查询词典 Song dynasty

Therefore,a systematic summary of etymological studies in the Song and the Yuan Dynasty is of great importance to such study in modern times.

系统总结宋元时期的词源学研究，对今天探讨这一问题有十分重要的意义。

Song Wan had special status and experience.Although he was not turncoat official,as a member of literary and official family in Ming dynasty, he feh enmity towards Qing soldiers who killed his parents and clansman.

宋琬在清初的身份和经历比较特殊，他以"白衣秀才"的身份参加科举考试，出仕清朝不属于"失节"，但其世家弟子的身份和举家被清兵屠戮的灭族之仇对其心态影响较大。

I like the Qing Dynasty poet Lee Die "half-word song," likes "to drink just half intoxicated, bloom-time partial Yan," likes "a half years to make a leisurely, half a mile wide Qiankun Exhibition," half the people enjoy the work half the enjoyment of, semi-rich, semi-leisure, so I named "semi-free vegetarian."

我喜欢清代诗人李模的《半字歌》，喜欢"饮酒半酣正好，花开半时偏妍"，喜欢"半中岁月尽悠闲，半里乾坤宽展"，喜欢人们半工作，半享受，半有钱，半有闲，所以我取名"半闲斋"。

But in Tang, Song, Ming and Qing dynasty, daughters can inherit 'marriage portion' and family estate according to the common law and customs, which indicates that there is conflict between the traditional and the common on women's estate heritance.

但是，唐、宋以及明清的法律以及法律习惯上女儿是可以继承一定的"嫁妆"和财产的。反映出传统法律在女性的财产继承上，法律原理与制定法及法律习惯存在着冲突。

Spring, in the Miao Zhu Ziqing Biduan is a "Mountain Laurel up, the water rose up, the sun blushed up" and vitality; spring, Chi Pai-shih of the ink pen is a "silent stream flow, tadpole happy Tour "Happy accessibility; spring, is a poet in the Tang Dynasty,"春眠不觉晓 everywhere Wen Ti Niao; nights come and Feng Yusheng, Whispering Color "random singing, without exception, moved and inspired for the spring, for the spring song of books praise of spring, the spring of hope, right, right to retain the spring in the spring of feeling, people are so different from the same kind of feeling unusually Huaizhao same passion.

春天，在朱自清的妙笔端是一片"山朗润起来了，水涨起来了，太阳的脸红起来了"的勃勃生机；春天，在齐白石的墨笔下是一幅"溪水静静流、蝌蚪快活游"的快乐畅达；春天，在唐朝诗人中是一曲"春眠不觉晓，处处闻啼鸟；夜来风雨声，花落知多少"的随意吟唱，无不对春天感奋，对春天歌诵，对春天赞叹，对春天希冀，对春天挽留，于春天的感觉，人们是那样异于寻常地怀着同一种心情同一种激情。

Chapter One, Prolusion: At the beginning, it introduces the developing survey of the academies, from its appearance in Tang Dynasty to the Five Dynasties, North and South Song Dynasties, and Yuan, Ming, Qing Dynasties.

第一章是《绪论》：首先介绍书院自唐代出现后，历经五代、两宋、元明清的发展概况。

His major works and commissions include: ' Three Temperaments , for Big Choir ' (1986), ' Counterpoint of Times , for woodwind septet ' (1989), ' Wild Children , for mixed Chamber Ensemble ' (1993), ' Overture , for solo Chinese bass drum and Chinese winds and percussion band ' (1994), ' Intonation , for chamber orchestra ' (1990-1994), ' Flavour of Bashu , for two violins, piano and percussion ' (1995), ' Pole , for solo Chinese Yun-luo, Chinese pai-gu and Chinese bass drum with six percussionists ' (1996),commissioned by Japan Asian Percussion Ensemble, ' Symphonic Prelude --- Bashu Capriccio' (1996), 'The Song Without Words , for solo percussion ' (1997), commissioned by the Ministry of Culture of Japan, Japanese Contemporary Music Association, and Japanese Embassy in China,'Illusions of the Symphonic Stage of Tang Dynast y , for orchestra of Tang Dynasty, percussion, voices and a big choir '(1999), commissioned by Japanese No Music Guanshiliu Green Spring Association, Chinese Music Research Center in Japan, Japanese Asian Percussion Ensemble and Japanese-Chinese Cultural Exchange Association,'The Prospect of Colored Desert , for violin, cello, sheng, pipa and percussion '(2000),commissioned by Yo-Yo Ma, Silk Road Project Inc. of the U.S., Sony Record,'Three Movements of Autumn , for small Chinese instruments ensembl e'(2000) and ' Sound Games , for 5 Chinese Percussion Instruments Players ' (2000-01), commissioned by La Cité de la Musique, Paris "2000 Chinese Classical Music Series", ' Fusion I , for Mixed Chamber Ensemble ' (2002), commissioned by Holland New Ensemble and Atlas Ensemble, ' Fusion II , Concerto for Solo Chinese Percussion and Orch.' (2002), commissioned by Japanese–Chinese Committee of Friendship and Public Music Performance, and ' Fusion III , for Irish flute, accordion, bodhran, Chinese sheng, zheng, Percussion and 13 Strings with Chamber Choir.' (2003-04), commissioned by China-Ireland Exchange Program, ' The Three Images from Washing Painting , for chamber ensemble of 17 players '(2005) commissioned by the New Juilliard Ensemble for the special concert of the Juilliard Centennial and sponsored by Asian Cultural Council and the Guggenheim Partnership and 'The Butterfly Dream', new 7 scenes Opera inspired by KUN QU' (2007) commissioned by the Contemporary Legend Theatre, Taiwan etc.

