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绍兴老酒出东浦,东浦十里闻酒香.东浦镇位于绍兴市西郊,距离绍兴城区7公里,属于宁绍平原.
清代的绍兴东浦,油漆匠阿根师傅的母亲即将迎来八十大寿.往常村里人祝寿,会挑一坛上好的黄酒,并在装酒的陶坛外用红纸写上"寿"字以贺之,可阿根师傅觉得这陶坛既普通也不好看,于是突发奇想:能否在陶坛外用泥塑的形式,让陶坛与众不同一些?他日夜构思,反复试验,最终在储酒的陶坛上泥塑了一位老寿星形象,还在四周雕刻出百花装饰点缀,最后用自己的漆匠手艺,施之各种色彩,使原本平淡无奇的陶坛焕然一新.这不,阿根师傅的创意一经实现,立刻传遍了全东浦.日后,这种雕了花的酒坛就成为了绍兴酒包装的代表,梅兰竹菊、神话传说、山水风光、经典人物,无不成了雕花内容,而这原本的绍兴加饭酒,也多了一个雅称:花雕.这便是花雕酒的来历. 相似文献
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当我一踏进中国最大的黄酒产地——绍兴黄酒集团总公司花雕酒厂时,便被花雕酒坛那五彩缤纷的艺术图饰所吸引。看,一坛坛大大小小造型不一的花雕酒坛上,用沥粉彩绘或油泥堆塑,表现各种各样的历史人物、四时花卉、灵禽神兽。那斑斓典雅的色彩,那神采飞扬的形象,那瑰丽奇谲的图案,令人目不暇接,击节赞叹! 这哪里是盛酒的容器,分明是一尊尊艺术杰作。 这些花雕酒坛的设计创作者是浙江省工艺美术大师、高级工艺美术师、绍兴黄酒集团公司花雕设计室主任徐复沛。这位五十开外的中年人生得敦厚匀称,端庄的四方脸上透出一股聪颖灵秀之气。当他向我提及花雕时,双眼闪出 相似文献
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2014年11月7日,立冬时节,绍兴光相桥畔,中国黄酒博物馆广场上酒香氤氲,第二十届中国绍兴黄酒节开幕式暨绍兴黄酒开酿仪式隆重举行。鼓乐声中,敬献祭品、恭请酒神、诵读祭文、上香祭拜,现场15家绍兴黄酒企业代表共庆冬酿的开始……千年酒都绍兴向世人展示了酒乡酒人酿酒的古越文化。 相似文献
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博物馆是征集、收藏、陈列和研究文物,并为公众提供知识、教育和观赏的文化机构,是我国文化事业的重要组成部分。如今,各种专题博物馆不断涌现,博物馆的新职能、新形态、新的收藏对象也不断出现。中国黄酒博物馆和鄞州雪菜博物馆都是舌尖上的博物馆。这些博物馆的建立、完善与提升,为传播与弘扬中华文化发挥着积极的作用。 相似文献
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历史上内外贸易的黄金水道中国大运河南端的浙东运河,地跨杭州、绍兴和宁波三市,流淌在锦绣的宁绍平原,古时流到明州(宁波)港与外海连接,成为历史上内外贸易的黄金水道。称谓运河,一般指人工开凿的水上航道,有别于从深山峡谷奔突而出的自然江河。浙东运河主航道除利用甬江、姚江自然水系外,便是人工开掘。根据历史文 相似文献
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《Journal of Cultural Heritage》2002,3(4):333-345
A heavily corroded Egyptian bronze figurine of the god Osiris was examined and shown to have been originally gilt with gold leaf and inlaid with blue glass. Detailed formal comparison between this Osiris figure and the known corpus of bronze and stone sculpture leads to the inference that the statuette dates to the time between the Third Intermediate Period and the fourth century BC, with a greater probability of originating from the Third Intermediate Period through to the 26th Dynasty, or even possibly as late as the fourth century on the basis of stylistic similarities. An extensive corrosion crust of atacamite and chalconatronite completely obscures inlaid glass decoration, found during the investigation, together with remnants of a gilded surface. Analysis of the glass by electron microprobe showed a composition consistent with early Egyptian blue glass with high sodium oxide and low potassium oxide content. The solid cast bronze is a leaded tin bronze, and the gold is a gold foil applied to the bronze surface, originally alternating in decoration with the blue glass. The chalconatronite and atacamite patina appear to be closely associated in the development of the unusual but extensive chalconatronite crust that now covers part of the surface, as a natural corrosion process in this case, not derived from subsequent conservation treatment. The loss of the light blue corrosion crust was prevented by consolidation with Paraloid B72, as examination over several months showed no sign of continued chemical instability. 相似文献
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说起绍兴师爷,人们就会想到戏曲舞台上那个头戴方巾,身穿大褂,抹着白鼻子,在官老爷身边转来转去,尽出点子的文丑。陈道明出演的电视剧《绍兴师爷》,把方敬斋塑造成为一个足智多谋,刚正不阿,善恶分明,救民于苦难的好人。一些研究绍兴师爷的文章、书刊,纷纷出来说好话,绍兴师爷的博物馆也已在绍兴安昌镇建立起来。 相似文献
