中国

TOTOLE has been gradually turning herself into one of the most famous enterprises in seasoning industry.Depending on her reputation and good image in the industry,TOTOLE has won the honor as\"Shanghai's Top 100 Brands\",\"China's Top 20 Enterprises in seasoning Industry\",\"Enterprise with outstanding contribution in China's Food Industry 1998-2001\",\"China's 100 leading enterprises in Food Service Industry 2006\",etc.,which hence ranked TOTOLE into the top list in China's Seasoning Industry.Authorized by China Culinary Food Industrial Association,TOTOLE drafted out《China's GB of Chicken Bouillon Industry》.On July 1st 2004,the document was put into practice,which is of great importance to standardize the market,guide consumption and create a healthy development trend in this industry.On September 1st,2005,TOTOLE's granulated chicken bouillon was awarded\"China's Top Brand\".

太太乐公司凭借自己的实力逐渐成为中国驰名的调味品企业之一，秉着在中国调味品行业的知名地位和良好形象，太太乐先后被评为"上海名牌产品100强之一"、"中国调味品著名品牌企业20强"、"1989-2001中国食品工业突出贡献企业"、"2006年度中国食品行业领军企业百强"等称号，从此跻身中国鲜味工业的前列。2004年7月1日，受中国调味品协会委托，由太太乐牵头起草的《中国鸡精行业标准》正式实施，对规范市场、引导消费及促进行业健康发展都具有重要的意义。2005年9月1日，太太乐鸡精荣获"中国名牌产品"称号，继续领跑鸡精行业，成为中国鸡精行业的第一品牌。

Mr. Ying Yuandao ever summarized the discussions on the Christianity Localization Movement in China in the 1920s, and held that the so-called localized Christian churches should have the following characteristics:"First, churches of the Chinese; Second, set up according to the experiences of the Chinese Christians; Third, with rich quality of Chinese culture; Fourth, combine Christianity and Chinese culture into a whole; Fifth, suits the spirits and psychology of the Chinese People; Sixth, enables the religious life and experience of the Chinese Christians to be adapted to Chinese customs"1. In the 1960s, Japanese scholar Sumiko Yamamoto made more detailed summarization for the definition of the Localization Movement of the Churches in China in her article "The Independent Movement of Christianity in China in the 1920s":"First, churches are formed of Chinese; Second, churches are independent in administration and operation; Third, churches have independence in the economic aspect; Fourth, churches are adapted to the Chinese in the aspects of church building, divine music, divine painting and liturgy etc. Fifth, accommodate the sacrificial fete and customs of the Chinese and Christianize them; Sixth, churches must be involved in the practical issues in the State and the society of China; Seventh, churches must get rid the tradition and colors of the European and American churches; Eighth, churches must be able to control themselves, sustain themselves and spread by themselves."

应元道先生曾对20世纪20年代开展的中国基督教本色运动的讨论加以概括，认为所谓本色的基督教会应有以下几个特点："一是中华国民的教会；二是根据中国基督教徒自己的经验而设立的；三是富有中国文化的质素的；四是要把基督教与中国文化合而为一的；五是能适合中华民族的精神和心理的；六是能使中国基督徒的宗教生活和经验合乎中国风土的" [1]。60年代，日本学者山本澄子在其所著的《二十年代中国基督教的自立运动》一文中，对中国教会本色化运动的定义作了更详细的概括："一，以中国人为教会的构成；二，教会的行政与运作等方面的自立；三，教会在经济方面的自立；四，教会在教堂建筑、圣乐、圣画、礼拜仪式等方面的中国化；五，容纳中国人的祭祀与习俗，并与基督教化；六，教会要置身于中国国家与社会的现实问题之内；七，教会要除去欧美教会的传统与色彩；八，教会要能自治、自养、自传。"

Climatic gradients were based on data sets from 841 meteorological stations throughout China. Definitions for floristic distributional patterns were based upon the work of Prof. Z. Y. Wu. Most of these floristic distributional patterns were strongly correlated with the geographic gradients in climate, except for cosmopolitan, cultivated and invasive genera. Tropical genera form a large fraction of the total genera (ranging from 0.84% to 94.38% in the regional floras) with the highest proportion in southern Yunnan and Hainan Island. Tropical genera occur predominantly in southern China of 0° N latitude and decreased with increasing latitude, as would be expected. Interestingly, the disjunct Tropical Asia and Tropical America distribution were not restricted to southern latitudes. Temperate genera account for 5.1% to 98.83% of the total genera in regional floras with the highest proportion in the province of Xinjiang. Most of these genera followed geographic gradients in climate as expected (temperate genera conspicuously dominate the landscape at higher latitudes), except the East Asian and North American disjunct distribution, Eastern Asian distribution and Chinese endemic distribution. Generally, most plant genera demonstrated some correlation with climatic and geographic gradients. The most important gradients were those of annual air temperature and precipitation. A small fraction did not demonstrate significantly particular pattern:"Cosmopolitan","East Asian and North American disjunct","Eastern Asian" and "Chinese endemic" distributions. The North Temperate distribution had the highest correlation with mean annual air temperature and precipitation.

