老北京的招幌

本书将清代至民国期间分散在北京各处的有关招幌、幌子的图画和文字资料，汇集起来作了介绍，并进行了初步分析。
招幌是招牌和幌子的统称，是我国商业习俗表现形式之一，也是商业广告的常见形式。
20世纪30年代末40年代初期，北京的招牌、幌子，仍沿袭了明清时期北京店铺招幌的形制。如清慎斋裱画店用的竖招，与明清时期这类招牌无甚区别。
本书收录的照片，拍摄于上世纪三四十年代，尽管拍摄的招幌的只是北京店铺招幌的一部分，但它却是历史上北京城商业的真实写照，它对于喜爱和研究北京民俗学、商业史和文化史的人们，不啻为一本有珍贵价值的资料。

文物出版社
保存着一批二十世纪三十年代末四十年代初拍摄的老北京照片，迄今没有发表过。它真实生动地反映了这个时代的北京和北京人。是研究北京历史、民俗、商业、手工业和建筑的珍贵资料。

y and large；the decoration、and the signboard of shops varied be—cause of the diversities of regional custom．Most of the shops inBeijing had ore than two signboards．A lamp store even couldhave dozens ofsignboards．Furthermore，in some big stores modelsignboards，image signboards，ymbol signboards，pictures and plateswere combined 80 ingeniously and ecorated the shop SO artistical—ly，that the entire shop became a hree-dimensional advertisementbillboard．
Businessmen took lots of effort to design signboard not only ordecoration．Signboard played a very important role in the domainof trade．Those who inve~ed excessively on signboards had onlyone idea in their minds：that is to attract more customers．A poemof Yuan Dynasty expressed this theory dearly：Hanging in front ofthe winehouseIs a piece ofcloth．
It was looking for the customers．
Another historical book tells a story：Once there was an old woman．
who sold wine in Fuzhou City．She asked Some one to write a po—em on her wine banner．Because this poem was composed by theCity Mayor，her wine business flourished．
On the other hand，signboard also encouraged the businessmen toguarantee the quality of their goods．