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Many important pieces of sculpture are located in exposed sites where they are open to chemical and physical attack by atmospheric agents. In some cases outdoor sculpture is now reaching a critical condition where the cohesion of the material of construction is almost lost. In these circumstances we face a stark choice between removing the sculpture to a safer environment or allowing its destruction. The removal of sculpture from its original site is an emotive issue and it is clearly not acceptable to simply leave a void where the original was located. The obvious solution is to replace the original with a replica. This presents a range of problems since we must achieve a sympathetic and accurate replica without any damaging contact occurring to the original object. The use of a laser scanner combined with the latest manufacturing techniques presents a potential solution to the need for recording and non-contact replication. The aim of this paper is to highlight a case study involving the non-contact replication of two decayed marble sculptures at the Garden Temple of Ince Blundell Hall on Merseyside. 相似文献
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“奉还百姓一文钱,留得清白在人间……”悠扬的乐曲,清新婉转的唱腔,投入的表演,使一尘不染、一心为民的“一钱太守”刘宠清廉的形象、感人的故事展现在京城观众面前。惯见才子佳人的越剧舞台,瞬时给人们带来强烈的艺术感染力,剧场中不时响起阵阵掌声。今年2月26日晚,由绍兴小百花艺术中心创作排演的新编廉政越剧《一钱太守》在北京梅兰芳大剧院举行汇报演出。 相似文献
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《Journal of Cultural Economy》2013,6(4):439-454
This paper explores the use of three different forms of valuation and measurement by or on behalf of brands and branded organizations: financial brand valuation; brand equity measurement; and internal social or environmental evaluations. These systems, it is argued, are sites at which possible relationships between economic and other values are explored, and at which understandings of what is valuable emerge in tandem with the means for acknowledging and measuring it. By tracing the contexts and workings of these systems the paper shows how they allow aspects of the social world, including relationships and affects, to be partially absorbed into the brand as values. We argue that in an environment in which ‘value’ is imagined to be diffuse but omnipresent, the proliferation of valuation systems evidences both a requirement for new forms of measurement (capable of capturing multiple forms of value) and a search for novel ways of linking measurement and valuation. The paper concludes with an exploration of how these new ways of linking measurement and valuation may allow economic agency to be recognized and distributed. 相似文献
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Optical and SEM-EDS microscopy, X-ray powder diffraction and micro FT-IR spectroscopy investigations of the funerary klinai (couches) of Tomb 1 from Amphipolis and a stone sarcophagus from ancient Tragilos—two painted monuments made by Macedonian craftsmen of the Early Hellenistic period—identified the original materials and painting technique, as well as synthetic materials used as consolidants during past restoration treatments. The original organic binders and the superficial modern coatings have been identified by micro FT-IR spectroscopy applied directly to the sampled powders or tiny fragments and to their solvent—soluble fractions. The pigments identified on the couch of Amphipolis are: red and yellow ochre, cinnabar, Madder lake, paratacamite and antlerite, carbon black, calcium carbonate, kaolin and gypsum. The identification of egg and animal glue confirms the application of tempera and secco techniques. The detection of polymers such as polydimethylsiloxane, polyvinyl acetate and alkyd resins, is related to modern restoration products. The pigments attested on the paintings of the Tragilos' sarcophagus are: red and yellow ochre, Egyptian blue, malachite, carbon black, calcium carbonate and gypsum. The absence of organic binders combined with the constant presence of calcium carbonate in all the examined samples suggests the use of lime as the binding medium in the painted decoration of the sarcophagus. The presence of Paraloid B72 is related to recent conservation treatments. 相似文献