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林锴,1924年1月1日生于福建福州,1950年毕业于国立艺专（杭州）,1951年人人民美术出版社工作。初从事连环画创作,后专攻国画,兼及书法、篆刻与古诗文。1994年7月被聘任为中央文史研究馆馆员。国家一级画师,中国美术家协会会员,中国书法家协会会员,中华诗词学会会员。出版有《林锴书画》、《林锴书画集》（台湾版）、《墨花集》,诗集（《苔纹集》等。 相似文献
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福州豫章罗氏世居城内南营街，至五口通商福州始设英、法领事馆，外侨及传教士来者渐多，城外苍前山景物苍郁，领事馆及外侨多聚集于此，时又有教会办鹤龄英华书院（后改称英华中学），城中望族和巨商也竞置别业，罗氏亦由城内移居于此直至民国以后。罗氏家族在光绪年间出了一位职业外交家罗丰禄，丰禄字稷臣，出生于道光三十年（１８５０年），１８６７年考入福建船政学堂，他正是从这里开始走上职业外交宫的生涯。 福建船政学堂隶属于福建船政局，同治五年（１８６６年）清政府设立福建船政局，江西巡抚沈葆桢出任福建船政大臣。船政局的… 相似文献
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一糕印、饼印、粿印形制各异、工艺精美,是颇为珍贵的民间艺术创作和文化创造。不仅代表着闽台两地的饮食文化,也反映两地的习俗信仰、节庆生活;同时也显现出艺术与生活结合为一体的传统风俗,在福建、台湾等地年节婚庆、敬神祭祖等传统民俗活动中都有广泛的传播。木制糕饼粿印模以雕刻的手法制作。 相似文献
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教育投入不可掉以轻心王浒《中国教育改革和发展纲要》（以下简称《纲要》）对教育投入作了明确的规定：＂逐步提高国家财政性教育经费支出（包括：各级财政对教育的拨款，城乡教育费附加，企业用于举办中、小学的经费，校办产业减免税部分）占国民生产总值的比例，本世纪... 相似文献
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Mizoguchi Yūzō 《Inter-Asia Cultural Studies》2016,17(4):513-518
This is one of Mizoguchi Yūzō’s famous polemical essays in which he rethinks the problems of Japanese sinology. He contends that China has been essential to constructing Japanese identity and consequently Japanese sinologists developed what he calls a “sinology without China.” That is Japanese sinologists projected a subjective image of China and such visions of China said more about Japan than they did about China. In contrast to this, Mizoguchi attempts to outline a sinology that takes China as method and uncovers the internal dynamics of Chinese history. Towards the end of the essay, he also discusses the ideological implications of such a shift in focus. In short, previous sinologists often took something like Western modernity as a method and forced China into this framework. Against this, Mizoguchi underscores the specific logics of Chinese history and hopes then to construct a new universality grounded in specific spatio-temporal logics around the world. 相似文献
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Fernando Canet 《Popular Communication》2018,16(2):154-167
ABSTRACTThis study is focused on those filmmakers who make films as a way of fighting to defend human rights. I look in particular in this article at their activist role in the process of documenting human rights abuses in contemporary film projects that explore the aftermath of genocide. In Asia, we can find two examples: the anticommunist genocide in Indonesia in 1965–66 and the genocide perpetrated by the Khmer Rouge regime in Cambodia in 1975–79. Two contemporary filmmakers have produced works that recover the history of the atrocities: Joshua Oppenheimer and Rithy Panh. Traditionally, filmmakers have formed relationships only with victims; however, this article shows how the involvement of the perpetrators is also necessary to fully understand the conflict. This article explores why filmmakers decide to engage with the perpetrators, how they get them to participate, and what the consequences of this process may be. Since Oppenheimer’s involvement with his protagonist, Anwar Congo, in The Act of Killing (2012) turns out especially problematic, exploring this relationship in depth is the central purpose of this article. 相似文献
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