片从60多年前一次科学考古调查切入，依次从大 足石刻的被重新发现及石窟肇建、造像源流、艺术成就等6个方面，全方位解读中国石窟艺 术史上这座最后的丰碑。

Consists of segments: (1) "The Classical Ideal". The origins of Western art are traced to ancient Greece through Kouroi and Korai figures, as well as by the architectures of the Pantheon. From Greece to Rome through the Hellenistic period, the program focuses on the new artistic approach to human form and violent emotions that reached its pinnacle with the altar of Zeus at Pergamun. (2) "A White Garment of Churches". Examines Romanesque and Gothic churches as evidence of the values of the societies that created them. Shows the effect of monasticism and pilgrimage on Romanesque church architecture. Uses Gislebertus's sculpture at St. Lazare in Autun to show the medieval focus on Heaven and the afterlife. The Gothic architecture, sculpture and stained glass at St. Denis and Chartres are discussed as evidence of a new theology and profound social changes during the twelfth and early thirteenth centuries. (3) "The Early Renaissance in Italy and the North". (4) "The High Renaissance". Covers key aspects of the High Remaissance, including the advent of the artist as genius (Leonardo, Michelangelo, and Raphael), the rise of Rome as a center of artistic vitality, and Venetian preoccupation with the quality of light (Giorgione and Titian). Also examines the social turbulence of the late sixteenth century and the reinterpretation of classical architectural principles. (5) "Realms of Light". Examines the divergent themes of the baroque period, including a new emotional appeal as seen in Bernini's 'The Ecstasy of St. Teresa,' Caravaggio's naturalism, Velasquez's multilayered works, and the rise of bourgeois values as seen in Rembrandt's works. (6) "An Age of Reason, an Age of Passion". Covers the move from the rococo period to neoclassicism and romanticism. Relates stylistic changes to the French Revolution and the Napoleonic wars. Covers the work of David, Géricault, Turner, Delacroix, and Goya. (7) "Realists, Impressionists, Post-Impressionists". Contrasts Courbet's treatment of subjects from everyday life with the innovations and techniques used by the impressionists. Examines the impressionists characteristic concern with color and changing light and contrasts this with the very individualistic visions of the postimpressionists. (8) "Into the Twentieth Century". Covers the work of the Fauves, the Cubists, the international style, and the Surrealists. Discusses how these movements relate to modern life. (9) "In Our Own Time." Examines why the appearance of abstract expression caused the United States to become a center for the visual arts. Reviews the diversity of styles in the postwar period, including the work of Pollock, Warhol, Oldenburg. Also examines the explosive internationalization of the art world in the 1970s and 1980s. Written by Fiona Kelleghan {[email protected]

亦庄文化艺术节开幕

亦庄文化艺术节开幕

“大足地区的险峻山崖上保存着绝无仅有的系列石刻，时间跨度从公元9世纪到13世纪。这些石刻以其艺术品质极高、题材丰富多变而闻名遐迩，从世俗到宗教，鲜明地反映了中国这一时期的日常社会生活，并充分证明了这一时期佛教、道教和儒家思想的和谐相处局面。”——世界遗产委员会评语 　　1999年，大足石刻被联合国教科文组织列入《世界遗产名录》，其价值已经超越了地域、国家、民族的范围，是人类文明发展的重要见证。 　　从古罗马的万神殿、古希腊的帕特农神庙、古埃及的金字塔、柬埔寨的吴哥窟、阿富汗的巴米扬石窟、到中国的大足石刻，石雕艺术承载了人类文明发展的历程。大足石刻这种多种文化和谐共处的模式，在世界石窟艺术中非常罕见，这种奇特现象，体现了中国独特的“和“的文化精神。这种精神贯穿于中华民族五千年历史、积蕴于近现代中华民族的复兴历程。 　　在国际化传播语境下，本片将首次将大足石刻同其他世界文化遗产相对照，揭秘大足石刻的历史，穿越古今，展望中国文化的未来。用深厚的人文精神烘托，使得观众通过本片，看得见大足石刻背后的故事，感受到大足石刻的创建者、发现者、研究者、保护者们的伟大情怀。

《华南电影电视文化艺术节》是由华南广播电影电视传媒集团主办，深圳市深华文化产业有限公司承办的地区级艺术节，是专门为中国少儿文化艺术设立的艺术评选活动，此次文化艺术节将按照广泛性、群众性、艺术性原则，重点组织实施文化艺术节启动仪式、校园文艺演出、优秀电影作品展映等多项主题活动，突显创新活跃、特色鲜明、繁荣发展的少儿艺术文化和尊重自然、崇尚人文的当代青少年风采。

A budding art restorer travels to a small Italian village to bring a medieval painting back to its former glory. Little does she know she is placing her life in danger from an evil curse and a monster born of myth and brutal pain.

A budding art restorer travels to a small Italian village to bring a medieval painting back to its former glory. Little does she know she is placing her life in danger from an evil curse and a monster born of myth and brutal pain.

洪武十四年（公元1381年）置，命李仕鲁为首任大理寺卿，正五品。置左右少卿，从五品；左右寺丞，正六品。十九年（公元1386年）置审刑司，共平庶狱。凡是大理寺所理之刑狱，审刑司均复详议之。为加强大理寺的权力，洪武二十二年（公元1389年），升大理寺卿为正三品，少卿正四品，丞正五品。可见明太祖对这个执法机关是很重视的，ysgou.cc据《明代典则》记载，洪武二十四年（公元1391年）六月，太祖把大理寺丞周志清提为卿，并说：“大理之卿，即古之廷尉，历代任斯职者，独汉称张释之、于定国，唐称戴胄。盖由其处心公正，议法平恕，狱以无冤，故流芳后世。今命尔为大理寺卿，当推情定法，毋为深文 ，务求明允，使刑必当罪。庶几可方古人，不负命也”。 　　大理寺所掌为“审谳平反刑狱之政令”。要做到“推情定法”，“刑必当罪”，使“狱以无冤”是很不容易的。所以大理寺官员选任之当否是非常重要的，据《梦余录》记载，宣德时，吏部尚书蹇义特为此事向宣宗上疏说：：“刑部、都察院，职典刑名，而大理寺尤专详谳。居是职者，必得其人。其官属，宜从堂上官精加考，庸劣不称者黜之，贪婪苛刻者罪之，其有作奸犯科者，责令互相纠举。违者，一体论罪。”

Melvyn Bragg explores the relationship, from 1911 to 2011, between class and culture.