Academic literature on the topic 'Tianshui ji wu duan'

Traditional Chinese medicine (TCM) divides fracture treatment into three stages. Many TCM herbs and formulas have been used to treat fractures for thousands of years. However, research regarding the Chinese herbal products (CHPs) that should be used at different periods of treatment is still lacking. This study aims to identify the CHPs that should be used at different periods of treatment as well as confirm the TCM theory of fracture periods medicine. We used prescriptions of TCM outpatients with fracture diagnoses analyzed using the Chang Gung Research Database (CGRD) from 2000 to 2015. According to the number of days between the date of the fracture and the clinic visit date, all patients were assigned to one of three groups. Patients with a date gap of 0-13 days were assigned to the early period group; those with a date gap of 14-82 days were assigned to the middle period group; and those with a date gap of 83-182 days were assigned to the late period group. We observed the average number of herbal formulas prescribed by the TCM doctor at each visit was 2.78, and the average number of single herbs prescribed was 6.47. The top three prescriptions in the early fracture period were Zheng-gu-zi-jin-dang, Shu-jing-huo-xue-tang, and Wu-ling-san. In the middle fracture period, the top three formulas were Zheng-gu-zi-jin-dang, Shu-jing-huo-xue-tang, and Zhi-bai-di-huang-wan. In the late fracture period, the top three formulas were Shu-jing-huo-xue-tang, Gui-lu-er-xian-jiao, and Du-huo-ji-sheng-tang. The main single herbs used in the early fracture period were Yan-hu-suo, Gu-sui-bu, and Dan-shen. From the middle to the late period, the most prescribed single herbs were Xu-duan, Gu-sui-bu, and Yan-hu-suo. We concluded that the results showed that the CGRD utilization pattern roughly meets the TCM theory at different fracture periods.

The radiation conversion phenomenon is used for UV sensing applications with rare earth doped phosphors. This paper presents the results of structural and optical measurements of undoped and europium doped LaPO4 phosphors. LaPO4 phosphors with 1% mol, 2% mol, and 5% mol of europium were fabricated by the co-precipitation method. The effect of Eu3+ concentrations on the luminescence characteristics under UV LED excitation was investigated. The maximum quantum efficiency of luminescence (c.a. 82%) was obtained in sampled doped with 5% of europium. Full Text: PDF ReferencesM. Runowski, "Nanotechnologia – nanomateriały, nanocząstki i wielofunkcyjne nanostruktury typu rdzeń/powłoka", Chemik 68, 9, 766-775 (2014). DirectLink J. Zhou, J.L. Leano Jr., Z. Liu, D. Jin, K.-L. Wong, R.S. Liu, et al., "Impact of Lanthanide Nanomaterials on Photonic Devices and Smart Applications", Small 14, 1801882 (2018). CrossRef Z. Li, Y. Zhang, G. Han, "Lanthanide-Doped Upconversion Nanoparticles for Imaging-Guided Drug Delivery and Therapy", Springer Series in Biomater. Sci. Eng. 6, 139-164, (2016). CrossRef M. Lin, Y. Zhao, S. Wang, M. Liu, Z. Duan, Y. Chen, et al., "Recent advances in synthesis and surface modification of lanthanide-doped upconversion nanoparticles for biomedical applications", Biotechnol. Adv. 30, 1551-1561 (2012). CrossRef H. Su, Y. Nie, H. Yang, D. Tang, K. Chen, T. Zhang, "Improving the thermal stability of phosphor in a white light-emitting diode (LED) by glass-ceramics: Effect of Al2O3 dopant", J. Eur. Ceram. Soc. 38, 2005-2009 (2018). CrossRef