《中国剪纸创作与创新》重点介绍组合、拼贴、染色、剪影、手撕、火烫等剪纸作品的创作方法及装裱技术，启发初学者如何创新剪纸方法，并打开剪纸作品的创新思路。《中国剪纸创作与创新》是剪纸艺术爱好者进一步深造升级的指南和师友。书中所收作品均为作者近几年来的新作，谨供读者朋友欣赏借鉴。

18个成功自创品牌，凭借勇气与热情，手工打造无可取代的心意与感动，传达来自手心的温暖。总是找不到一份独特礼物送人？梦想和兴趣能当饭吃？哪天也希望拥有个人品牌，做自己喜欢的事……时下一片膜拜奢华名牌声浪中，主张个性、创意的新势力正在兴起。台湾一群怀抱热情的手工创作者，通过慢工细腻的设计，唤醒我们生活的美好与手感价值。书中所介绍的十八家品牌，都有几个共通的特质：原创性、设计感、手工精神、品牌特色。这本书中集结的品牌包罗万象、从服饰、鞋子、包包、饰品、生活用品到手工娃娃等，我们试图展现台湾创作者自创品牌的面貌。而在采访的过程中，我们也发现，每个品牌发展阶段不尽相同：有的已经有店面或专柜，有的以寄卖或网购为主，有的正面临转型，有的正在起步阶段……无论如何，这些品牌都值得鼓励。

广东飘色是岭南民间文化活动的重要内容和表现形式，它融汇了戏剧、绘画、杂技、造型等多种艺术形式，利用力学原理，巧妙地将人物固定在展台上进行巡游表演，具有极其丰富的艺术价值和社会价值。本书详细介绍了广东飘色的特征、组成、存在形式、分布区域、价值和功能，对其生存现状作了客观的阐述，并分析了广东飘色目前存在的种种问题。同时指出，抢救和保护这种传统的民间艺术的必要性和迫切性。

The cloth art of China refers to cloth handicrafts made by Chinese people using traditional cloth and threads as raw materials. These are tailored， sewn and adorn the different cloths. Cloth handicrafts come in such forms as embroidery， Gesi tapestry， hand stitching ，embroidery paste，barbola，brocade and batik.Chinese people were the first to raise sklkworms and from the cocoons they made silk thread which was used to weave silk fabrics. Yuanfei，the concubine of the Yellow Emperor，personally raised silkworms and called on all other women to do likewise. The emperor himself personally took part in tilling and popularized silkworm raising technology among the people. In this way a traditional system was introduced for the raising of silkworms.this，plus the sysem introduced some 4，000years ago for people of different social strata to wear garments with different colours and designs，prompted the fast devel-opment of the weaving and embroidering technologies in China. Using only needle and thread the Chinese quickly learned to make decorative garments. This helped to make peoples lives more colourful and satisfied the people's need for a better quality of life .this，in turn， contributed to the development of civilization in China.

Kite-flying is an ge-old tradition in China. Its history can be traced back to the Spring and Autumn Period（770-476 BC）and the Warring States Period（475-221）when Moxi and Lu Ban，According to Historical Records，made a wooden Kite respectively.Famous Kite-makers of the Qin-Han period（221 BC-AD25）included Han Xin and Zhang Liang.Since then，accounts of Kite-flying can be found in many pre-Tang annals such as the History of Southern Dynasties and the New History of Tang;mostly Kites were used for military purposes，either carrying messages or exerting a deterrent effect of the enemy forces.

本书《中国西藏基本情况丛书》之一，全德文版。本套丛书含《西藏地理》、《西藏文学》、《西藏艺术》、《西藏经济》、《西藏教育》、《西藏历史》、《西藏宗教》、《西藏旅游》、《西藏民俗》、《西藏的故事》等分册，分别对西藏各方面基本情况作较为详细通俗的介绍。每本书约6万字，图片100～180幅，彩色印刷。有中、英、法、德、藏等文版。

武强年画在我们看来是优秀民间艺术创造的形态，在广大民众看来却是生活的内容和形式，是日常生活的组成部分。年画艺术脱胎于原始宗教，自产生之初便带有强烈的自然崇拜和神灵信仰的观念。在千百年来的发展历史中，年画艺术沉淀了中国人民的情感、信仰和伦理。武强年画作为“中国农耕社会的缩影”，是研究民风民俗的重要依据，它记载了社会的繁衍，并伴随着民俗文化的发展历史，映照出燕赵文化的踪迹，对于研究该地区的风土人情、生活习惯有着重要作用。 本书主要介绍了武强民间年画的历史及产地，武强年画的概况及工艺，武强年画的功能及地位，武强年画的美学观，武强年画的生活观，武强年画的保护传承与发展，从武强年画看民间艺术的精神文化形态等内容。

Chinese paper-cutting boasts a long history. As early as the period of the Emperor Wu Di of the　Han Dynasty over 2，100 years ago， records show that someone made a paper-cut of the image of Li　Furen， the late favourite concubine of Emperor Wu Di， so as to comfort him in his sorrow. During the　Southern Dynasties （420-589） it became a custom to paste well-cut thin silk in the shape of a person　on screens for festivals. In springtime， during the Tang Dynasty （618-907）， people would cut coloured　pieces of silk， paper or gold foil into various shapes such as swallows， flowers or butterflies， which　were presented as gifts， pinned on the hair， hung on willow branches or pasted on screens. It added　colour to the early spring. Today this custom is carried on in most households， particularly during the Spring Festival， by　hanging streamers on the door jambs and sticking paper cuts to the windows for decoration. Even as a plastic art the paper-cut has its unique charm. It is extremely concise in its artistic form　simply cutting some holes in different places on a piece of paper. The final image on the paper-cut　comes into being from the contrast of the solid part and the empty part. This technique is one of the　particularities of Chinese traditional artistic creation. This style originates from the Chinese tracti-tional concept of the universe which is that "Yin and Yang （the two opposing principles in nature）created the world."

New Year paintings belong to the Chinese folk paintings created for the traditional Spring Festival.Drawn by folk artists，the paintings are made in special studios and sold on rural fairs before the Spring Festival ，which generally falls in January or February.本书为全英文版。

世界上，恐怕没有哪一个民族拥有像我们祖先那样的多神崇拜精神。受小农经济影响，几千年来我们植根的这片土壤孕育出大量的、受各个民族、各个地域人群尊敬的神仙鬼灵宛若浩渺繁星。众多但并不遥远，崇敬但并非高不可攀。这里有关于开天辟地、人类起源的；有关于日月星辰、自然万物的；有关于洪水和部族战争的；还有关于工艺文化、饮食起居的……这些神灵在古代人的幻想解释中多方面地说明了天地宇宙、日月星辰、山川草木及人类、民族的由来，繁衍生息；呈现出我们祖先对天地万物的天真美丽、大胆的艺术想象，以及中华文明的博大与激情。中国古代神仙故事散见于《山海经》、《国语》、《淮南子》、《独异志》等古籍中。记载的故事虽然缺乏系统的、诗史般的整理归纳，但内容广泛，且情节生动，想象力丰富。而且不少古老神灵的“助人事迹”，至今依然在民间口头上流传。比如八仙过海的故事。八仙，一直都有很明确的说法，“八仙过海，各显神通”比喻干某件事情，各自都有好办法。但由于流传时间久远，有些故事与古文献上记录的，在具体情节上有所不同，出现许多变异。八仙赴瀛洲采药，救助天下；或者八仙在东海之上大战龙王太子，抑或有赶赴瑶池向王母祝寿等等。类似的故事有许多，从而呈现出民间丰富且夸张的想象空间。