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• 文化生活

两会新闻会客室–加快建设文化强县

昨日，在“两会新闻会客室”，肖沛宇、戴正林、李勇、曾应明四位嘉宾围绕“文化强县”的话题进行交流。章帝 摄
　　文化是一个城市的灵魂，是一个区域实现长远发展的永恒动力。千年的历史赐予了长沙县深厚的文化底蕴，拼搏的干劲让长沙县把握了许多发展机遇，敢为人先的精神将为长沙县开创更美好的明天。在经济实现跨越式发展的同时，长沙县如何实现文化与经济比翼双飞，打造与经济强县相匹配的文化强县?昨日，在由《今日星沙》、长沙县电视台和星沙新闻网联合推出的“两会新闻会客室”，李勇、肖沛宇、曾应明、戴正林四位嘉宾对我县文化强县的美好愿景踊跃献计献策。 阅读全文

让更多人知道湘绣

　　 11月22日至25日，中国文联第九次全国代表大会在北京举行。长沙县唯一的参会代表曾应明近日接受笔者的采访，谈参会感受：“文代会让人感受到一种力量，迫切想要在文化领域大展拳脚。”
　　曾应明身兼数职，既是长沙市、县民间文艺家协会主席，也是湘绣领军人物。这是他第二次参加全国文代会。
　　此次文代会，我省共有30名代表参加。“以前参会代表以领导、官员居多，这次几乎全是专家学者。”曾应明说。代表们涵盖了多个艺术门类，均在文艺创作和理论、文艺管理和服务中有所建树，令他获益良多。
　　艺术家要承担起一份社会责任，扩大中国在国际的影响力。曾应明深有同感：“湘绣是经济产物，也是文化结晶，早已走出省门、国门，走向国际。我期待着，让更多人知道湘绣。”

来源：2011-12-07 湖南日报 热点专题 阅读全文

湘绣城绣园生态公园图览：品味绿色，品味文化，品味生活

湘绣城采用集中绿化， 除西南角的绣城广场外，公园则集中在绣城的东南角。

出门见绿，绣园和生态公园就像二个“绿肺”，不仅向周边输送着源源的氧气，也成为大家晨练，散步，打球的好去处。

 

绣园位于湘绣城内东南角，与生态公园相望相连。生态公园长3.96公里，东西宽260米，一期总占地面积1560亩，二期总占地面积1050亩，总共2610亩，比湖南烈士公园还大，完全建成后将会有2座大型人工湖，篮球场、羽毛球场等设施。目前已完成并开放的是第一期。

 

今天，让我们去漫步一番目前已免费开放的湘绣城东南角的绣园及生态公园第一期。

下图依次为：林间小径，桂花等各色树木，花卉，2个活动广场，儿童游乐区，沙盘等~

（点击图片即可放大观看）

 

 

 

 

“弘扬湘绣艺术” 歌曲征集全面启动

湘绣是中国四大名绣之一，为弘扬湘绣艺术，促进和繁荣湘绣艺术的发展，由中国音乐家协会创作委员会、中共长沙市委宣传部、长沙市文学艺术界联合会主办的“弘扬湘绣艺术”全国歌曲征集评奖活动日前正式启动。该活动由长沙市音乐家协会、长沙市民间文艺家协会承办、并得到《歌曲》编辑部、《音乐周报》社、《音乐教育与创作》杂志社的鼎力支持。
本次征歌活动以弘扬湘绣艺术，歌颂湘绣艺术的悠久历史，促进和繁荣湘绣艺术的大发展为主要内容，要求歌词必须紧扣“湘绣艺术”的主题，歌曲旋律朗朗上口，便于流传，选材新颖，风格多样，体裁和形式不限。同时强调歌曲必须具有强烈的艺术感染力，既有深度又易于传唱、易于普及；曲调优美动听，具有鲜明个性，注重名族特色和时代精神的有机结合；同时，组委会对参赛形式提出了要求：作品为词曲结合的整体，不单独征集歌词;歌曲（含少儿歌曲）可分独唱、对唱、重唱、表演唱、合唱等艺术形式。每位作者限报三首作品。长沙市文联以及长沙市音协近年来多次举办征歌活动，包括2001年的“长沙之歌”征歌活动、2001年庆党80周年的“优美的旋律献给党” 征歌活动、2008年的“纪念刘少奇诞辰110周年” 征歌活动等。每次活动都得到全国词曲创作者的积极响应，参赛作品数量大、质量高，并从中涌现了众多优秀的作品及创作者。此次举办征歌活动，一是要以音乐的方式记录时代的重大事件，二是为广大词曲作者提供一个交流的平台，广交天下友，广征天下歌。
据悉，此次征歌活动将于2011年10月31日截止。然后将由我国资深作曲家、词作家组成评委会，坚持“公平、公正‘的原则进行评选。评选分初评、复评、终评三个阶段进行。最终获奖名单将于11月底分别在《歌曲》、《音乐周报》、《音乐教育与创作》上公布评奖结果。此次活动的奖金也十分丰厚，设一等奖1首，奖金10000元；二等奖3首，每首奖金4000元；三等奖6首，每首奖金2000元；更有创作奖10首，每首奖金600元。