J. Huang, X. Hu, J. Shen, D. Wu, C. Yin, R. Xiang, et al., "Facile synthesis of a thermally stable Ce3+:Y3Al5O12 phosphor-in-glass for white LEDs", Cryst. Eng. Comm 17, 7079-7085 (2015). CrossRef R. Zhang, H. Lin, Y. Yu, D. Chen, J. Xu, Y. Wang, "A new-generation color converter for high-power white LED: transparent Ce3+:YAG phosphor-in-glass", Laser Photon. Rev. 8, 158-164 (2014). CrossRef B. Zheng, Y. Bai, H. Chen, H. Pan, W. Ji, X. Gong, et al., "Near-Infrared Light-Excited Upconverting Persistent Nanophosphors in Vivo for Imaging-Guided Cell Therapy", ACS Appl. Mater. Interfaces 10, 19514 (2018). CrossRef J. Qiao, G. Zhou, Y. Zhou, Q. Zhang, Z. Xia, "Divalent europium-doped near-infrared-emitting phosphor for light-emitting diodes", Nature Communications 10 (1), 5267 (2019). CrossRef V. Singh, A. Kumar, C. Mehare, H. Jeong, S. Dhoble, "UV/VUV excited photoluminescence of Tb3+ doped LaPO4 green emitting phosphors for PDP applications", Optik 206, 163733 (2020). CrossRef G. Han, Y. Wang, C. Wu, J. Zhang, "Hydrothermal synthesis and vacuum ultraviolet-excited luminescence properties of novel Dy3+-doped LaPO4 white light phosphors", Mat. Res. Bull. 44 (12), 2255-2257 (2009). CrossRef K. S. Gupta, P. S. Ghosh, M. Sahu, K. Bhattacharyya, R. Tewari, V. Natarajan, "Intense red emitting monoclinic LaPO4:Eu3+ nanoparticles: host–dopant energy transfer dynamics and photoluminescence properties", RSC Adv. 5, 58832-58842 (2015). CrossRef

Abstract Downsizing metal nanoparticle catalysts to form single-atom catalysts (SACs) has proven to be one of the best ways to enhance the catalysts’ activity and selectivity1-2 due to their unique characteristics such as nearly 100% atom utilization and well-defined active sites.3 However, the broad application of SACs in catalytic reactions is limited by their poor stability as they possess high surface energy and thus tend to aggregate and form nanoclusters or nanoparticles.4 To address this challenge, various supports such as metal oxides, carbon materials, and porous materials are widely used to stabilize the SACs.5 Metal organic frameworks (MOFs), a class of porous crystalline materials, have proven to be an ideal candidate to support SACs owing to their high surface area, high porosity, and abundant potential anchoring sites.6 It has been shown that immobilizing SACs on MOFs, which forms MOF supported SACs, can integrate the unique properties of SACs and MOFs and led to remarkable catalytic activity, selectivity, and stability toward various catalytic reactions.6-8 Application of MOF supported SACs in photocatalysis, organic linkers of metal-organic frameworks act as photosensitive units,9 However most pristine metal-organic frameworks possesses poor light absorption properties due to wide band gap.9To enhance the light harvesting properties of the metal organic framework its organic linker is functionalized.10-11 In my poster presentation, I will present my work where post-synthetic modification of UiO-66-NH2 MOF linker with 3,4,9,10 perylene tetracarboxylic dianhydride (PDA) an organic molecule with broad absorption edge,12and immobilization of Ni single atom catalyst on the zirconium cluster of the MOF was done. This resulted in enhanced optical properties and charge separation efficiency which was proved by a combination of UV-visible spectroscopy (UV-Vis), photoelectrochemical techniques, and X-ray absorption spectroscopy (XAS). Observed photophysical effects posed by the modifications of the UiO-66-NH2 were evaluated by photocatalytic hydrogen generation. References Yan, J.; Kong, L.; Ji, Y.; White, J.; Li, Y.; Zhang, J.; An, P.; Liu, S.; Lee, S.