查询词典 Tang Dynasty

Based what mentioned before, in the background of Chinese traditional culture and poetic theory ,this thesis does an overall and precise analysis and research on five hot poetic topics: poetic prophecy, attitude towards being an official and being an anchoret, The Resurgence Of Tang Dynasty, qi xiang, philosophical art in notes written in Song Dynasty.

本文即立足于此，在中国传统文化及诗学理论的大背景下，对宋人笔记中诗谶、仕隐心态、《大唐中兴颂》、气象、理趣等五个诗学讨论热点，作了较为全面和细致的分析和研究。

Notes written in Song Dynasty;Poetics;Poetic prophecy; Attitude towards being an official and being an anchoret;The Resurgence Of Tang Dynasty; Qi xiang;Philosophical art

宋人笔记；诗学；诗谶；仕隐心态；《大唐中兴颂》，气象；理趣

As far as Japan be concerned, be in the queen who unites with the country greatly, large scale being accompanying with the Sui dynasty and the Tang Dynasty associates with, cognition beginning to have conceived oneself.

就日本而言，在大和国家统一后，伴随着与隋朝和唐朝的大规模交往，开始萌生了自我认识。

This article outlines the progress of ancient Chinese lenses from the Pre-Qin Period to the Five Dynasties, and discusses mainly two arguments: First, the"yangsui" recorded and narrated in Lun Heng by Wang Chong of Eastern Han Dynasty may be a plano-convex glass lens; secondly, the"four mirrors" recorded and narrated in Tanzi Hua Shu by Tan Qiao of Southern Tang Dynasty may be a plano-convex lens, a biconvex lens, a transparent planeparallel plate and a concave-convex lens respectively, but what kind of tra...

本文概述了中国古代透镜从先秦到五代的发展进程，着重从古代文献和出土文物的研究出发，结合中国古代社会经济发展水平，论证了东汉王充《论衡》中记述的阳燧可能是玻璃平凸透镜；论证了南唐谭峭的《谭子化书》中记述的"四镜"可能是平凸透镜、双凸透镜、平光镜和凹凸透镜。作者认为《谭子化书》"四镜"段可能实际上是对中国古代透镜发展的阶段性总结。

All this ensures the steady growth of book inscribing culture coming down from the late Tang dynasty, and provides the Northern Song dynasty with technicians and technical support required to print master copies and collate books.

吴越国是这一时期具有印刷文化传统的重要国家，由于其保土安民的国策，对中原正统强国纳贡称臣，加之与书籍印刷相关的文化移民的涌入，从而导致晚唐延续而来的书籍刊刻文化在这一地区得以平稳发展，并为北宋时期的书籍刊刻准备了从印刷书籍母本到书籍校勘、印刷人才及技术的条件。

Of the ghost novels in Wei-Jin Dynasties, stories about ghost and people in Tang Dynasty, the novels of script for story-telling in Song Dynasty; the mystery desalinize gradually, the air of the common customs is strengthened gradually. The ghosts appearance is to serve reality purport of the works, to solve the realistic contradiction, not merely to tell such odd and unusual ghost stories.

魏晋志怪中的鬼话，唐代人鬼故事，宋代话本小说，其中的鬼怪谲异成分逐渐淡化，人间世俗之气逐渐增强，鬼魂的出现是为了解决现实矛盾，实现作品主旨，而不仅仅在讲述一个个离奇怪异的鬼故事。

The tea war, which was the most important way of tea drinking in the Song Dynasty, was so different from the natural spirit in Tang Dynasty.

宋代自上而下盛行饮茶，饮茶的习俗和茶具的选用也与社会上的侈靡之风相一致，与唐朝清饮之风大相径庭。

From Tang Dynasty to Song and Yuan Dynasty, nearly one thousand year' history of Confucianism , Shism and taoism' interflow, though some flection apperaed , the great history trend keeped no change.

自唐代开始历经宋元，儒、释、道三教合流的历史进程延续了近千年，其间有曲折变化，但三教合流的总的历史趋势没有改变。

As an outstanding stateswoman, the only empress in feudal China, Wu Zetian rose from a country girl to be a concubine of the second emperor of Tang Dynasty, then the queen of the third emperor, and eventually established a new "Zhou Dynasty" and declared herself the empress.

武则天是中国历史上惟一的女皇帝，封建时代杰出的政治家。

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。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。