古人的

Bai Ju is beautiful, it is a common breed in chrysanthemum come, it and other chrysanthemum are same, it is to be in what tomb-sweeping day applies this day is very general, its beautiful words is exalted, the origin of its beautiful words and its color is not divided, the ancients and even now, can describe chasteness with white, pure friendship, pure love, pure heart.

白菊花。白色菊花的花语和象征代表意义：高尚白菊花，是菊花中常见的一个品种来的，它和其他菊花一样，都是在清明节这天应用的非常普遍，它的花语为高尚，它的花语的由来和它的颜色是分不开的，古人乃至现在，都会用白色来形容纯洁，纯洁的友谊。

His publications include 110 Years in the Grace of our Lord, Hong Kong:The HK Catholic Cathedral of the Immaculate Conception; Enter a Cathedral to Learn the Curch History; The History of Evangelization in Hong Kong Wun Yiu, Ting Kok, Yim Tin Tsai; The History of Evangelization in Hong Kong Tsim Sha Tsui, Kowloon Tong, Sham Shui Po; The History of Evangelization in Hong Kong Sai Ying Pun, Mid Levels, Happy Valley; The History of Evangelization in Hong Kong A Difficult Journy; The Foundation of the Catholic Mission in Hong Kong ;"Nine Decades of the Rosary Church, Kowloon";"Hong Kong's lighthouses and the men who manned them"(co-author with Dan Waters);"The Sunday Rest Issue in Nineteenth Century Hong Kong";"Charity of Hatred: orphanages in China run by missionaries";"Catholicism in Hakka villages of Hong Kong".

发表的作品包括《香港，百载十年的荫庇：香港圣母无原罪天主堂》、《进入主教座堂看教会历史》、《香港传教历史之旅﹙一﹚-碗、汀角及盐田仔》、《香港传教历史之旅﹙二﹚-尖沙咀、九龙塘及深水》、《香港传教历史之旅﹙三﹚-西营盘、中环、跑马地》、《香港传教历史之旅﹙四﹚-旅途上的古人》、《香港传教历史之旅﹙五﹚-艰辛的旅程》、《香港天主教的建立》；〈九龙玫瑰堂的九十年〉、〈香港的灯塔及其守望者〉、〈十九世纪香港的"安息日"问题〉、〈慈善与仇恨：十九世纪中国的育婴堂〉及〈香港客家村落中的天主教〉。

For if a question is absurd in itself and calls for an answer where none is required, it not only brings shame on the propounder of the question, but may betray an incautious listener into absurd answers, thus presenting, as the ancients said, the B83 ludicrous spectacle of one man milking a he-goat and the other holding a sieve underneath.

因为如果一个问题本身是悖理的，而要求的答案又是无所谓的，这样的问题就不但是提问者的耻辱，而且可以使不注意听话的人陷入悖理的解答里去；从而呈现出一种可笑的光景，像古人所说的那样，一个人在挤公羊的乳，另一个人拿着筛子去接。

These images that need no word expression and logical reasoning, even need no brain-racking search for the archetypes, are a kind of self-cultural sediment. They may have multiple and cultural relations or collisions with a declining national spirit at present, but the paintings themselves not only act as a representation of dominant cultural traits of our nation, but are also my attempts to continue stone inscriptions and brick engravings by those ancient people through knife scraping and line engraving in cold and gray tone, not only a visual sediment of my own obscure emotion, but also a kind of exterior exposition of my personal art spirit.

这些无须用言词、逻辑去表达、推理、甚至去挖空心思搜寻的形象，是自我的某种文化的积淀，或许与时下民族气性衰微与潦落的状况有着多层面的文化上的关联与冲突，但画面本身不仅成为民族强势文化特质的某种形式上的渲染，同时也希籍冷灰色调下的刀刮、线刻能够成为古人碑帖、砖刻痕迹的某种延续，既是自我内心晦涩情绪的视觉沉淀，也是个人艺术精神的某种外化的诠释。

The independence of the function is discussed focusing on the connection between man and language by analyzing the important concept of Chinese classical poetics Feelings-expressed-by-sound , which shows the opening and harmonious connection between the inner formalized feelings of man and the outer formalized sound of poetry or between man and language. As the formalized emotion, the feelings of the sound formed don't depend on social emotion.

生成的独立性：诗歌语音结构的生成具有"物之自则"即和谐自组织的的特性，也即不是在外力作用下而是按自身内在构型规律成型的；从人与语言的关系来看，古人用"体""用"并通过对体用一如的强调，来揭示人的内在性情与诗之"声"的高度交融关系，正是在"情之自溢"、"触物成声"的生成过程中，诗歌才做到体用一如——诗歌语音和谐构型的独立性离不开人的内在情文构型的独立性。

Thus, in the eighteenth century, when nearly all the instructed, and all those of the uninstructed who were led by them, were lost in admiration of what is called civilization, and of the marvels of modern science, literature, and philosophy, and while greatly overrating the amount of unlikeness between the men of modern and those of ancient times, indulged the belief that the whole of the difference was in their own favour; with what a salutary shock did the paradoxes of Rousseau explode like bombshells in the midst, dislocating the compact mass of one-sided opinion, and forcing its elements to recombine in a better form and with additional ingredients.

