31,653 research outputs found
Nan Song Shuzhou gong du yi jian zheng li yu yan jiu Zheng li yu yan jiu
No full textBen shu shi dui wo she yu 1990 nian chu ban de ying yin ben "Song ren yi jian" de zheng li yu yan jiu. Gai shu shi liao feng fu, she ji zheng zhi, jing ji, jun shi yi ji Song dai gong wen ge shi he shu yi, shi zhen gui de shi wu wen xian. "Song ren yi jian" fan ying le bu shao nan Song shi qi di fang guan fu ji gou she zhi he xing zheng guan li zhi du, bu chong le xu duo Song dai cai zheng, shui shou zheng ce de xin cai liao, bao liu le nan Song chu nian Jiang Huai di qu zhan bei zhuang kuang de xi jie cai liao, hai shi Song dai wen shu zhi du de zhong yao cai liao, you zhu yu Song shi yan jiu de shen ru. Zheng li ben yan jin gui fan, ge shi ming xi, ji ben huan yuan le Song jian tu ban de ben lai mian mao, ju you jiao qiang de can kao jia zh
Fagopyrum longistylum (Polygonaceae), a new species from Sichuan, China
No full textZhang, Kaixuan, Fan, Yu, Weng, Wenfeng, Tang, Yu, Zhou, Meiliang (2021): Fagopyrum longistylum (Polygonaceae), a new species from Sichuan, China. Phytotaxa 482 (2): 173-182, DOI: 10.11646/phytotaxa.482.2.5, URL: http://dx.doi.org/10.11646/phytotaxa.482.2.
Neenchelys cheni Chen & Weng 1967
No full text* Neenchelys cheni (Chen & Weng, 1967) RR*ª Myrophis cheni Chen & Weng, 1967: 39 (Type locality: Tungkang [Dong-gang], southwestern Taiwan). Chen, 1969: 130; Shen 1984 a: 117; Chen & Yu, 1986: 258; Shen et al., 1993: 112; Shao et al., 2008: 238. " Neenchelys " cheni (Chen & Weng, 1967): Ho et al. 2010: 24, table 1; Ho & Shao, 2011: 23, table 1. Neenchelys cheni (Chen & Weng, 1967): Hibino et al., 2012: 345; Ho et al., 2013: 5. Neenchelys retropinna Smith & Böhlke, 1983: McCosker & Chen, 2000: 356. Remarks. An uncommon species collected by midwater trawls off southwestern Taiwan.Published as part of Ho, Hsuan-Ching, Smith, David G., Mccosker, John E., Hibino, Yusuke, Loh, Kar-Hoe, Tighe, Kenneth A. & Shao, Kwang-Tsao, 2015, Annotated checklist of eels (orders Anguilliformes and Saccopharyngiformes) from Taiwan, pp. 140-189 in Zootaxa 4060 (1) on pages 169-170, DOI: 10.11646/zootaxa.4060.1.16, http://zenodo.org/record/24365
楚辭(Ancient Chinese poems)
No full text綫裝.框20.9x14.9公分, 9行18字. 白口, 左右雙邊, 單魚尾. 版心中鐫題名及卷次, 下鐫葉次.《楚辭》分上, 下卷.前有萬曆35年俞安期序, 目錄後鐫"震維居士翏翏閣藏板".鈐印"翁萊史阿蘭那室圖書", "翁之善", "如不及齋笈之記", "有桃園書庫收藏", "虞山翁氏柏古軒藏", "義", "常熟翁之善藏本".Xian zhuang.Kuang 20.9 x 14.9 gong fen, 9 hang 18 zi. Bai kou, zuo you shuang bian, dan yu wei. Ban xin zhong juan ti ming ji juan ci, xia juan ye ci."Chu ci" fen shang, xia juan.Qian you wan li 35 nian Yu Anqi xu, mu lu hou juan "Zhenweijushi liu liu ge cang ban".Qian yin "Weng lai shi e lan na shi tu shu", "Weng zhi shan", "ru bu ji zhai ji zhi ji", "you tao yuan shu ku shou zang", "Yushan Weng shi bo gu xuan cang", "yi", "Changshu Weng zhi shan cang ben"
Lun yu hui han /
