根据蔡志忠漫画改编 　　由四个小故事组成： 　　1、“眼之所见”。财迷心窍的汉子，白日抢金而忘乎所以。 　　2、“心中的贼”。疑心邻人孩子偷自己的斧子，却是主观意断。 　　3、“幸与不幸”。两个杂技艺人技术相当，结果相反，不过是国君的情绪好坏决定的。 　　4、“鱼和气节”。爱吃鱼的拒绝吃鱼，为的是拒绝人情，守气节。

根据蔡志忠漫画改编 　　由四个小故事组成： 　　1、“眼之所见”。财迷心窍的汉子，白日抢金而忘乎所以。 　　2、“心中的贼”。疑心邻人孩子偷自己的斧子，却是主观意断。 　　3、“幸与不幸”。两个杂技艺人技术相当，结果相反，不过是国君的情绪好坏决定的。 　　4、“鱼和气节”。爱吃鱼的拒绝吃鱼，为的是拒绝人情，守气节。

善本、图档、竹简、戏曲抄本等古籍，是祖先留下的智慧结晶，妥善保护它们并使之传承下去，是一项与时间赛跑的浩大工程。据《齐民要术》记载，书籍修复的方法至少在一千五百年前就已经出现。而随着雕版印刷的兴起，书籍的生产和传播蓬勃发展，修复技艺也伴随古籍千年流传。 　　《古书复活记》采访、跟拍数十位国内一线古籍保护工作者，记录他们在工作中的行动与努力，探寻背后的付出与坚持，他们中有的人妙手修补，让破损的古书复活；有的人翻山越岭，寻找遗失的珍宝；有的人穷究数年，揭开中国传统手工纸背后的秘密。在修复师的眼里，片纸只字皆是生命，全力挽救这些历经岁月沧桑的古籍，重新赋予其活力，是自身的使命与责任。

善本、图档、竹简、戏曲抄本等古籍，是祖先留下的智慧结晶，妥善保护它们并使之传承下去，是一项与时间赛跑的浩大工程。据《齐民要术》记载，书籍修复的方法至少在一千五百年前就已经出现。而随着雕版印刷的兴起，书籍的生产和传播蓬勃发展，修复技艺也伴随古籍千年流传。 　　《古书复活记》采访、跟拍数十位国内一线古籍保护工作者，记录他们在工作中的行动与努力，探寻背后的付出与坚持，他们中有的人妙手修补，让破损的古书复活；有的人翻山越岭，寻找遗失的珍宝；有的人穷究数年，揭开中国传统手工纸背后的秘密。在修复师的眼里，片纸只字皆是生命，全力挽救这些历经岁月沧桑的古籍，重新赋予其活力，是自身的使命与责任。

本作品は、とある古書堂「夢猫」を舞台に、そこに訪れた少女たちが店主に勧められたミステリー小説を読み始めると、小説の世界へ時代を超えタイムスリップし、そこで繰り広げられる凶悪な事件から、時には心が温まるようなハートフルな出来事まで、様々なナゾに立ち向かっていく、5つのストーリーからなるオムニバス・ミステリードラマ。 　　少女たちが現実世界で抱える悩みや葛藤に対して、タイムスリップした小説世界の中で出会った人々と交流することで、答えを見出していく、ひとりの少女としての成長も描きます。

本作品は、とある古書堂「夢猫」を舞台に、そこに訪れた少女たちが店主に勧められたミステリー小説を読み始めると、小説の世界へ時代を超えタイムスリップし、そこで繰り広げられる凶悪な事件から、時には心が温まるようなハートフルな出来事まで、様々なナゾに立ち向かっていく、5つのストーリーからなるオムニバス・ミステリードラマ。 　　少女たちが現実世界で抱える悩みや葛藤に対して、タイムスリップした小説世界の中で出会った人々と交流することで、答えを見出していく、ひとりの少女としての成長も描きます。

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

《书画中国》是旅游卫视推出的一档以中国书画为主题的综艺节目，节目旨在通过名家介绍、书画赏析等弘扬中华民族传统的书画艺术。

《书画中国》是旅游卫视推出的一档以中国书画为主题的综艺节目，节目旨在通过名家介绍、书画赏析等弘扬中华民族传统的书画艺术。