结果如下：(1)除世界分布、栽培和入侵成分外，大部分中国种子植物属的地理成分的分布与地理相关密切；(2)热带分布属（泛热带分布、热带亚洲至热带美洲间断分布、旧世界热带分布、热带亚洲至热带大洋洲分布、热带亚洲至热带非洲分布及热带亚洲分布合计）占各地方植物区系的0.84%到94.38%，其最低值出现在中国西北部的新疆和青海地区，最高值出现在中国云南南部和海南；(3)热带分布属在＜北纬30°的地区占优势，除热带亚洲至热带美洲间断分布外，其它热带成分随纬度增加迅速减少；(4)温带分布属（北温带分布、东亚和北美间断分布、旧世界温带分布、温带亚洲分布、地中海区、西亚到中亚分布、中亚分布和东亚分布合计）占各地方植物区系的5.1%至98.83%，其最高值出现在中国西北部的新疆地区，最低值出现在中国云南南部和海南；(5)除东亚和北美间断分布、东亚分布和中国特有分布外，其它温带成分随纬度增加迅速增加；(6)在温带成分中，东亚和北美间断分布及东亚分布属主要出现在中国亚热带到暖温带地区，北温带分布、旧世界温带分布和温带亚洲分布属在中国北部占优势，而地中海区、西亚到中亚分布和中亚分布属则在中国西北部占优势；(7)除世界分布、东亚和北美间断分布、东亚分布和中国特有分布外，所有其他成分都显示了与气候因素密切相关，其中，北温带分布属与年均温和年降雨量最为密切相关。

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。

China Bentley Culture Development Co., Ltd cooperates with China Fashion Association to hold China Professional Models Contest, China Model Star Contest, Charming Girl China Model Contest, China Super Model Contest and Asian Super Model Contest, meanwhile, to cooperates with China General Chamber of Commerce to hold China Underwear Model Contest, to cooperates with CAAM to hold the China International Auto Models Contest, which is the stage for China Model Industry to find and select talents.

东方宾利文化发展中心与中国服装设计师协会共同举办&中国职业模特选拔大赛&、&中国模特之星大赛&、&'美少女'中国模特选拔大赛&、&中国超级模特大赛&和&亚洲超级模特大赛&，与中国商业联合会共同举办&中国内衣模特大赛&，与中国汽车工业协会共同举办&中国国际汽车模特大赛&，是中国模特业和演艺界发现、选拔人才的舞台。

Chapter One presents the western yearning and the imagination of China, the motivation of Portuguese navigation as well as the formation of the Portuguese social psychology; these were the elements that construct the differences in the shaping of the Chinese image. Chapter Two outlines the images of China for the Portuguese in the 16th century and how these images were used or manipulated. Chapter Three identifies the reasons for Fernao Mendes Pintos excessive praise for China. Chapter Four discusses the attitude held towards China by poets and missionaries, and the European misinterpretations of the Chinese image. Chapter Five reviews the Chinese image portrayed by Eca de Queiroz, a Portuguese novelist, and the translations of Chinese poems by certain poets. Chapter Six investigates how poets, especially those who had once stayed in Macao, viewed and perceived China.

第一章概述西方对中国的向往和想象、葡萄牙海外扩张的动机以及民族心理的构成，这决定了他们在塑造中国形象时的某些相异性；第二章论述16世纪葡萄牙人眼中的中国形象，以及对这一形象的利用；第三章集中讨论费尔南·门德斯·平托狂想式赞颂中国的原因；第四章评述诗人和教士对中国的态度以及欧洲对中国形象的&误读&；第五章论及小说家埃萨(Eca de Queiróz)笔下的中国形象以及一些诗人对中国诗歌的翻译；最后一章聚焦澳门，考察在澳门生活过的葡萄牙作家是如何描述中国的。

This paper mainly includes two parts The first part falls into three main sections. First, it analyses the formative causes of the Chinese traditional house interior display art through five aspects, including the structure and forms of Chinese traditional architecture, the productive mode of Chinese traditional society, Chinese traditional philosophy, the idea of ethics and grading and custom of Chinese traditional society. Second, it briefly introduces the history of Chinese traditional house interior display art's development. Finally, it focuses on the analysis of Chinese traditional house interior display art's design ideas and concludes that its design ideas embodies the five sides as follows: respect for nature and imitate artfully nature, practical-oriented and function incorporated into form, images of space of what the theory and practice forms, balanced natural pattern of the display, artifacts with the thoughts and respect for poetic imagery. Another part of the article further researches on the application of Chinese traditional house interior display ideas to the contemporary home display, and leads to the author's view, that is that each era should has its own character when it inherits the traditional culture. What's more, the contemporary Chinese-style home display design not only have to take over the spirit of the tradition but also have to give full consideration of the contemporary aesthetic concepts, principles and methods. In the 21st century, humanistic care is greatly proponed in the interior design. The interior display art should develop towards the ecological, personalized and comfortable direction and the cultural dimensions. It should absorb the traditional cultural elements to decorate contemporary living space. In order to upgrade the simple and primary "appearance likeness" to a higher level of "spirit likeness", it must effectively grasp the poetic imagery of space, which can reach the artistic effect of "both appearance and spirits".