-T.; Ma, T., Single atom tungsten doped ultrathin α-Ni (OH) 2 for enhanced electrocatalytic water oxidation. Nature communications 2019, 10 (1), 1-10. Jiao, L.; Jiang, H.-L., Metal-organic-framework-based single-atom catalysts for energy applications. Chem 2019, 5 (4), 786-804. Qiao, B.; Wang, A.; Yang, X.; Allard, L. F.; Jiang, Z.; Cui, Y.; Liu, J.; Li, J.; Zhang, T., Single-atom catalysis of CO oxidation using Pt1/FeO x. Nature chemistry 2011, 3 (8), 634-641. Xia, C.; Qiu, Y.; Xia, Y.; Zhu, P.; King, G.; Zhang, X.; Wu, Z.; Kim, J. Y.; Cullen, D. A.; Zheng, D., General synthesis of single-atom catalysts with high metal loading using graphene quantum dots. Nature chemistry 2021, 13 (9), 887-894. Wu, J.; Xiong, L.; Zhao, B.; Liu, M.; Huang, L., Densely populated single atom catalysts. Small Methods 2020, 4 (2), 1900540. Huang, H.; Shen, K.; Chen, F.; Li, Y., Metal–organic frameworks as a good platform for the fabrication of single-atom catalysts. ACS Catalysis 2020, 10 (12), 6579-6586. Qu, W.; Chen, C.; Tang, Z.; Wen, H.; Hu, L.; Xia, D.; Tian, S.; Zhao, H.; He, C.; Shu, D., Progress in metal-organic-framework-based single-atom catalysts for environmental remediation. Coordination Chemistry Reviews 2023, 474, 214855. Szilágyi, P.; Rogers, D.; Zaiser, I.; Callini, E.; Turner, S.; Borgschulte, A.; Züttel, A.; Geerlings, H.; Hirscher, M.; Dam, B., Functionalised metal–organic frameworks: a novel approach to stabilising single metal atoms. Journal of Materials Chemistry A 2017, 5 (30), 15559-15566. He, J.; Wang, J.; Chen, Y.; Zhang, J.; Duan, D.; Wang, Y.; Yan, Z., A dye-sensitized Pt@ UiO-66 (Zr) metal–organic framework for visible-light photocatalytic hydrogen production. Chemical communications 2014, 50 (53), 7063-7066. Elcheikh Mahmoud, M.; Audi, H.; Assoud, A.; Ghaddar, T. H.; Hmadeh, M., Metal–Organic Framework Photocatalyst Incorporating Bis(4′-(4-carboxyphenyl)-terpyridine)ruthenium(II) for Visible-Light-Driven Carbon Dioxide Reduction. Journal of the American Chemical Society 2019, 141 (17), 7115-7121. Hendrickx, K.; Joos, J. J.; De Vos, A.; Poelman, D.; Smet, P. F.; Van Speybroeck, V.; Van Der Voort, P.; Lejaeghere, K., Exploring lanthanide doping in UiO-66: a combined experimental and computational study of the electronic structure. Inorganic Chemistry 2018, 57 (9), 5463-5474. Yu, H.; Joo, P.; Lee, D.; Kim, B. S.; Oh, J. H., Photoinduced Charge‐Carrier Dynamics of Phototransistors Based on Perylene Diimide/Reduced Graphene Oxide Core/Shell p–n Junction Nanowires. Advanced Optical Materials 2015, 3 (2), 241-247.

Object segmentation is an important task which is widely employed in many computer vision applications such as object detection, tracking, recognition, and retrieval. It can be seen as a two-phase process: object detection and segmentation. Object segmentation becomes more challenging in case there is no prior knowledge about the object in the scene. In such conditions, visual attention analysis via saliency mapping may offer a mean to predict the object location by using visual contrast, local or global, to identify regions that draw strong attention in the image. However, in such situations as clutter background, highly varied object surface, or shadow, regular and salient object segmentation approaches based on a single image feature such as color or brightness have shown to be insufficient