1，自引：1，他引：0
This paper concerns the consequences of subsidizing art production. Once a government offers grants and subsidies, artists can decide between public and private funding. A joint model of this choice-situation and the related earnings is derived. The model is tested for the case of visual artists in the Netherlands. The analyses show that subsidizing artists enhances a winner-takes-all tendency for the market at large. Financial success on both the private and the public market appears to be not particularly related to human capital, but to personal characteristics, government recognition and (unobserved) talents. 相似文献
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We analyse determinants of prices for contemporary art with the help of quantitative data. The focus is on gallery rather than auction prices in the Netherlands. We model the determinants of prices on three different levels: the work of art (size, material), the artist (age, sex, place of residence, institutional recognition), and the gallery (location, institutional affiliation, age). Our main findings are that the size and material of works of art, and the age and place of residence of the artist are strong predictors of price; that differences in size and materials partly ``mask' price differences between artists; and that the variance in prices across galleries is largely explained by characteristics of the artists they represent. 相似文献
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Within a hedonic pricing model, the preferences of Australian art purchasers are investigated. Emphasis is placed on the impact of an artwork’s dimensions upon its auction price. A salient aspect of this is the first test of the ‘golden ratio’ hypothesis in a market situation. It is concluded that purchasers prefer paintings that deviate from the golden rule. The ‘orientation’ of works (portrait, landscape or square) as well as size also helps determine price. The impact of winning the Archibald portraiture prize (Australia’s foremost art prize) is found to have significant and positive impacts on winning artists’ prices. This suggests that purchasers are not fully informed. In addition, a previously unsuspected relationship between artwork dimensions and Archibald prize winners was found. As well as purchasers’ preferences, the artists’ choices of the dimensions of their artworks are considered. 相似文献
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The paper discusses the impact of gender on the income level and public support of artists in Finland. The empirical data is based on a research project carried out in the Arts Council of Finland. The data discussed in this paper indicated that the average income level of women artists is lower than their male colleagues. There was, however, no significant evidence of a gender bias in the distribution of public support for artists. The variation in the economic situation of artists seems to be notably stronger according to art form than according to gender.Based on a paper presented at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996. 相似文献
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Brinja Meiseberg 《Journal of Cultural Economics》2014,38(1):9-42
Based on a unique dataset of artists that are active in the German market for folk music—the third largest music genre in terms of popularity and sales—I study what factors determine the artists’ success. Following Rosen (Am Econ Rev 71(5):845–858, 1981), I test if differences in artistic performance have a direct effect on financial rewards as regards physical and digital record sales (“direct superstar effect”). Following Adler (Handbook on the economics of art and culture. Elsevier, Amsterdam, 1985), I also study sales effects of a media presence of artists (“classical superstar effect”). Controlling for various contingency factors (e.g., record labels’ support, artists’ socio-demographics), I deal with an economic issue of general interest: Does it pay more to develop your skills in your core business to perfection or to maintain the current level of skills and invest in self-marketing; and do these effects apply to all folk artists alike? Rather contrary to studies on pop and rock genres, I find that higher ability increases artists’ revenues disproportionately, but simultaneously, openly competing for the recognition of one’s talent holds substantial economic risk. I also observe a positive effect of various types of media presence on financial rewards. However, these income determinants have different impacts on sales in physical versus in digital markets, and their effects vary across the success distribution from low- to top-selling artists as well. 相似文献
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William M. Landes 《Journal of Cultural Economics》2001,25(4):283-306
This paper presents an economic analysis of the Visual Artist's Rights Act of 1990 (VARA) which provides attribution and integrity rights, commonly called moral rights, for defined types of artistic works. The paper shows that these laws may actually harm artists by adding contracting and transaction costs in the art market. For most works, these costs will be trivial because collectors have a strong self-interest in preserving works in good condition. These costs are more likely to be significant, however, for works subject to destruction or alteration in the future, such as site-specific works and works installed in buildings, because purchasers will require waivers rather than risk violating the Act. The paper also examines the few cases that have been litigated under VARA. Consistent with the economic model, these cases involve large-scale works by relatively unknown artists that have been destroyed by building projects. Finally, the paper presents an empirical analysis of state moral rights laws. Nine states enacted these laws prior to VARA. These laws had no significant effect on artist earnings but a positive and significant effect on the number of artists living and working in the state. 相似文献
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Land Artists and Art Markets 总被引：1，自引：1，他引：0
This paper focuses on the relations of land artists to the art market.As landworks are by their very nature site specific, what is sold is mostoften the documentation of the project. This paper examines whether there isa market for Land Art and if so, whether it shares the same characteristicsas markets for Minimal and Conceptual Art, which started at about the sametime. Data collected on auctions over the period 1972–1992, show thatthis market is very thin. This was probably realized by Land artists wholater seem to have turned to more marketable creations. 相似文献