举例来看，在十八世纪，当几乎一切有学养的人以及跟在他们后面的无学养的人都热狂于赞叹所谓文明，赞叹近代科学、文学、哲学的各项奇迹的时候，当他们既大大过高估计了现代人与古人不同的程度复滥信这全部不同都偏利于他们自己的时候，请看卢梭的一些似非而是的议论怎样象炸弹一般爆发在一大堆结构紧密的片面性意见之中，改变了它原来的部位，迫使其中分子在新的分子楔入之下重新组合出更好的形式，起到了有益的震撼作用。

From the Warring States Period to the Qin Dynasty, the ancient myths and the ways of searching longevity indicated that the"God"concept was equal to the"immortal"which emphasized that the athanasy of the life is a"divine"nature, unlike ordinary people. In the Han Dynasty, the immortal concept undergone a subtle change, the god was becoming closer to the"human"existence. After the establishment of the Taoism, The Eastern Jin Taoist scholars Gehong established the immortal concept of Taoism,and put the"God"downgraded to longevity who practicing the longevous knowledge,and even established a"Dixian"concept. This completed the transformation process of"Shenren"to"Dixian"concept.

从战国至秦代神话的内容和古人探求长生不死的方式来看，最初&神&和&仙&的概念是一致的，强调的是神的先天不死性，体现为不同于凡人的&神人&概念，汉时的神仙思想发生了微妙变化，神仙逐渐变为接近于&人&的存在，道教创立后，东晋的道教学者葛洪把先天的&神&降格为懂得长生术的&人&，并提出了&地仙&概念，完成了&神人&向&地仙&概念的转变。

Allowed the date that" year" indulge in atrocities on the whole, the common people treat this terrible night as to close to come then very, call" year end", and figured out a the whole set to celebrate New Year's Eve the way of the pass:Each time to this evening, each per families work well the supper in advance, turn off the clean cooking stove, then chase a fastening with all stockade of chicken, the house hospital in front and back the doors all seal, hiding to eat" New Year's Eve dinner" in the house, because of this dinner have fierce 吉 don't 卜 of meaning, so buy very flourishing, in addition to wanting that the whole family the old and the young rounds together to have a meal to mean in peace and harmony and reunitedly, return the beard at have a meal to provide the worship of ancestors before and first first, the spirit of the imprecation ancestry protect, spending this night safe and sound, after eating the supper, who all dare not the sleeping, pushing to sit together to talk away to encourage.

到了宋代，人们便开始在桃木板上写对联，一则不失桃木镇邪的意义，二则表达自己美好心愿，三则装饰门户，以求美观。又在象征喜气吉祥的红纸上写对联，新春之际贴在门窗两边，用以表达人们祈求来年福运的美好心愿。为了祈求一家的福寿康宁，一些地方的人们还保留着贴门神的习惯。据说，大门上贴上两位门神，一切妖魔鬼怪都会望而生畏。在民间，门神是正气和武力的象征，古人认为，相貌出奇的人往往具有神奇的禀性和不凡的本领。他们心地正直善良，捉鬼擒魔是他们的天性和责任，人们所仰慕的捉鬼天师钟馗，即是此种奇形怪相。所以民间的门神永远都怒目圆睁，相貌狰狞，手里拿着各种传统的武器，随时准备同敢于上门来的鬼魅战斗。

On one hand, titled as "Life that is being sold", it pays attention to people's inevitable reconstruction during the experiencing process in social life, which is as the ancient said "the wild gooses pass by leaving their trace". On the other hand, it is more important to play the game of "real illusion" via varies practices.

被贩卖的生活》一方面关注人在完成对社会生活的经历过程中不可避免地实现了对社会生活的改造，正如古人说过的&雁过留痕&；另一方面，更重要的是希望通过种种实践，与大家一起完成&真实的假象&的游戏。

Rather than its reminiscence of old times, the charm of collections originates from the porcelain wares themselves, from the culture they carry, from the unique cultural environments they reflect and from the ceramists' superior skills they show.

收藏的魅力不仅是人们今天对古的怀旧，更多的是源自于器物本身，源自于它所承载的传统文化的积累，源自于那个时代独特的人文环境，源自于古人平常熟稔的技巧，后人仿冒的赝品是达不到真品水平的。

Do you know, i need you to come back

你知道吗，我需要你回来

Yang yinshu、Wang xiangsheng、Li decang,The first discovery of haemaphysalis conicinna.

1〕 杨银书，王祥生，李德昌。安徽省首次发现嗜群血蜱。