for the task. This work proposes a new salient object segmentation method which uses a depth map obtained from the input image for enhancing the accuracy of saliency mapping. A deep learning-based method is employed for depth map estimation. Our experiments showed that the proposed method outperforms other state-of-the-art object segmentation algorithms in terms of recall and precision. KeywordsSaliency map, Depth map, deep learning, object segmentation References[1] Itti, C. Koch, E. Niebur, A model of saliency-based visual attention for rapid scene analysis, IEEE Transactions on pattern analysis and machine intelligence 20(11) (1998) 1254-1259.[2] Goferman, L. Zelnik-Manor, A. Tal, Context-aware saliency detection, IEEE transactions on pattern analysis and machine intelligence 34(10) (2012) 1915-1926.[3] Kanan, M.H. Tong, L. Zhang, G.W. Cottrell, Sun: Top-down saliency using natural statistics, Visual cognition 17(6-7) (2009) 979-1003.[4] Liu, Z. Yuan, J. Sun, J. Wang, N. Zheng, X. Tang, H.-Y. Shum, Learning to detect a salient object, IEEE Transactions on Pattern analysis and machine intelligence 33(2) (2011) 353-367.[5] Perazzi, P. Krähenbühl, Y. Pritch, A. Hornung, Saliency filters: Contrast based filtering for salient region detection, in: Computer Vision and Pattern Recognition (CVPR), 2012 IEEE Conference on, IEEE, 2012, pp. 733-740.[6] M. Cheng, N.J. Mitra, X. Huang, P.H. Torr, S.M. Hu, Global contrast based salient region detection, IEEE Transactions on Pattern Analysis and Machine Intelligence 37(3) (2015) 569-582.[7] Borji, L. Itti, State-of-the-art in visual attention modeling, IEEE transactions on pattern analysis and machine intelligence 35(1) (2013) 185-207.[8] Simonyan, A. Vedaldi, A. Zisserman, Deep inside convolutional networks: Visualising image classification models and saliency maps, arXiv preprint arXiv:1312.6034.[9] Li, Y. Yu, Visual saliency based on multiscale deep features, in: Proceedings of the IEEE conference on computer vision and pattern recognition, 2015, pp. 5455-5463.[10] Liu, J. Han, Dhsnet: Deep hierarchical saliency network for salient object detection, in: Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition, 2016, pp. 678-686.[11] Achanta, S. Hemami, F. Estrada, S. Susstrunk, Frequency-tuned saliency detection model, CVPR: Proc IEEE, 2009, pp. 1597-604.Fu, J. Cheng, Z. Li, H. Lu, Saliency cuts: An automatic approach to object segmentation, in: Pattern Recognition, 2008. ICPR 2008. 19th International Conference on, IEEE, 2008, pp. 1-4Borenstein, J. Malik, Shape guided object segmentation, in: Computer Vision and Pattern Recognition, 2006 IEEE Computer Society Conference on, Vol. 1, IEEE, 2006, pp. 969-976.Jiang, J. Wang, Z. Yuan, T. Liu, N. Zheng, S. Li, Automatic salient object segmentation based on context and shape prior., in: BMVC. 6 (2011) 9.Ciptadi, T. Hermans, J.M. Rehg, An in depth view of saliency, Georgia Institute of Technology, 2013.Desingh, K.M. Krishna, D. Rajan, C. Jawahar, Depth really matters: Improving visual salient region detection with depth., in: BMVC, 2013.Li, J. Ye, Y. Ji, H. Ling, J. Yu, Saliency detection on light field, in: Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition, 2014, pp. 2806-2813.Koch, S. Ullman, Shifts in selective visual attention: towards the underlying neural circuitry, in: Matters of intelligence, Springer, 1987, pp. 115-141.Laina, C. Rupprecht, V. Belagiannis, F. Tombari, N. Navab, Deeper depth prediction with fully convolutional residual