主要作品及委约包括：《三种气质，无伴奏合唱》(1986)、《时间的对位，木管七重奏》（1989）、《野娃子，混合室内乐队与童声》(1993)、《对话，男声独唱，女高音，童声合唱团，混声合唱团与混合乐队》(1993-94)、《序鼓，独奏中国大鼓、排鼓、云锣与中国民间吹打乐队》（1994）、《吟，室内交响乐》（1990-1994）、《蜀韵，两支小提琴、钢琴与打击乐》（1995）、《极，独奏中国云锣、大鼓、排鼓与六位打击乐演奏家》（1996）、《巴蜀随想，交响序曲》（1996）、《无词歌，打击乐独奏》（1997）（日本国文化厅、日本现代音乐协会、日本国驻中国领事馆等联合委约）、《梦的交响舞台，唐代乐队，打击乐，人声与合唱团》（1999）（日本能乐观世流绿泉会、日本中国音乐勉强会、日本亚洲打击乐团、日中文化交流协会等联合委约）、《舞蹈组曲，大型管弦乐队》(1999)、《漠墨图，小提琴、大提琴、笙、琵琶与打击乐》（2000）（马友友、美国丝绸之路文化发展公司、日本Sony唱片等联合委约）、《秋三阕，9位中国乐器演奏家》（2000）、《响趣，5位中国打击乐器演奏家》（2000）（法国巴黎音乐城"2000中国古典音乐系列音乐会"委约）、《融I ，混合室内乐团》（2002）（荷兰 New Ensemble， Atlas Ensemble联合委约）、《融II ，打击乐协奏曲》（2002）（日本日中友好音乐公演委员会委约）、《融III ，爱尔兰笛子、手风琴、巴朗鼓，中国笙、筝，打击乐，13件弦乐器以及室内合唱团》（2003-04）（爱尔兰国家文化委员会、爱中2004文化交流年组委会委约）、《水墨画意三则，为17位演奏家的室内乐团》（2005）（美国朱丽亚音乐学院新室内乐团委约，美国亚洲文化基金会和美国古根海姆基金支助）及《梦蝶，七场新昆剧》（2007）等。

In the late Qing dynasty, the Trumpet Drama of Haicheng region entered the Yangko troupe, though the professional and semi-professional folk artists" endeavors, the "four beams and four pillars on stilt was formed, and finally a new kind of folk art appeared--Haicheng Stilt Yangko, which was a combination of song, dance, drama and acrobatics.

清末，海城地区的喇叭戏进入秧歌会，经过职业、半职业艺人的努力，不断借鉴戏曲中的某些因素而逐渐形成高跷上的"四梁四柱"，其结果出现了新的民间艺术种类，即以歌、舞、戏、杂相结合的海城高跷秧歌。

Shows the end of Henan, Shaanxi Opera and after the introduction Puzhou Clapper, and local folk songs, made minor combination; one that transferred from the Northern Song direct the development of cable made of string; a folk concert in Henan is art, particularly since the Ming Dynasty later, in the Central Plains region based on the prevailing fashion Xiao Ling, absorbing "string rope" and other artistic achievement evolved.

一说明末秦腔与蒲州梆子传入河南后，与当地民歌、小调相结合而成；一说由北曲弦索调直接发展而成；一说是在河南民间演唱艺术，特别是自明朝中后期，在中原地区盛行的时尚小令基础上，吸收"弦索"等艺术成果发展而成。

In this article, we discuss the destroyed process of forest resources on the basis of history, and it is illuminated by the characters which timberwork had showed in several dynasty such as Tang, Song, Yuan, Ming and Qing.

森林资源的破坏有多种原因，为大众公认的是垦荒屯田。笔者以为还有一重要因素即人类的建设活动对木材的大量需求。本文以史为据分析了各时期森林资源的破坏过程，并结合唐、宋、元、明、清几个时代木结构表现出的特征给予说明。

According to the clear water experiment, aeration performance of the new equipment is good with high total oxygen transfer coefficient and oxygen utilization ratio.

曝气设备的动力效率在叶轮转速为120rpm～150rpm时取得最大值，此时氧利用率和充氧能力也具有较高值。

The environmental stability of that world - including its crushing pressures and icy darkness - means that some of its most famous inhabitants have survived for eons as evolutionary throwbacks, their bodies undergoing little change.

稳定的海底环境─包括能把人压扁的压力和冰冷的黑暗─意谓海底某些最知名的栖居生物已以演化返祖的样态活了万世，形体几无变化。