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越南地处北回归线以南，属热带季风气候，温度高，湿度大，土壤肥沃，适合于竹子生长，可谓处处见竹子，村村有竹林。越南人民视竹为宝，不仅用来做建筑材料、造纸原料，或做家具、编筐篮，还用来制作富有民族特色的传统乐器。独弦琴，亦称“瓢琴”，俗称“葫芦琴”，是越南最大民族京族人民最喜爱的一种弹拨乐器。最早的独弦琴琴身是几节粗竹组合而成，长形无底，呈平卧状，张金属弦一根，一头系于琴尾，另一头穿过喇叭形的葫芦，孔子插在琴头的小竹柄上。演奏暗，左。控制小竹柄以调节音量，右手用竹片拨动琴弦，其音色优美清柔，婉转动听… 相似文献
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去年8月，我有机会东渡扶桑，在那片海洋环绕的土地上生活了20天，亲身感受到了一种欲说又止的复杂心情。日本人严谨，忠实规矩几近刻板，初次与之相处难以理解，但细细思量又不难解读这份刻板与当今日本社会秩序井然的必然联系。与中国文化相比，日本文化并不悠久，但日本人民却非常珍惜本民族的每一份文化资源，许多历史遗物，原貌依然地留存在现代生活的背景里，珍藏在文化民俗的长廊中。太鼓在日本历史悠久，冈山几乎每个町都有自己风格的太鼓。我们领略了日生町的甚九郎太鼓、中央町的鬼太鼓、备中町的备中太鼓和早岛町的冈山钱太鼓。除冈山钱太鼓外，其他太鼓形式较相似，都是当中一个鼓架上放着一只长桶双面鼓，一男一女两名鼓手各执鼓槌分立在两边，横鼓前排列5个大圆鼓，大圆鼓前站立5位鼓手，再往前排列着小一点儿的扁鼓，扁鼓前坐着4位鼓手。鼓手有的是清一色的女子，有的男女搭配。参加表演的鼓手一律身着黑色行者服，头扎红绸带。鼓手都是中青年人，略通五线谱。太鼓虽不及中国的威风锣鼓那么有气势，但也十分令人振奋。其鼓点节奏于明快中富于变化，特别是备中太鼓，先是由笛子吹奏一段清幽而略带哀婉的曲子，有点儿像出征前的勇士与亲人告别，散发出一种依依不舍的情绪，当笛声戛然... 相似文献
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1970年10月,在西安南郊何家村窖藏出土的二百多件唐代金银器中,有一件银壶自出土以来便受到人们的极大关注和高度重视。它就是早已蜚声中外现藏于陕西历史博物馆的舞马衔杯纹皮囊式银壶。 这件银壶高18.5、口径2.3厘米。其造型采用了我国北方游牧民族携带的皮囊和马镫的综合形状。扁圆形的壶身顶端一角,开有竖筒状的小壶口,上置覆莲瓣式的壶盖, 相似文献
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Alyssa 《中外文化交流(英文版)》2013,(9):46-47
On August 12, “Seeking the Root： Chinese Culture Journey”, an international summer camp for young overseas Chinese, opened in the Tang Paradise in Qujiang New Area, Xi＇an City. Dr. Hu Chunyi, Chairman of Malaysia NV Foundation, Ms. Li Peishan, representative for China-Malaysia Friendship and Culture Promotion, Ms. Wang Jing, representative from Qujiang Culture ＆Tourism Co., Ltd., Ms. Xu Chun from Chinese International Ceremonial Group, and Mr. Li Weimin and Mr. Yao Kaiwen who were responsible for the event＇s organization, attended the opening ceremony. 相似文献
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Sakiyama Masaki 《Inter-Asia Cultural Studies》2013,14(3):365-368
Based on interviews with 30 female readers of BL (‘boys’ love') manga conducted in Taipei in 2005, this paper analyses the BL scene in Taiwan from the perspective of its social utility as a discursive arena enabling women collectively to think through transforming social ideologies around gender and sexuality. This form of participatory pop culture is most interesting, I argue, not because of any unilateral subversiveness vis-à-vis culturally dominant understandings of (feminine) gender or (homo)sexuality—although it does often contest such dominant understandings. Rather, it is important in providing a space for the collective articulation of young women's in-process thinking on these questions. The paper also engages with the Japaneseness of the genre as consumed in Taiwan in order to consider the imaginative function that its perceived cultural ‘otherness’ performs. 相似文献
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盛夏六月，骄阳似火，我们一行五人穿梭在吉泰平原无边的绿色田野中。极目远眺，圆润的群峰裹在一层淡蓝色的薄雾之中，平展展的稻田一望无际；间或小溪沟渠流水潺潺，黄牛在悠闲地反刍，小山坡上几个牧童在嬉戏。不远处，大片绿树阴中，一座江南古村忽现眼前，那就是我们梦牵魂绕之地——南宋大诗人、理学家杨万里的故乡江西吉水县滋塘村。 相似文献
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<正>在中国历史上的大多数时期,特别是有身份有文化的人,通常都有两个甚至两个以上的名字,一个名(有时还有小名与大名之分),一个字,有的人还有号。名与字相配,既说名,又说字,才是一个人完整的名字。 相似文献
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ABSTRACTIn May of 2017, a space called Soeng Joeng Toi was established, gathering a variety of people to share and co-organise a space together. While it may be considered a relative newcomer, Soeng Joeng Toi’s appearance can be seen as an inevitable breakaway from the mainstream political, economic and cultural climate of a city like Guangzhou. From its initial planning stages to its official operation, much of Soeng Joeng Toi’s inspiration and methods have come from extensive exchange with independent spaces both in China and abroad, where mutual recognition of similar conditions and thinking of the commons have led these different spaces to continue developing in a sustained dialogue. This text, written from the perspective of two of Soeng Joeng Toi’s “co-proprietors,” introduces the beginnings of Soeng Joeng Toi, its current operations and experiences of connecting with others as well as explores the possibilities of a shared activism involving people from different fields and geographic regions. 相似文献
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