《经典剪纸》是《矢量素材丛书》之一的《经典剪纸》分册，书中包括了：走兽禽鸟、花草虫鱼等内容。剪纸是深受人民大众喜爱的民间艺术，在全国各地广泛流传，至今已有一千五百年的历史。在民间，逢年过节或喜庆的日子，人们剪出各种象征吉祥喜庆的剪纸，装饰在门窗、居室或放在嫁奁彩礼、祝寿礼物上，以增加祥瑞吉庆气氛。为了弘扬优秀的民间剪纸艺术，让喜庆吉祥剪纸广泛流传于民间，并被广泛应用。

《中央美术学院造型学院学生作品集》反映了大美术理念的教改成果，其中既有体现美院教学水准和艺术实力的教师作品，也有展现大美术发展潜力和前景的学生作品。这些作品会集成册不仅可以为多学科的美术教育提供参照讨论的范例，同时也能促发美术教育界深入思考当代中国美术教育的趋势和可能建构的中国模式。通过这样一套作品，我们可以看到当前的美术教育不同学科如何融会贯通；它也激励美术界同仁思考当代中国美术教育之路如何走下去。本书是其系列中的《雕塑系学生作品集》。

徽州民谣是一种个性特点鲜明弥足珍贵的民间口头文化。去年，我省文化部门已将其列入第一批省级非物质文化遗产进行保护，并在积极申报国家级非物质文化保护项目。《徽州民谣》是本社出版的《魅力绩溪》作者方静第一手收集整理的，也是徽学研究工作者第一次比较系统深入地触及这一领域，民谣蕴藏丰富的历史信息的特点，决定了本书具有很高的学术价值，同时，民谣体裁的通俗性，又决定了它可以吸引绝大多数一般读者的眼球。本书在收集整理的基础上精选了在徽州区域内流传数百年的徽州民谣共320余首，分为爱情、徽商、游戏、劳动、生活5卷，每一首民谣前都载有收集时间、口述人、流行区域。

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.

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。

生活在现代都市里的你，听说过皮影吗？看过皮影戏吗？早在南宋时皮影的演出曾盛极一时，皮影戏迷的狂热不亚于现在的歌迷、影迷。可如今，它仿佛是夕阳中踟躇的沧桑老人，令人心悸而伤感。本书就将向你详尽的叙述皮影的历史与起源的，以及皮影的制作方法、表演模式、各地皮影的风格特征等。让我们一同来回忆这段民间共同的文化记忆吧！ 从敲击第一块石片开始，人类文明正是通过人手的不断劳作得以一步一步地向前推进，呈现出今天这样多姿多彩的景象。工业化以来的三百年，我们将太多的工作放任机器做去了，然而机器的制作毕竟过于生硬和整齐划一，当我们被这些生产线上制造的产品包围的时候，突然会发觉，生活变得缺少灵性、美感和古典的气质了。于是，越来越多的人开始四处寻访他们的祖辈们用手制作和使用过的器物。瓷片、玉佩、银簪、木器，一块木雕板、一把紫砂壶，甚至于一砖、一瓦，它们都经历过先人用手精心琢磨，保留有先人的体温，镌刻着我们民族的图晦。偶尔得之，就像珍宝一样地倍加爱惜，并在搜寻与把玩的过程中获得了极大的快乐与慰藉。传统手工艺是我国优秀文化遗产的重要组成邙分，中国的玉器、丝绸、漆器、瓷器和明清家具等均为世界手工艺制品中的翘楚，在制作技艺和工艺美学诸多方面获得过极高的成就。但是，在长时期的重道不重器的儒文化氛围中，器物的制作一直被视为不登大雅之堂的雕虫小技，在历代的官方典籍和正史中，对于匠人们的成就与贡献的记载极为难得一见，有也只是寥寥数语，或者干脆只字不提。史籍中略为详备可供查考的，也只有《周札冬官考工记》与《天工开物》数种而已。编纂这套《中国传统手工艺文化书系》正是要与读者一同重返乡村，走近手工艺作坊，拜访手工艺传人和收藏家，聆听幕后的传奇故事。

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。

“岔曲”是清代满族文化或者说是八旗艺术的代表之一，是形成于清代中期的曲艺曲种。它由民歌及戏曲高腔中的曲调发展而成。曾在军中传唱，后流入北京，为旗籍子弟所喜爱。他们在演唱中，逐渐把基于民歌时调形式的岔曲，发展成为最具民族风格和艺术特色的一个独立的曲种。继而在岔曲的基础上，发展形成了北京八角鼓艺术体系。《北京旗人艺术：岔曲》比较完整地收录了岔曲曲目和曲词，追溯了岔曲艺术的历史，并梳理了不同时期的发展形态，介绍了近年国家对岔曲艺术的保护措施，在整理传统文化、抢救非物质文化遗产方面具有重大意义。在收录的曲词中，有的表现了老北京下层生活的实景，展示了老百姓生活的历史，具有较高的学术价值。

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."

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.