439年，北魏皇帝拓跋焘统一北方。在宦官宗爱挑唆下，他冤杀大臣崔浩。宗爱为篡位又进谗言逼死太子。在太后冯昭仪提醒下拓跋焘警觉，却被宗爱先发动叛乱杀死。拓跋焘临终派侍卫李奕护送爱妃冯桂儿出宫报信，众大臣兴兵铲除宗爱乱党。

439年，北魏皇帝拓跋焘统一北方。在宦官宗爱挑唆下，他冤杀大臣崔浩。宗爱为篡位又进谗言逼死太子。在太后冯昭仪提醒下拓跋焘警觉，却被宗爱先发动叛乱杀死。拓跋焘临终派侍卫李奕护送爱妃冯桂儿出宫报信，众大臣兴兵铲除宗爱乱党。

鲜卑氏第一个皇帝拓跋圭，立拓跋嗣为太子，并赐死生母刘氏，引来了杀身之祸。拓跋嗣即位不久又避居西宫，兴安二年，文成帝拓跋濬，在魏国实行“复法”。同时 命昙耀大师督工在武周山开凿石窟。公元465年文成帝拓跋濬驾崩，大将军乙浑横行朝堂。冯皇后联合东阳王拓跋丕除掉了乙浑，登上了北魏皇太后的尊位。77mi.cc并逼 迫献文帝拓跋弘禅位于孝文帝拓跋宏。在冯太后的支持下，太和九年，孝文帝拓跋宏颁布了均田制、三长制，随后以征讨为名定都洛阳，断然禁止朝中官员于朝 堂之上讲鲜卑语，穿鲜卑服。其后，诏令三十岁以下者禁说鲜卑语。他又将自己的姓氏“拓跋”易为“元。太和二十三年，孝文皇帝元宏驾崩于谷塘行宫。

鲜卑氏第一个皇帝拓跋圭，立拓跋嗣为太子，并赐死生母刘氏，引来了杀身之祸。拓跋嗣即位不久又避居西宫，兴安二年，文成帝拓跋濬，在魏国实行“复法”。同时 命昙耀大师督工在武周山开凿石窟。公元465年文成帝拓跋濬驾崩，大将军乙浑横行朝堂。冯皇后联合东阳王拓跋丕除掉了乙浑，登上了北魏皇太后的尊位。77mi.cc并逼 迫献文帝拓跋弘禅位于孝文帝拓跋宏。在冯太后的支持下，太和九年，孝文帝拓跋宏颁布了均田制、三长制，随后以征讨为名定都洛阳，断然禁止朝中官员于朝 堂之上讲鲜卑语，穿鲜卑服。其后，诏令三十岁以下者禁说鲜卑语。他又将自己的姓氏“拓跋”易为“元。太和二十三年，孝文皇帝元宏驾崩于谷塘行宫。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.