本文的重点内容有两部分：一部分是从中国传统建筑的结构形式、中国传统社会的生产方式、中国传统的哲学观念、中国传统的伦理等级观念、中国传统社会的风俗习惯等五个方面简单分析了中国传统民居室内陈设艺术形成的原因；简要介绍了中国传统民居室内陈设艺术的发展过程；着重对中国传统民居室内陈设艺术设计理念的具体内涵进行了深入的分析，总结出其设计理念集中体现在五个方面，即崇尚自然与巧法造化、实用为本与文质彬彬、虚实相生的空间意象、均衡自然的陈设格局、器以载道与以境为尚；另一部分是对中国传统民居室内陈设设计理念在当代居室陈设设计中的应用作了较深层次的探讨，并提出了自己的见解，即每个时代对传统文化的继承都应该呈现出自己的特色，当代中式风格的居室陈设设计既要秉承传统民居室内陈设艺术的设计精髓，又要充分考虑当代审美观念、原则和方法的融入。21世纪，室内设计大力提倡人文关怀，具体到室内陈设艺术设计上，应该向生态化、个性化、舒适化和文化层面发展；吸收传统文化元素装饰当代居室空间，要有效地把握空间意境，使当代中式风格的居室陈设设计从简单、初级的&形似&上升到较高层次的&神似&，进而追求&形神兼备&的艺术效果。

Mr. Ying Yuandao ever summarized the discussions on the Christianity Localization Movement in China in the 1920s, and held that the so-called localized Christian churches should have the following characteristics:"First, churches of the Chinese; Second, set up according to the experiences of the Chinese Christians; Third, with rich quality of Chinese culture; Fourth, combine Christianity and Chinese culture into a whole; Fifth, suits the spirits and psychology of the Chinese People; Sixth, enables the religious life and experience of the Chinese Christians to be adapted to Chinese customs"1. In the 1960s, Japanese scholar Sumiko Yamamoto made more detailed summarization for the definition of the Localization Movement of the Churches in China in her article "The Independent Movement of Christianity in China in the 1920s":"First, churches are formed of Chinese; Second, churches are independent in administration and operation; Third, churches have independence in the economic aspect; Fourth, churches are adapted to the Chinese in the aspects of church building, divine music, divine painting and liturgy etc. Fifth, accommodate the sacrificial fete and customs of the Chinese and Christianize them; Sixth, churches must be involved in the practical issues in the State and the society of China; Seventh, churches must get rid the tradition and colors of the European and American churches; Eighth, churches must be able to control themselves, sustain themselves and spread by themselves."

应元道先生曾对20世纪20年代开展的中国基督教本色运动的讨论加以概括，认为所谓本色的基督教会应有以下几个特点：&一是中华国民的教会；二是根据中国基督教徒自己的经验而设立的；三是富有中国文化的质素的；四是要把基督教与中国文化合而为一的；五是能适合中华民族的精神和心理的；六是能使中国基督徒的宗教生活和经验合乎中国风土的& [1]。60年代，日本学者山本澄子在其所著的《二十年代中国基督教的自立运动》一文中，对中国教会本色化运动的定义作了更详细的概括：&一，以中国人为教会的构成；二，教会的行政与运作等方面的自立；三，教会在经济方面的自立；四，教会在教堂建筑、圣乐、圣画、礼拜仪式等方面的中国化；五，容纳中国人的祭祀与习俗，并与基督教化；六，教会要置身于中国国家与社会的现实问题之内；七，教会要除去欧美教会的传统与色彩；八，教会要能自治、自养、自传。&

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China's China Petroleum and Chemical Corporation, the national electrical network, the petroleum, the Yangtze River industry, the great wild goose sea group, Taiwan model the group, China move, the national well-known craftsman line, China renshou, the Chinese telecommunication, the group, the Shanghai Baoshan Steel Corporation, Chinese Construction bank, south the electrical network, Bank of China, Chinese steam, the Chinese agriculture business, the grain group, five ore groups, the Haire group, on the steam group, east the steam group, the hard project, the ocean shipping, China construct, the hard construction, China Netcom and so on 27 brands qualify, this selected Chinese World Famous Brand Enterprise year business income surpasses 10,000,000,000 US dollars.

中国的中石化、国家电网、中石油、长江实业、鸿海集团、台塑集团、中国移动、中国工行、中国人寿、中国电信、中化集团、上海宝钢、中国建行、南方电网、中国银行、中国一汽、中国农行、中粮集团、五矿集团、海尔集团、上汽集团、东汽集团、中铁工程、远洋运输、中国建筑、中铁建筑、中国网通等27个品牌榜上有名，此次入选的中国世界著名品牌企业年营业收入均超过100亿美元。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失