networks, in: 3D Vision (3DV), 2016 Fourth International Conference on, IEEE, 2016, pp. 239-248.Bruce, J. Tsotsos, Saliency based on information maximization, in: Advances in neural information processing systems, 2006, pp. 155-162.Ren, X. Gong, L. Yu, W. Zhou, M. Ying Yang, Exploiting global priors for rgb-d saliency detection, in: Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition Workshops, 2015, pp. 25-32.Fang, J. Wang, M. Narwaria, P. Le Callet, W. Lin, Saliency detection for stereoscopic images., IEEE Trans. Image Processing 23(6) (2014) 2625-2636.Hou, L. Zhang, Saliency detection: A spectral residual approach, in: Computer Vision and Pattern Recognition, 2007. CVPR’07. IEEE Conference on, IEEE, 2007, pp. 1-8.Guo, Q. Ma, L. Zhang, Spatio-temporal saliency detection using phase spectrum of quaternion fourier transform, in: Computer vision and pattern recognition, 2008. cvpr 2008. ieee conference on, IEEE, 2008, pp. 1-8.Fang, W. Lin, B.S. Lee, C.T. Lau, Z. Chen, C.W. Lin, Bottom-up saliency detection model based on human visual sensitivity and amplitude spectrum, IEEE Transactions on Multimedia 14(1) (2012) 187-198.Lang, T.V. Nguyen, H. Katti, K. Yadati, M. Kankanhalli, S. Yan, Depth matters: Influence of depth cues on visual saliency, in: Computer vision-ECCV 2012, Springer, 2012, pp. 101-115.Zhang, G. Jiang, M. Yu, K. Chen, Stereoscopic visual attention model for 3d video, in: International Conference on Multimedia Modeling, Springer, 2010, pp. 314-324.Wang, M.P. Da Silva, P. Le Callet, V. Ricordel, Computational model of stereoscopic 3d visual saliency, IEEE Transactions on Image Processing 22(6) (2013) 2151-2165.Peng, B. Li, W. Xiong, W. Hu, R. Ji, Rgbd salient object detection: A benchmark and algorithms, in: European Conference on Computer Vision (ECCV), 2014, pp. 92-109.Wu, L. Duan, L. Kong, Rgb-d salient object detection via feature fusion and multi-scale enhancement, in: CCF Chinese Conference on Computer Vision, Springer, 2015, pp. 359-368.Xue, Y. Gu, Y. Li, J. Yang, Rgb-d saliency detection via mutual guided manifold ranking, in: Image Processing (ICIP), 2015 IEEE International Conference on, IEEE, 2015, pp. 666-670.Katz, A. Adler, Depth camera based on structured light and stereo vision, uS Patent App. 12/877,595 (Mar. 8 2012).Chatterjee, G. Molina, D. Lelescu, Systems and methods for determining depth from multiple views of a scene that include aliasing using hypothesized fusion, uS Patent App. 13/623,091 (Mar. 21 2013).Matthies, T. Kanade, R. Szeliski, Kalman filter-based algorithms for estimating depth from image sequences, International Journal of Computer Vision 3(3) (1989) 209-238.Y. Schechner, N. Kiryati, Depth from defocus vs. stereo: How different really are they?, International Journal of Computer Vision 39(2) (2000) 141-162.Delage, H. Lee, A.Y. Ng, A dynamic bayesian network model for autonomous 3d reconstruction from a single indoor image, in: Computer Vision and Pattern Recognition, 2006 IEEE Computer Society Conference on, Vol. 2, IEEE, 2006, pp. 2418-2428.Saxena, M. Sun, A.Y. Ng, Make3d: Learning 3d scene structure from a single still image, IEEE transactions on pattern analysis and machine intelligence 31(5) (2009) 824-840.Hedau, D. Hoiem, D. Forsyth, Recovering the spatial layout of cluttered rooms, in: Computer vision, 2009 IEEE 12th international conference on, IEEE, 2009, pp. 1849-1856.Liu, S. Gould, D. Koller, Single image depth estimation from predicted semantic labels, in: Computer Vision and