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如果要书写中国伊斯兰教的历史,广州蕃坊是必须追溯的源头.千百年来,社会文化经历了巨大的变革,然而伊斯兰文化血脉依然鲜活在这座华南大都市的各个角落.中世纪阿拉伯人的商船带来和运走货物的同时,也给这一片土地留下伊斯兰信仰的信息. 相似文献
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正中华文明有着源远流长的历史,"孝"观念亦是如此。"孝"字最早出现在《尚书·尧典》中:"岳曰:‘瞽子,父顽,母嚚,象傲;克谐以孝,烝烝乂,不格奸。’"舜以孝行感化家人,从而使家庭和谐。《说文解字·老部》将"孝"解释为:"孝,善事父母者。从老省,从子,子承老也。""孝"是指善于奉侍父母的人。最初,"孝"体现为对祖先的崇拜。《礼记·坊记》记载:"祭祀之有尸也,宗庙之有主也,示民有事也。修宗庙,敬祀事,使民追孝也。以此坊 相似文献
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盛唐气象不仅是一个诗学范畴，而且是一个时代精神风貌的总概括。具体到乐舞领域，亦有着其一脉贯注的精神风貌。文章通过考辨《教坊记》、《乐府杂录》所列健舞、软舞中的胡舞，从文化的角度考察盛唐气象的丰厚内涵，即博大兼容的文化精神之展现；以《剑器浑脱舞》的流传为一个侧面来审视盛唐气象的多元性与延续性。 相似文献
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陶渊明《五柳先生传》是一篇自传性质的文章,以“五柳先生”自寓。文中说:“好读书,不求甚解;每有会意,便欣然忘食。”说出了他读书的态度与心得。对于这句话的意义,一般人的理解认为,这是诗人说他读书时但观大意,不像经生那样死抠字句。冯钝吟《杂录》曰:“陶公读书,止观大意, 相似文献
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本文以詩詞對仗修辭用例及樂府舊題之傳統爲根據,主張李白《將進酒》詩題中的"將"字讀'"jiāng"而不讀"qiāng"。并指出樂府舊題《將進酒》的傳統来自《詩經·小雅》,言朝會進酒、燕樂嘉賓,且以濡首荒志、醉酒敗德爲戒。郭茂倩《樂府詩集》"將進酒"解題及逯欽立《先秦漢魏晋南北朝詩》"將進酒"古辭釋羲,皆需重新檢討。本文還討論了李白《將進酒》一詩的文本歧異狀態,指出該詩在敦煌殘卷伯2567、《河岳英靈集》及宋蜀本《李太白文集》中的文本形態,呈現出一個不斷升鈒修改的過程。該詩背離了樂府舊题《將進酒》的老傳統,但却開創了一個新傳統,是樂府文學史上典型的"别子爲宗"現象。 相似文献
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《中华文化论坛》2001,(4)
龙晦 ,1 92 4年 7月生 ,四川岳池人。 1 948年毕业于四川大学 ,1 95 0年入西南革大学习 ,1 95 1年在四川音乐学院附中任教。 1 981年为四川音乐学院副教授 ,1 987年为四川教育学院教授。兼任中国敦煌吐鲁番文学语言研究会理事 ,四川省中华文化学会副会长 ,四川省语言学会学术委员 ,巴蜀史学会常务理事 ,四川大足石刻研究会理事。主要从事古汉语、宗教与考古研究。主要论著有 :《卜天寿论语写本后的诗词杂录研究和校释》、《卜天寿论语写本与敦煌方音》、《韵学集成与中国雅音》、《论中原雅音的发现及其评价》、《三星堆出土铜像考释》、《… 相似文献
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Li Guoping Xiao Mei 《中外文化交流(英文版)》2009,(8):12-14
He is an ordinary Chinese artist but his creations stunned former British Prime Minister Thatcher and Danish Queen Margaret Ⅱ, He was invited to many countries like USA, Japan, South Korea, Italy , Spain and Canada, His artistic career was covered by such prestigious International media as CCTV, Washington Post and BBC. AS a young artist, he was granted the title of ＂Chinese Folk Affist＂ by UNESCO. He was hailed as ＂Chinese Plcasso ＂ by Western art critics. His name is Gao Dongsheng. 相似文献
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Visits to museums have been studied as hedonic and utilitarian forms of cultural consumption, though limited attention has been given to the access of museum collections online. We perform a unique historic analysis of the visibility of collections in a museum of ethnographic collections and compare 100 years of onsite visits to 5 years online visits. We find two main results: first, access to collections increased substantially online. From a selection of objects available both onsite and online, access grew from an average of 156,000 onsite visits per year to over 1.5 million views online per year. Onsite, the museum received 15.5 million visits in a span of a century while online, collections were viewed 7.9 million times in only the last 5 years. Second, we find a difference in consumer preference for type of object, favouring 3D onsite and 2D online (photographs of objects, particularly when showing them being used). Results support understanding of online heritage consumption and emerging dynamics, particularly outside of an institutional environment, such as Wikipedia. 相似文献
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