首届“非遗”4大奖项揭晓 湘绣领军人曾应明荣获抢救和保护非物质文化遗产十大杰出人物称号

据《湖南日报》6月9日报道：“湖南省首届非物质文化遗产系列宣传评选”活动评选出的十大最具魅力的非物质文化遗产项目、十大杰出人物等4大奖项最终入选名单揭晓。
为保护和传承中华传统文化，对我省最具特色的文化资源、文化项目和文化品牌等进行广泛的宣传，省文化厅、湖南日报报业集团、香港大公报联合举办了百年泸州老窖杯“湖南省首届非物质文化遗产系列宣传评选”活动。活动自年初启动以来引起了社会的广泛关注，综合专家评审团评审以及大众投票结果，4大奖项经公示后确定最终名单如下：
汨罗长乐故事会、湘剧(含衡阳、桂阳湘剧)、醴陵釉下五彩瓷烧制技艺、苗族四月八、湘绣、土家族织锦技艺、湘西苗 族鼓舞、常德丝弦、桑植民歌、梅山武术等被评为十大最具魅力的非物质文化遗产项目；田明、向渊泉、刘能朴、王鹤高、覃保来、刘启后、曾应明、龙文玉、向光清、刘祖清荣获抢救和保护非物质文化遗产十大杰出人物称号；我省保护非物质文化遗产十强县(市、区)分别为：桂阳县、龙山县、安乡县、汨罗市、吉首市、隆回县、永顺县、桑植县、江华瑶族自治县、保靖县；我省保护非物质文化遗产特别贡献奖获得者分别是：雷晓达、吴少叶、周良英、李忆湘、钟义凡、曾维秀、何寄华、李嘉慧、刘卫兵、龚迎春、白维国、王先蒙（以上排名不分先后)。

世界最大的湘绣作品在湘绣城诞生

中国共产党建党90周年即将到来之际，一面史上最大的湘绣昨日在星沙湘绣城落针。该幅作品将在17日举行的第六届湖南红色旅游文化节启动仪式上完成最后9针，并将落户伟人故里韶山。
据星沙湘绣城紫金绣庄负责人、湖南工艺美术大师徐向荣介绍，这面党旗长11.62米、宽7.75米，面积约90平方米，由绣庄90名工人日夜加班，耗时两个月绣成，仅选用的优质蚕丝线就达2公斤。记者昨日在现场看到，这面巨大的党旗质感精美、细腻，金黄色的镰刀斧头光泽感非常强。绣工中年龄最长的陶友云今年65岁,从事湘绣工作40多年，她在接受记者采访时表示：“这是我绣过的最大湘绣产品。”目前星沙湘绣城紫金绣庄正准备为这面党旗申报吉尼斯世界纪录。

《长沙晚报》5月15日报道

明天将持续35度高温

明天将持续35度高温，天气较为火热，大家注意好降温，防晒：）

健康生活

最大的财富

每天早上，我们收获到的最大的财富是这一天的时间~善用时间~

县政协将编辑出版《湘绣百年》

据《今日星沙》4月25日报道：
为抢救和保护湘绣这一国家级非物质文化遗产，全面展现我县湘绣发展历程，向建党90周年献礼，县政协将编辑出版《湘绣百年》(暂名)一书。22日，县政协邀请老一辈湘绣艺人及参与故事收集整理的单位负责人、特邀编写人员座谈，听取大家的意见和建议，并对编写工作作具体部署。县政协副主席喻国华、县政协党组副书记曾应明出席座谈会。
　　作为全省湘绣产业的重镇，我县历代湘绣艺人为湘绣艺术的发展做出过巨大的贡献，也留下了许多脍炙人口的故事。据了解，《湘绣百年》(暂名)一书的文史资料收集整理工作将采用座谈和独立采访相结合的方式，邀请县内老一辈湘绣艺人讲述那些鲜为人知的故事。全书力图将当年中共地下党员在绣庄开展活动的可歌可泣事迹和历代湘绣艺人对湘绣艺术的贡献整理出来，以还历史原貌，传承湘绣文化，把湘绣推向世界。目前该书的文史资料收集整理工作正在进行，预计今年7月可完成初稿，9月可以成书。

