论现代印刷业与1930年代的左翼文艺

现代印刷业不但为左翼文艺的传播提供了雄厚的基础与必备的条件,亦赋予左翼文艺以生产、接受群体,并为左翼文艺创作提供了丰富的创作素材。因此,现代印刷业时常在茅盾、丁玲与萧军等左翼代表作家的作品中呈现。以中国文化现代化进程为大背景,从现代印刷业出发审理其与左翼文艺的关系,可以发现左翼文艺被忽视的三重文化属性:消费性、大众性与都市性。     

GB/T 24252《蚕丝被》新旧标准比较分析

近些年我国社会经济水平不断提高,人们越发重视生活水平的提高,蚕丝被市场需求量不断攀升,然而巨大的市场下也隐藏着如丝绵增重等不良现象。为了解决蚕丝被的相关问题,保证其高质量发展,我国于2020年5月正式实施了新的蚕丝被国家标准GB/T 24252—2019《蚕丝被》,为了明确新旧标准的区别,更好地指导我国蚕丝被新标准的落实工作,本文详细分析了新标准中的变化。     

Easel Tapestries: The American Reception of the Marie Cuttoli Tapestries 1930s to 1950s

The story of textiles in mid-century America was enriched by differing opinions about their multi-dimensional role as objects of art, design, and handcraft, and by the revival of pictorial tapestry, especially French imports. This paper examines the Cuttoli Tapestry edition of French-produced tapestries, named after its éditeur, Marie Cuttoli (1879–1973), and explores how these tapestries emerged as a middle ground between painting, mural, and textile, bringing to the forefront recurring tensions between fine and applied art hierarchies, third-party producers, and the concept of reproduction. While these pictorial tapestries, which varied in size from medium to large scale, functioned much as easel paintings did, earning the name “easel tapestries,” they were decidedly different from easel paintings due to the materials, production processes, and resemblances to the original design. The Cuttoli project gave artists the opportunity to explore alternatives to painting and to reach new patrons and methods of display; through the marketing of limited editions, the tapestries remained luxury art objects, although never as celebrated or expensive as “the original.” This paper documents the complicated chronology and provenance of a seminal twentieth-century pictorial tapestry project by exploring how the Cuttoli Tapestries were perceived and understood by critics and patrons during their debut and subsequent display in pre- and postwar America.     

Seoul Food Culture Viewed from High-Class Korean-Styled Restaurants and Korean Female Entertainers in the 1930s

Since Korea-Japan annexation in 1910, Japan has promoted the migration and/or tourism into colonial Chosun （old Korea） as an efficient cultural strategy for extending imperialism into Korean peninsula. In many tour guide books, the gisaeng （Korean female entertainers） was not only a symbol of Chosun tradition, but a main icon of Chosun tourism. The high class Korean-styled restaurants （yorijoem） were established as tourist attraction for Japanese inlanders, with singing and dancing gisaengs, ondol （Korean heating floor） house and Korean authentic cuisine, etc. The aim of this paper is firstly to explore the existential change of gisaengs in the yorijoem through its spatial significance in the 1930s, and secondly to explore the identity of Seoul local food culture and its metamorphosis under the colonial modernity.     

20世纪30年代上海摩登家具成因及其价值

本文分析了二十世纪三十年代上海摩登家具产生的原因、特征及对近代中国家具发展影响的意义。     

Modern Fashions for Modern Women: The Evolution of New York Sportswear in the 1930s

Abstract

This article aims to establish the significance and diversity of sportswear styles designed and manufactured in New York during the 1930s. It will assert that the 1930s was a crucial period in New York sportswear's evolution. This decade tends to be overlooked by fashion historians, who either make generalisations about American fashion in the 1930s or focus on developments in the 1940s. This article will demonstrate that the Depression era was central to sportswear's emergence as a key form of affordable, mass-produced clothing, which comprised simple, interchangeable garments that could be worn in a variety of settings.

This article will establish the importance of the 1930s as a period when New York sportswear was crystallised as a design and marketing ideal. This was due to both the economic pressures of the 1930s, which made cheaper mass-produced clothing more appealing, and to shifts within the fashion industry, which saw more co-ordinated attempts to promote indigenous design.

Sportswear will be discussed in terms of three key categories: active sportswear, town and country wear and resort wear. Surviving dress from American and British collections will be analysed to demonstrate the importance of these categories, and the ways in which they came to form an ideal of Americanness through their design aesthetic, as well as the way they were advertised.

Garments by manufacturers such as Davidow, and designers such as Clare Potter, will be contrasted with examples from London and Paris to show how New York was gradually to evolve its own distinct styles, which would in the following decade be characterised by the term the 'American Look'. The clean lines and machine aesthetic of this style were mythologised as an expression of American national identity — as practical, rational and authentic.

