程式化的

Fruit trees and flowers, birds and animals, shimmering tiles, and the gleam and murmur of running water—these are the vibrant and delicate substances from which, like a beautiful carpet, the Islamic garden is woven.Indeed, Islamic carpet design and garden layout go hand in hand.Garden carpets depict in a stylized manner the chahar bagh, or fourfold garden with its intersecting axial watercourses surmounted by a central fountain.In addition, they depict symbolically the vegetation planted in actual gardens:the shade-giving plane tree, identified with the Tuba tree in the Quran; the cypress representing death and eternity; and fruit trees standing for life and fertility.The central cartouche can interpreted as a platform, which in real gardens was often surmounted by a pavilion.These form the basic and timeless design formula of the Islamic garden—one or more quadripartite sections defined by narrow water courses—which has its roots in ancient Persia where the archaeological remains of Achaemenid palaces trace the outlines of pavilions overlooking carved stone channels.

果树和花卉，鸟兽，闪烁瓷砖，以及闪光和杂音的自来水-这些都是充满活力和微妙的物质，像一个美丽的地毯，伊斯兰园林woven.indeed ，伊斯兰地毯设计与园林布局齐头并进hand.garden地毯描绘在程式化地察哈尔巴格，或四倍花园与其相交轴水道克服了由一个中央fountain.in此外，他们还描绘象征性的植物种植在实际花园：耐荫给予平面树，确定与大号树在可兰经；桧代表死亡和永恒；栽果树，站立，生活和fertility.the中央cartouche可以解释为一个平台，而在真正的花园往往是克服由pavilion.these形式基本和永恒的设计公式伊斯兰花园式的一个或一个以上的四方节所界定的狭窄水道-其中有它的根在古代波斯，而考古遗迹的阿契美尼德宫殿追查纲要凉亭俯瞰石刻渠道。

During the detailed dissertation in this paper, it explains the meaning of the conception of "To perceive object voluntary and paint it" from the history and ideological background that make it be produced and considers that it is the principle of Chinese traditional painting ,relationship of main body and object which contained in it effect each other and being dialectic unity; Secondly, in the text it analyzes the characters of ancient scholars' painting between main body and object, then concludes that the characters of ancient scholar's painting are "not in pursuit of the similitude of appearance ","simple" and "formality".

在具体的论述中，本文从"应物象形"产生的历史条件与思想背景入手，还原"应物象形"概念的涵义，认为"应物象形"是关于中国传统绘画造"形"的准则，其中所包含的绘画创作主客体之间的关系是两相并举，互渗互化，辨证统一的；其次，文章对于文人画造"形"的特点和主客体进行分析，将文人画的造"形"特点归纳为："不求形似"、简约、程式化，并认为文人画造"形"严重偏向于主体，轻视客体；最后，文章分别将文人画造"形"的主客体与"应物象形"的主客体进行比较，得出结论：文人画造"形"不同于"应物象形"。

Both dance and drama appeal to spectators' vision, but the movement of dance has the highly recapitulatory and general expressiveness of the subject, being good at emotion-expression and not expert at narration.

舞蹈是活动的雕塑，雕塑是舞蹈的&亮象&；舞蹈和戏剧都诉诸观众的视觉形象，但舞蹈的动作表演具有高度概括、宽泛的主观内在表现性，表现出长于抒情拙于叙事的特点；舞蹈的节奏感与韵律性与音乐有内在的联系，世界上有脱离舞蹈的音乐，却没有脱离音乐的舞蹈，由偏于客观，充满摹仿、再现因素，逐渐发展到借助形式美的程式化语汇，自由地表现主体内在的审美情感，是舞蹈艺术审美理想演化变迁的历史过程。

In this paper, we contribute an evolutionary heterogeneous beliefs model byusing t distribution to replace traditional standard normal to describe fundamen-tal price process and adding risk-adjusted market fraction function in classicaltwo types traders scheme. And then we utilizedifference equation stability and bifurcation theory and numerical simulation tostudy the system. It is found that the system has some styled facts (high kurto-sis、fat tali and long memory) of the actual financial market, and this indicatesthat the simulation model can reflect well the true financial market.

本文通过引入t分布代替原有的正态分布描述基础价格过程，引入经风险调整的投资者市场分数维函数取代原有的无风险调整的市场分数维函数，在经典的两类投资者(自主投资者和图表分析者)模拟模型框架下，建立了新的异质预期资产定价模型，利用差分方程稳定性和分支理论及数值模拟的方法对该系统进行理论分析和实证研究，发现模型具有真实金融市场的程式化事实(尖峰厚尾性，长记忆性等)，模拟效果较好。

During the detailed dissertation in this paper, it explains the meaning of the conception of "To perceive object voluntary and paint it" from the history and ideological background that make it be produced and considers that it is the principle of Chinese traditional painting ,relationship of main body and object which contained in it effect each other and being dialectic unity; Secondly, in the text it analyzes the characters of ancient scholars' painting between main body and object, then concludes that the characters of ancient scholar's painting are "not in pursuit of the similitude of appearance ","simple" and "formality".

在具体的论述中，本文从&应物象形&产生的历史条件与思想背景入手，还原&应物象形&概念的涵义，认为&应物象形&是关于中国传统绘画造&形&的准则，其中所包含的绘画创作主客体之间的关系是两相并举，互渗互化，辨证统一的；其次，文章对于文人画造&形&的特点和主客体进行分析，将文人画的造&形&特点归纳为：&不求形似&、简约、程式化，并认为文人画造&形&严重偏向于主体，轻视客体；最后，文章分别将文人画造&形&的主客体与&应物象形&的主客体进行比较，得出结论：文人画造&形&不同于&应物象形&。

The opening voiceover undermines the documentary qualities of the sequence by evoking the colour of objects and furnishings which, since the film is in black and white, the viewer cannot see. By contrast, the stylisation of the later scenes does not preclude an emotional response: the scenes where the prison officers re-enact the now amnesiac protagonist's upbringing and crime to remind him of his guilt are grimly hilarious.

开篇部分的画外音通过再现观影者原本由于影片的黑白色调而无法看到的、物品与室内陈设的颜色，使得这一段落的纪录片特质受到了削弱；相反，之后场景中的程式化也没有排除情感上的反应：那些监狱看守通过再现这位如今已经失去记忆的主角的幼年经历和所犯罪行、令他回忆起自身罪孽的场景，是一幕幕狰狞的喧闹景象。

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。