新华网海外版:《中国必需促进文化产业发展》

        China must promote its cultural  industry

       BEIJING, Dec. 12 — Judging from the rules and trends of social economic development, the cultural industry shows the biggest potential in the 21st century.
        The Intergovernmental Conference on Cultural Policies for Development was held in Stockholm in 1998 and the Action Plan on Cultural Policies for Development was approved. The plan recognizes the principle that development can be ultimately defined in cultural terms and the flourishing of culture is the highest end of development.

       The changes in the international economic structure accurately reflect the rapid advancement of social productivity. Especially since the 1980s, the world’s economy has achieved essential transitions almost every decade. The economy focused on manufacturing in the 1980s while the service and telecommunication industries gained rapid growth in the 1990s. The 21st century, no doubt, belongs to the cultural industry.

        The emergence and boom of the knowledge industry has led to the creation of the quaternary industry theory, which further divides intellectual work from physical labor. Industries based on brainwork or knowledge are called the quaternary industry. And thus the concept of the cultural industry emerged and gradually matured.

        In the 40 years since the theory of the quaternary industry came into being to the end of the last century, the United States had experienced three major adjustments to its industrial structure, enhancing the cultural industry each time. Leaving all other countries far behind, the US became a cultural industry superpower.

        Chinese scholars became aware of the cultural industry theory only less than two decades ago. Until today it is difficult to say whether we have really changed our traditional mode of thinking and realize the significance of the cultural industry.

       The industry is the one responsible for the production and marketing of cultural products with creative ideas as its core. China formally defined in 2004 the concept of the industry as a collection of activities to provide the public with cultural and entertainment products and services.

        It is noteworthy that there are always disputes about how to define the cultural industry or the creative industry in the international community. But consensus has been reached on the significance and vital status of the cultural industry in the process of economic globalization in the 21st century.

        Statistics by the United Nations show that the growth rate of the global market on the whole is about 3 percent while that of the cultural industry is 6 percent. The cultural industry based on knowledge and creativity features relatively low input but high added value and efficiency compared with traditional industries. It also has strong sustainability with low resource consumption and little damage to the environment.

       Overall, as humans solve the problems of food and other basic necessities as their incomes increase, the cultural industry has become a promising sector that fits people’s spiritual needs. It is a general trend for international communities to develop their cultural industries.

        The cultural industry in the US contributes about a quarter of the country’s total GDP, second only to its war industry. New York city alone makes $20 billion out of the cultural industry annually. The first two installments of the Godfather movie series alone earned more than $800 million at the international box-office, which allows us to realize that movies are the biggest factories. The movie, Titanic, surpassed $1.8 billion in global box-office receipts and produced another $1.8 billion in revenue from spin-offs. Just calculate how much resources and labor we will need to produce $3.6 billion worth of clothes or furniture.

        Japan comes after the US with its cultural industry surpassing its electronic and auto industries. The Japanese animation industry occupies 62 percent of the world’s market and its games industry has one-third of the market share. The Republic of Korea made it a national policy to develop its cultural industry in 1998 and then targeted the Chinese market. It once occupied 75 percent of China’s games market. These numbers are really alarming.

        The Chinese cultural industry is facing a grave situation in such a world trend. China’s cultural industry only comprises about 3 percent of the country’s GDP. As Chinese people’s cultural demands increase with rising incomes the cultural products we supply do not meet market demand.

        Against the backdrop of continuous trade surpluses, the cultural industry faces a drastic imbalance. Take the book trade for example, China’s ratio with the West is 1:100. More than 285 Russian artistic groups performed in China from 1999 to 2002 while only 30 Chinese groups went to Russia.

         From 2000 to 2004 China imported 4,332 movies while less than 100 were exported. This is an embarrassing fact for a country with more than 5,000 years of history, culture and civilization.

         The competition in the international cultural industry will further intensify. We do not have a choice, we must be able to compete. A country without modern cultural accomplishments and influences will not be respected, no matter how vigorous its economy is.

        We have to update our economic thinking and be vigilant against the lopsided concept that stresses economic growth while paying little regard to the cultural industry.

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