Pattern Recognition (CVPR), 2010 IEEE Conference on, IEEE, 2010, pp. 1253-1260.Ladicky, J. Shi, M. Pollefeys, Pulling things out of perspective, in: Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition, 2014, pp. 89-96.K. Nathan Silberman, Derek Hoiem, R. Fergus, Indoor segmentation and support inference from rgbd images, in: ECCV, 2012.Liu, J. Yuen, A. Torralba, Sift flow: Dense correspondence across scenes and its applications, IEEE transactions on pattern analysis and machine intelligence 33(5) (2011) 978-994.Konrad, M. Wang, P. Ishwar, 2d-to-3d image conversion by learning depth from examples, in: Computer Vision and Pattern Recognition Workshops (CVPRW), 2012 IEEE Computer Society Conference on, IEEE, 2012, pp. 16-22.Liu, C. Shen, G. Lin, Deep convolutional neural fields for depth estimation from a single image, in: Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition, 2015, pp. 5162-5170.Wang, X. Shen, Z. Lin, S. Cohen, B. Price, A.L. Yuille, Towards unified depth and semantic prediction from a single image, in: Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition, 2015, pp. 2800-2809.Geiger, P. Lenz, C. Stiller, R. Urtasun, Vision meets robotics: The kitti dataset, International Journal of Robotics Research (IJRR).Achanta, S. Süsstrunk, Saliency detection using maximum symmetric surround, in: Image processing (ICIP), 2010 17th IEEE international conference on, IEEE, 2010, pp. 2653-2656.E. Rahtu, J. Kannala, M. Salo, J. 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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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Committee I.1: Environment Alexander Babanin (Chair); Mariana Bernardino; Franz von Bock und Polach; Ricardo Campos,; Jun Ding; Sanne van Essen; Tomaso Gaggero; Maryam Haroutunian; Vanessa Katsardi; Alexander Nilva; Arttu Polojarvi; Erik Vanem; Jungyong Wang; Huidong Zhang; Tingyao Zhu Floor Discussers: Florian Sprenger; Carlos Guedes Soares; Henk den Besten Committee I.2: Loads Ole Andreas Hermundstad (Chair); Shuhong Chai; Guillaume de Hauteclocque; Sheng Dong; Chih-Chung Fang; Thomas B. Johannessen; Celso Morooka; Masayoshi Oka; Jasna Prpić-Oršić; Alessandro Sacchet; Mahmud Sazidy; Bahadir Ugurlu; Roberto Vettor; Peter Wellens Official Discusser: Hayden Marcollo Committee II-1: Quasi-Static Response James Underwood (Chair); Erick Alley; Jerolim Andrić Dario Boote; Zhen Gao; Ad Van Hoeve; Jasmin Jelovica; Yasumi Kawamura; Yooil Kim; Jian Hu Liu; Sime Malenica; Heikki Remes; Asokendu Samanta; Krzysztof Woloszyk; Deqing Yang Official Discusser: Prof. T. Yoshikwa Committee II.2: Dynamic Response Gaute Storhaug (Chair); Daniele Dessi; Sharad Dhavalikar; Ingo Drummen; Michael Holtmann; Young-Cheol Huh; Lorenzo Moro; Andre Paiva; Svein Sævik; Rong-Juin Shyu; Shan Wang; Sue Wang; WenWei Wu; Yasuhira Yamada; Guiyong Zhang Floor Discussers: Ling Zhu; Tomoki Takami; Anriette (Annie) Bekker; Bruce Quinton; Robert Sielski Committee III.1: Ultimate Strength Paul E. Hess (Chair); Chen An; Lars Brubak; Xiao Chen; Jinn Tong Chiu; Jurek Czujko; Ionel Darie; Guoqing Feng; Marco Gaiotti; Beom Seon Jang; Adnan Kefal; Sukron Makmun; Jonas Ringsberg; Jani Romanoff; Saad Saad-Eldeen; Ingrid Schipperen; Kristjan Tabri; Yikun Wang; Daisuke Yanagihara Official Discusser: Jørgen Amdahl Committee III.2: Fatigue and Fracture Yordan Garbatov (Chair); Sigmund K Ås; Henk Den Besten; Philipp Haselbach; Adrian Kahl; Dale Karr; Myung Hyun Kim; Junjie Liu; Marcelo Igor Lourenço de