39,358 research outputs found
Quantitative Analysis of Carbohydrate?Protein Interactions Using Glycan Microarrays: Determination of Surface and Solution Dissociation Constants
No full textLiang Rengong wen ji hui bian. v.1
No full text梁啓超.線裝,一函Liang Qichao.Detailed notes in vernacular field only
Kwangtung 1:50,000 [cartographic material] /
No full textVarious eds. Relief shown by contours and spot heights.; Sheets individually titled at top margin, e.g. Tang Cun = Tang-tsun.; Sheets individually numbered at top margin, e.g. Sheet 7621-II.; Original published: Beijing? : Jun shi wei yuan hui jun ling bu lu di ce liang zong ju, surveyed in 1927, published 1938.; Includes index map to adjoining sheets.; Some of National Library of Australia's copies mounted on linen.Alternate title: Guangdong 1:50,000Title on index map: Guangdong wu wan fen yi di xing tuAlternate title: Series L78
A Green and Regioselective Acetylation of Thioglycoside with Ethyl Acetate
No full textTreatment of saccharidic polyols in ethyl acetate with catalytic sulfuric acid leads to the corresponding primary monoacetate derivatives in good yields. The transesterification was realized by simple stirring without rigorous exclusion of moisture or oxygen. Our protocol is applicable to the regioselective mono-acetylation of amino sugars having different substituents at the 2-positions
The Art of Liang K’ai
Full text linkLiang K'ai was a painter in the Imperial Art Academy of the Southern Sung court, active in the first half of the thirteenth century. Statements about his biography are found in such books on art and artists as the T'u-hui-pao-chien and Hua-chien. Collections of poems by Zen priests and men of letters in the Sung and Yuan Dynasties also list pomes written on his paintings.
The T'u-hui-pao-chien states that during the Chia-t'ai era (1201-'04) in the reign of Ning Tsung of Southern Sung he was given the title of tai-cha, the highest rank of academy artists, and was confered with the chin-tai (“gold belt”). The chin-tai was a decoration of honour given to especially excellent painters. It is told, however, that Liang K'ai did not esteem the great honour; that he never wore it but left it hanging on a pillar in the Art Academy.
Sung Academy artists were usually sincere and stern, and painted in precise, elaborate styles of brushwork. In one way Liang K'ai shared this “academic” attitude. On the other hand, however, he was good also at the unconventional simple style known as chien-pi (“sparing brush”) which was far from the academism. His paintings existing in Japan can be roughly classified into these two groups. Of the nine pieces exhibited to-day, “Sakyamuni Descending the Mountain After Asceticism” (Shima Collection) and “Snow Landscape” (Tokyo National Museum) represent the elaborate type; and “Li po” (Commission for Protection of Cultural Properties), “Priest Hui-nêng Cutting a Bamboo” (Tokyo National Museum), “Pu-tai” (Murayama Collection), and “Han-shan and Shih-tê” (Hakone Art Museum), typify the chien-pi style. The elaborate type is characterized by careful drawing and sincere depiction, while the “sparing brush” group is characterized by free, flowing drawing and spiritual aloofness. Among the many distinguished artists in the Southern Sung art academy, Liang K'ai was notable especially for the rich variety of his styles and the powerful effect of his brush strokes.
His teacher in art was Chia Shih-ku, who followed the art of Li Lung-mien of Northern Sung. Yü Hung, Li Ch'uan and Li Ch'üen are known to have been his pupils. Of these, probably Li Ch'üen alone has left his works to the present day. “Pu Tai” (Myōshin-ji Monastery) exhibted to-day is by this Li Ch'üeh. It illustrates how well Li Ch'üeh inherited the style of Liang K'ai.
It appears that Liang K'ai's paintings were brought to Japan in the late fourteenth to fifteenth centuries. Considerably numerous paintings by him were acquired chiefly by Ashikaga Shogun's family and also by feudal lords, and were prized most highly among Japanese lovers of suiboku (black ink painting) side by side with works of Mu Ch'i, another great artist of the Southern Sung. Mentions of his paintings are found in various manuscripts of the time such as the Gyomotsu On-e Mokuroku, the list of Chinese paintings in the collection of the Ashikaga family; the Kanmon Gyoki, a diary of Gosukoin; and the Hekizan Nichiroku and Onryōken Nichiroku, diaries of Zen priests.
Liang K'ai gave great influence on Japanese Suiboku painters of the Muromachi period. The priest-painter Josetsu in the early Muromachi, and the priest-painter Sesshū in the middle, especially reveal evident influence of Liang K'ai. From the late Muromachi, sixteenth century, to the Momoyama Period, early seventeenth century, there appeared a group of warrior-painters who respected the “sparing brush” art of Liang K'ai. Outstanding among them were Kaiho Yushō and MIYAMOTO Musashi.journal articl
Graciliblatta bella Liang, Huang et Ren, sp. nov.