No full text"Ming Tianqi yi chou (5 nian) chong kan ben"1. Lun yu gu xun. -- 2. Lun yu shi yi / Su Che. -- 3. Kong zi Lun yu nian pu / Cheng Fuxin. -- 4. Lun yu fu ji / Weng Fanggang. -- 5. Lun yu fa yin / Yang Wenhui
Gavialiceps taiwanensis Chen & Weng 1967
No full text* Gavialiceps taiwanensis (Chen & Weng, 1967) a*ªffiª Chlopsis taiwanensis Chen & Weng, 1967: 81, fig. 61 (Type locality: Tungkang, southwestern Taiwan). Chen, 1969: 134; Shen, 1984 a: 114; Chen & Yu, 1986: 255; Shen et al., 1993: 115. Gavialiceps taiwanensis (Chen & Weng, 1967): Karmovskaya, 1994: 84; Smith in Randall & Lim, 2000: 586; Shao et al., 2008: 239; Ho et al., 2010: 25; Ho & Shao, 2011: 24, table 1; Lin et al., 2013: 167. Gavialiceps taeniola (not of Alcock, 1889): Shao et al., 2008: 239. Remarks. The assignment of this species to the Muraenesocidae is provisional. This is the most abundant eel species found in bycatch of midwater trawls in Taiwan.Published as part of Ho, Hsuan-Ching, Smith, David G., Mccosker, John E., Hibino, Yusuke, Loh, Kar-Hoe, Tighe, Kenneth A. & Shao, Kwang-Tsao, 2015, Annotated checklist of eels (orders Anguilliformes and Saccopharyngiformes) from Taiwan, pp. 140-189 in Zootaxa 4060 (1) on pages 150-151, DOI: 10.11646/zootaxa.4060.1.16, http://zenodo.org/record/24365
FIGURE 5 in Taxonomy and biology of a new ambrosia gall midge Daphnephila urnicola sp. nov. (Diptera: Cecidomyiidae) inducing urn-shaped leaf galls on two species of Machilus (Lauraceae) in Taiwan
No full textFIGURE 5. Strict consensus tree of Daphnephila species relationships based on COI gene data. Three equally parsimonious trees were acquired (length: 223). Bootstrap values greater than 50% for the MP inference, and the neighbor-joining (NJ) method, are shown above and below the branch, respectively. Individual specimens of D. urnicola collected from Machilus mushaensis and M. zuihoensis are labeled with M and Z in parentheses, respectively.Published as part of Pan, Liang-Yu, Chiang, Tung-Chuan, Weng, Yu-Chu, Chen, Wen-Neng, Hsiao, Shu-Chuan, Tokuda, Makoto, Tsai, Cheng-Lung & Yang, Man-Miao, 2015, Taxonomy and biology of a new ambrosia gall midge Daphnephila urnicola sp. nov. (Diptera: Cecidomyiidae) inducing urn-shaped leaf galls on two species of Machilus (Lauraceae) in Taiwan, pp. 371-388 in Zootaxa 3955 (3) on page 378, DOI: 10.11646/zootaxa.3955.3.5, http://zenodo.org/record/23815
Taiwan’s big and clean bets : towards green cooperation
No full textFor more about the East-West Center, see http://www.eastwestcenter.org/Wen-Yu Weng, Clean Energy and Climate Response Expert at PA Consulting, explains that "the future of Taiwan’s energy transition lies in making big bets in highly creative and highly technical approaches" and green energy "policy needs to embrace the fundamentally decentralized and democratized nature of solution-generation, agenda-setting, and experimental models.