As the 1930s wore on, New York sportswear was increasingly linked to modern lifestyles, and thus was portrayed as ideal for women who were active, whether as college girls, housewives, career women, or through travel. The notion of femininity that it evoked linked to white, middle-class ideals, and existing assumptions about American fashion's 'democratic' approach that eschewed the élitism of European fashion therefore need to be questioned.     

《蚕丝被》国家标准修订解析及实施建议

近年来蚕丝被产业保持蓬勃发展的良好势头,但也出现了丝绵增重等不良现象。为解决蚕丝被的相关问题,满足高质量发展的要求,有关方面组织开展了国家标准的修订工作。文章介绍GB/T 24252—2009《蚕丝被》国家标准的修订背景及原则,全面解析标准的主要修订内容,着重强调蚕丝被填充物(蚕丝绵)不允许增重,具体指出标准不足之处,初步提出了标准的实施建议,以便于蚕丝被生产、消费、检验等相关方面更好地理解、领会和应用标准,从而推动提高蚕丝被产品质量、规范蚕丝被市场秩序、维护产销双方合法权益,以及促进行业健康稳定发展。     

用下脚茧生产高弹性保健丝绵被的工艺研究

采用膨化煮茧技术将蚕茧脱胶,并对丝绵进行增加回弹性的柔软后整理处理,使丝纤维特别富有回弹性、柔软感,长久使用丝纤维亦不会粘并、缠结。同时,对新工艺生产的丝绵被进行了质量指标检测,结果表明:提高了丝绵被的内在质量,提升了产品的档次。     

广西消费者对蚕丝被的认知及市场需求调查报告

通过走访和电子问卷等方式,调查了广西消费者对蚕丝被的认知及市场需求(购买力与购买行为)情况。结果显示:硕士或博士、大专及大学文化程度,月收入在3 001~5 000元,40~50岁的消费人群,医生、科技工作者、公务员等比较青睐蚕丝被,是蚕丝被消费的目标人群;广西消费者在购买蚕丝被的过程中比较注重质量及品牌,但对于广西蚕丝被的品牌,消费者认知度还不高。广西蚕丝被生产企业应该针对消费市场,准确定位目标群体,生产适销对路的蚕丝被,研发功能型蚕丝被,选择合适的营销方式,提高品牌认知度,以增加蚕丝被的市场占有量。     

针织服装行业的一朵奇葩——南通泰慕士服装有限公司成立8周年巡礼

坐落在江苏如皋经济开发区的南通泰慕士服装有限公司 ,独特的黑色厂房 ,芳草萋萋的绿色草坪 ,整洁明亮的生产车间 ,先进的生产设备 ,蕴藏着无限希望和生机 ,展现着现代企业的风貌 ,成为古城如皋一处亮丽的风景线。2 0 0 0年 8月 2 6日 ,南通泰慕士服装有限公司迎来了 8周岁的生日。走过风风雨雨 ,历经朝朝暮暮。 8年岁月的洗礼 ,把南通泰慕士服装有限公司从一个牙牙学语、蹒跚学步的幼童培养成为成熟稳健、踌躇满志的青年。1999年 ,南通泰慕士服装有限公司创造了超历史的骄人成绩 ;全年实现销售 1 11亿元 ,创利税 12 0 0万元。 2 0 0 0年 4…     

蚕丝被增重鉴别检测方法的比较和分析

根据我国蚕丝被增重的现状,依据GB/T 24252—2019《蚕丝被》标准要求,阐述了附录中3种蚕丝被增重鉴别检测方法:酸溶解显色法、高温酸水解法以及液相色谱法,从定性和定量的角度比较了3种检测方法的适用条件和优缺点,并在此基础上具体分析了不同种类蚕丝被对3种检测方法的适用情况,为蚕丝被增重检测提供操作可行性。     

电脑提花圆机图案的设计与开发

Adobe公司的photoshop5 .0和Corel公司的coreldraw9.0是当前最流行的图形设计软件。文中介绍了在德国德乐公司的SCC4F - 5 48型电脑提花大圆机上 ,充分发挥这两种软件的图形设计功能 ,并进一步利用圆机本身配套的图形设计软件Aupaint处理 ,生成大提花花型图案 ,为夏季T恤花型图案设计提供了一条简便快捷的设计方法和新的设计思路     

从高剑父南亚壁画临摹与绘画创作看20世纪30年代中印艺术交流

岭南画派的代表人物高剑父在南亚壮游期间的壁画临摹与绘画创作问题,近年来越发受到学界关注。本文在20世纪30年代中印艺术交流的宏大背景下,考察高剑父是如何在古代南亚佛教壁画临摹和学习印度现代派艺术先驱贾米尼·罗伊(Jamini Roy)的风格中,逐步借鉴印度传统与现代艺术资源,以“折衷中西”、融汇东方精神。高剑父这场负有强烈历史使命感的南亚壮游,潜在地串联起20世纪30年代中国和印度本土艺术传统如何走向现代的共同思考。     