Souza; Wengang Mao; Eeva Mikkola; Naoki Osawa; Fredhi Agung Prasetyo; Mauro Sicchiero; Suhas Vhanmane; Marta Vicente del Amo; Jingxia Yue Official Discusser Weicheng Cui Floor Discussers: Robert Sielski; Sören Ehlers; Stephane Paboeuf; Teresa Magoga Committee IV.1: Design Principles and Criteria Matthew Collette (Chair); Piero Caridis; Petar Georgiev; Torfinn Hørte; Han Koo Jeong; Rafet emek Kurt; Igor Ilnytskiy; Tetsuo Okada; Charles Randall; Zbigniew Sekulski; Matteo Sidari; Zhihu Zhan; Ling Zhu Official Discusser: Enrico Rizzuto Committee IV.2: Design Methods Andrea Ivaldi (Chair); Abbas Bayatfar; Jean-David Caprace; Gennadiy Egorov; Svein Erling Heggelund; Shinichi Hirakawa; Jung Min Kwon; Dan Mcgreer; Pero Prebeg; Robert Sielski; Mark Slagmolen; Adam Sobey; Wenyong Tang; Jiameng Wu Official Discusser: Mario Dogliani Committee V.1: Accidental Limit States Bruce Quinton; Gaetano De Luca; Topan Firmandha; Mihkel Körgesaar; Hervé Le Sourne; Ken Nahshon; Gabriele Notaro; Kourosh Parsa; Smiljko Rudan; Katsuyuki Suzuki; Osiris Valdez Banda; CareyWalters; Deyu Wang; Zhaolong Yu Official Discusser: Manolis Samuelides Committee V.2: Experimental Methods Sören Ehlers (Chair); Nagi Abdussamie; Kim Branner; ShiXiao Fu; Martijn Hoogeland; Kari Kolari; Paul Lara; Constantine Michailides; Hideaki Murayama; Cesare Rizzo; Jung Kwan Seo; Patrick Kaeding Official Discusser: Giles Thomas Committee V.3: Materials and Fabrication Technology Lennart Josefson (Chair); Konstantinos Anyfantis; Bianca de Carvalho Pinheiro; Bai-Qiao Chen; Pingsha Dong; Nicole Ferrari; Koji Gotoh; James Huang; Matthias Krause; Kun Liu; Stephane Paboeuf; Stephen van Duin; Fang Wang; Albert Zamarin Official Discusser: Frank Roland Floor Discussers Alessandro Caleo; Agnes Marie Horn; Krzysztof Woloszyk; Robert Sielski Committee V.4: Offshore Renewable Energy Atanasios Kolios (Chair); Kyong-Hwan Kim; Chen Hsing Cheng; Elif Oguz; Pablo Morato; Freeman Ralph; Chuang Fang; Chunyan Ji; Marc Le Boulluec; Thomas Choisnet; Luca Greco; Tomoaki Utsunomiya; Kourosh Rezanejad; Charles Rawson; Jose Miguel Rodrigues Official Discusser: Amy Robertson Committee V.5: Special Vessels Darren Truelock (Chair); Jason Lavroff; Dustin Pearson; Zbigniew (Jan) Czaban; Hanbing Luo; Fuhua Wang; Ivan Catipovic; Ermina Begovic; Yukichi Takaoka; Claudia Loureiro; Chang Yong Song; Esther Garcia; Alexander Egorov; Jean-Baptiste Souppez; Pradeep Sensharma; Rachel Nicholls-Lee Official Discusser: Jaye Falls Floor Discussers: Jasmin Jelovica; Stephane Paboeuf; Sören Ehlers Committee V.6: Ocean Space Utilization Sebastian Schreier (Chair); Felice Arena; Harry Bingham; Nuno Fonseca; Zhiqiang Hu; Debabrata Karmakar; Ekaterina Kim; Hui Li; Pengfei Liu; Motohiko Murai; Spiro J Pahos; Chao Tian; George Wang Official Discusser: Hideyuki Suzuki Floor Discussers: Robert Sielski; Sue Wang; Sarat Mohapatra; Gaute Storhaug; Henk den Besten Committee V.7: Structural Longevity Iraklis Lazakis (Chair); Bernt Leira; Nianzhong Chen; Geovana Drumond; Chi-Fang Lee; Paul Jurisic; Bin Liu; Alysson Mondoro; Pooria Pahlavan; Xinghua Shi; Ha Cheol Song; Tadashi Sugimura; Christian Jochum; Tommaso Coppola Official Discusser: Timo de Beer Floor Discusser: Krzysztof Woloszyk Committee V.8: Subsea Technology Agnes Marie Horn (Chair); Tauhid Rahman; Ilson Pasqualino; Menglan Duan; Zhuang Kang; Michael Rye Andersen; Yoshihiro Konno; Chunsik Shim; Angelo Teixeira; Selda Oterkus; Blair Thornton; Brajendra Mishra Official Discusser: Segen F. Estefen