Shaping shadows: a practice of expansion painting
No full textShaping Shadows: A Practice of Expansion Painting is a practice-based doctoral thesis. It centres upon a sustained art practice, offering a body of new work as a means to extend an understanding of painting in the expanded field. The practice in question is defined as a ‘sense’ of painting space, which operates through painterly compositional methods but developed through site-specific considerations of architectural spaces, bodies, and differing levels of consciousness when interacting in such spaces. The artworks range in scale from small punctuations in a room to large installations that fill and resonate with a defined space. The works are typically constructed out of unobtrusive materials, notably Japanese tissue papers, fabric, MDF board and wood, but crucially they are also ‘made’ of the immaterial elements of light, air and shadows. In differing ways, the works are experienced and completed by both artist and viewers, so establishing a set of conditions in which one’s individual thoughts and space-body dynamics are in play.Rather than simply presenting the work as further examples of painting in the expanded field (i.e. as a discursive, conceptual re-categorisation of painting), the thesis explores through its art practice a form of ‘expansion painting’, by which it is meant the artist’s sense of painting deliberates upon an expanded awareness of spaces, the in/visible materialities of light, shadow, air, and memories that accumulate from inner, private imagery and external shapes, patterns and forms. As a key element, medium and metaphor, shadow is at the heart of my practice research. It is both a component of practice and a metaphor of ambivalence (being both of and outside of an object, and suggestive of both distinctive and indistinct forms). Shadow becomes an ideal term and site of practice to build and examine subtle as well as alternative systems or structures, often ones that echo or ‘shadow’ existing dynamics of space, so that a ‘relief’ of images emerge, and/or are activated (as experienced physically in the space, and in the mind while engaging in the work). As such, the resulting artworks seek to provide an awareness of ‘being’ through what is referred to as ‘structures of ambiguity’.The thesis is brought together through both its practice and a written component. The latter offers an Introduction, setting out the main themes and concepts as well as ‘Notes on Practice’, which presents a ‘catalogue’ of the artworks produced. These opening components are followed by two main chapters. Chapter 1, ‘Painting in the Expanded Field’, establishes the historical and theoretical debates of painting in the expanded field and draws upon more recent literatures specific to the expansion of painting. It then considers the artist’s own work in relation to a series of examples of historical and contemporary practice (including remarks on the influence of minimalist art, as well as three specific case studies of contemporary artists whose works explore similar themes and material practice). Crucially, through ‘practicing’ a sense of painting space – defined as expansion painting – a phenomenological reading is undercurrent, which in turn enables a critical consideration of ‘structures of ambiguity’, which is the focus of Chapter 2, ‘Structures of Ambiguity: Grid, Frame, Screen and Stage’. This chapter offers an explicit account and contextualising of the mediums, materials and effects of the works. It leads to another way of seeing, as a deconstruction of space and in-between spaces. The thesis document concludes with ‘Finish: a Practice of Expansion Painting’, which draws together the key themes of the research through further contextualization of art history and theory. Expansion painting is not simply derived from historical, theoretical and philosophical debate, but must emerge through making and viewing the artwork as an open-ended experience. The artworks ‘finish’ at different moments of our being; they also respond to intellectual debates about the status of painting after the modern; and they are made of a very particular im/material ‘finish’ that is the signature of the practice. The underlying problematic of this thesis is the consideration of where objects and experiences begin and end, where boundary lines do or do not run. The ‘shaping’ of shadows is an attention to existing, spatial structures and their confluence with virtual structures of thought and experience. Thus, the medium of painting itself is pushed and pulled in this research, both expanding upon theoretical debates of the ‘expanded field’, as well as advancing its own practical inquiry. Indeed, ‘painting’ is presented as an exemplar of thinking and making.<br/
Fu chu zhai wen ji. v.1
No full text翁方綱撰 ; 李彥章校刊."翁氏家事略記": v. 2.Weng Fanggang zhuan ; Li Yanzhang jiao kan."Weng shi jia shi lüe ji": v. 2
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