徐显秀墓室壁画中服饰图案研究

徐显秀墓发现于公元2000年,墓室壁画资料丰富,众学者分别从不同的角度进行了研究,但是对其服饰图案缺乏系统的研究。文章对徐显秀墓壁画中的服饰图案进行了分类整理及复原,就联珠团窠纹的联珠环、主题纹样和辅花的特点进行了归纳总结和分析,然后将其与同时期的联珠团窠纹进行比较,总结出了联珠团窠纹中的联珠环均为圆珠构成,每个团窠之间没有连接的交点,图案具有极高的封闭性和完整性等特点。另外壁画中的服饰图案融合了中西方文化因素,是当时社会生活的映射,为研究者了解及探究北朝至唐的服饰图案提供了宝贵的资料。     

钗光鬓影 似水流年——北京服装学院民族服饰博物馆藏30~40年代民国旗袍的现代特征

民国承先启后,是中国真正意义上现代社会的开始。作为服饰,民国旗袍以其适应性与多样性,满足了女性新的生活方式和不同的社会需求。旗袍,是形式和结构简化到了极致的经典样式,四季皆宜、雅俗共赏。不同年龄、不同场合、不同身份,女人们都能找到适合自己的那件旗袍。旗袍以其跨越身份、地区、年龄等因素所具有的广泛适应性,以及简约得体、温婉贤淑的中国特色,成为具有现代意义的中国女性服装的代表。本文拟从旗袍的多样性与适应性、完整性与合体间的解决之道、装饰的强化与设计的现代感三个方面论述旗袍的现代特征。     

图案基础课程教学实践新探索——写生采集植物花卉在丝巾设计中的应用

<正>在艺术设计院校中,图案的学习作为艺术设计专业教育的重要一环,在基础教育领域起着不可低估的作用。图案创作素材的来源主要为写生和从优秀艺术作品中采集。植物花卉是最常见的创作题材之一,是学生较多掌握的图案题材。1植物花卉写生采集1.1内涵自古以来,大自然中的植物花卉,其婀娜多姿的形态和丰富的色彩给予了人们变幻多样的形象。人们会用自己的心灵去感受这些植物花卉所给予的第一印象,并且通过写生     

论水溶采矿方法的名称和分类

根据我国现有的各种水溶采矿方法，进行了全面系统的分类；对各种水溶采矿方法的名称，提出了规范性的意见。     

浅论创意解读图案艺术设计

<正> 自古以来,人类的艺术行为发展始终离不开艺术设计的创意。顶尖的艺术创意能不断启示人们的灵感;能充分解读设计中的质疑;能让观众细细品味,有着无穷的魅力和吸引人的感知。 在印刷行业,各种印刷物内的图案设计的艺术创意也是如此。图案设计类学科是其设计基础训练的必修课。它的主要特征是自身所具     

Names of the more important European tree species and respective woods in 12 languages

Within Technical Committee CEN/TC 38, “Durability of wood and wood-based products”, the working group 2, “Natural durability of solid wood”, prepared EN 350 Part 2. This standard gives an evaluation of the natural durability and information on the treatability for 127 European and non-European wood species considered of importance for structural purposes in Europe. The standard lists the scientific names, together with the English, French and German common names. In discussions on this standard, it was recommended that a special list should be published giving the national names of the more important European tree species and respective woods, in 12 languages, to facilitate international trade. This list should include the languages of those countries which cooperated in working group 2. The author prepared a proposal based on literature, which he sent to all countries concerned for their comments. The following list with 91 European species, which are not identical with EN 350 Part 2, represents the results of this work. Where “nn” is inserted no national name has been stated in the respective language.     

名称依旧,形制全非——中国服饰史中的几个例子

研究文物要将实物与文献记载相结合,了解其产生和演变过程,并与当时的社会生活及历史相关联。本文选取几个服饰方面的例子-冠、金紫、霞帔,对其形制变迁进行了追踪,以正现今个别考古报告及学者对其形制使用所存在的误解。从《礼记·冠义》等文献来看,冠是礼仪性的发罩,而帽子在上古时代有身份的人及庶民均不佩戴,巾帻则与现代的帽子相近。西汉后期冠和帻形成了一个整体。汉、唐两代所指"金紫"则完全不同,汉朝指金印紫绶,唐代指紫袍和金鱼袋。帔在唐代质地飘逸,而宋代将帔帛稳住以"行莫摇裙",清代"霞帔"则发展为坎肩。