No full textGraciliblatta bella Liang, Huang et Ren, sp. nov. (Figs. 1–5) Holotype. TNP 42441 - 1, TNP 42441 - 2, part and counterpart. Type locality. Daohugou Village, Shantou Township, Ningcheng County, Inner Monglia, China. Type horizon. Middle Jurassic Jiulongshan Formation. Derivation of name. The specific epithet is after bellus (L., beautiful), referring to the clear veins. Description. Middle-sized species (RFW: length/width: 19.0 mm/ 5.2 mm; LFW: 17.5 mm / 5.5 mm). Line) 2. holotype of drawing Line) 1. counterpart and part, 2 - 42441 TNP, 1 - 42441 TNP. nov.sp, Ren & Huang, Liang bella Graciliblatta. 2, 1 FIGURES . head of drawing. holotype of Photographs. nov. sp, Ren & Huang, Liang bella Graciliblatta. 4,3 FIGURES Head prognathous, prolonged and narrow (length/width: 3.6 mm / 1.6 mm), unconcealed by pronotum, (Figs. 3, 4). Mandibles sclerotised, a single tooth preserved. Preserved labial palp two-segmented: first segment invisible, second and third segments the same length. Maxillary palp four-segmented, first segment invisible, third and fourth segments longer and wider than others (length of maxillary palp segments: third: 1.10 mm; fourth: 1.43 mm; fifth: 0.62 mm). Antennal socket ovoid, slightly transverse, scape quadrate. Eyes located at the base of head, elongate, divided. Pronotum elongate (length/width: 5.0 mm/ 3.3 mm), with a colored stripe along lateral margins, and two dark stripes in the center. Intercalary veins well developed in all wings and wings strongly sclerotised, especially hind wings. Coloration dark along fore margin of wings. Sc richly branched, with 7 (RFW) and 8 (LFW) branches; R expanded, with 17 (RFW) and 16 (LFW) branches, not reaching the tip of forewing, base of R with dark coloration; M divided basally into two straight branches, with a total of 10 (RFW) and 8 (LFW) veins at margin; CuA with 8 branches. Clavus elongate, anal veins with 7 (RFW) and 10 (LFW) branches, with tertiary braches. A diagonal kink present in anal field (Figs. 1 a, 3 b). Hind wing with simple Sc; R differentiated into R 1 and Rs, R 1 secondarily branched, 6 (RFW) and 4 (LFW) branches, Rs with 10 (RHW) and 9 (LHW) branches; M with 5 (RHW) and 6 (LHW) branches; CuA not preserved completely, basally most branches strong, sclerotised and with dark coloration; CuP simple. Reticulations present in CuA-CuP space.Published as part of Liang, Jun-Hui, Huang, Wei-Long & Ren, Dong, 2012, Graciliblatta bella gen. et sp. n. — a rare carnivorous cockroach (Insecta, Blattida, Raphidiomimidae) from the Middle Jurassic sediments of Daohugou in Inner Mongolia, China, pp. 62-68 in Zootaxa 3449 on pages 63-66, DOI: 10.5281/zenodo.21428
人民英雄纪念碑
No full textInscription on back of monument drafted by Mao Zedong and written by Zhou Enlai commemorating martyrs of revolutionary struggle; A ten-story obelisk (stele) that was erected as a national monument of the People's Republic of China to the martyrs of revolutionary struggle during the 19th and 20th centuries. It is located in the southern edge of Tiananmen Square, to the north of Mausoleum of Mao Zedong. Commissioned by the government in 1949, it was completed in 1958. The architect of the monument was Liang Sicheng, with some elements designed by his wife, Lin Huiyin (an architect and the aunt of Maya Lin). The monument has also served as the center of large-scale mourning activities that later developed into protest and unrest, such as the deaths of Premier Zhou Enlai (which developed into the Tiananmen Square protests of 1976) and Hu Yaobang (which developed into the Tiananmen Square protests of 1989). The monument covers an area of 32,000 square feet. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 4/26/2013
FIGURE 5 in Graciliblatta bella gen. et sp. n. — a rare carnivorous cockroach (Insecta, Blattida, Raphidiomimidae) from the Middle Jurassic sediments of Daohugou in Inner Mongolia, China
No full textFIGURE 5. Graciliblatta bella Liang, Huang & Ren, sp. nov. Photograph of head.Published as part of Liang, Jun-Hui, Huang, Wei-Long & Ren, Dong, 2012, Graciliblatta bella gen. et sp. n. — a rare carnivorous cockroach (Insecta, Blattida, Raphidiomimidae) from the Middle Jurassic sediments of Daohugou in Inner Mongolia, China, pp. 62-68 in Zootaxa 3449 on page 66, DOI: 10.5281/zenodo.21428
Xiu xiang xi lai yan yi : Liang wu di quan zhuan : [40 hui /
No full textDi 17 hui preceded by caption title, juan, author and publisher statements for Kangxi gui chou (1673) xu Yu shi Yong qing tang kan ben.Mode of access: Internet
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