Academic literature on the topic 'Che liang bao yang'

All-solid-state lithium batteries (ASSLBs) have gained substantial attention because of their intrinsic safety and high energy density.1 However, the commercialization of ASSLBs has been stymied by insufficient ionic conductivity of solid-state electrolytes, significant interfacial challenges, as well as the large gap between fundamental research and practical engineering. Over the past several years, we have been dedicated to developing ASSLBs from solid electrolyte synthesis to interface design to engineering practical solid-state pouch cells. First, a wet-chemistry method with a low cost was proposed to produce solid-state electrolytes at the kilogram level with a high room-temperature ionic conductivity (> 1 mS.cm-1).2 Second, the interfacial challenges of ASSLBs have been well addressed via increasing the ionic conductivity of interfacial buffer layers,3 manipulating interfacial nanostructures,4, 5 using single-crystal cathodes,6 deciphering interfacial reaction mechanisms,7 and constructing artificial solid electrolyte interphases (SEI),8 which successfully boosted interfacial ion and electron transport kinetics.9 Resultantly, ASSLBs demonstrated superior electrochemical performance. Third, practical solid-state pouch cells with high energy density have been engineered. Recently, a solvent-free process was proposed to fabricate freestanding and ultrathin inorganic solid electrolyte membranes.10 Furthermore, a feasible solid-liquid transformable interface was devised to improve the solid-solid ionic contact and accommodate the significant volume change of solid-state pouch cells.11, 12 The resultant solid-state pouch cells successfully demonstrated high energy density and unparalleled safety. In summary, our research not only provides an in-depth understanding of solid electrolyte synthesis and rational interface design but also offers feasible strategies to commercialize ASSLBs with high energy density, low cost, and excellent safety. References C. Wang, J. Liang, Y. Zhao, M. Zheng, X. Li and X. Sun, Energy Environ. Sci., 2021, 14, 2577-2619. C. Wang, J. Liang, J. Luo, J. Liu, X. Li, F. Zhao, R. Li, H. Huang, S. Zhao, L. Zhang, J. Wang and X. Sun, Sci. Adv., 2021, 7, eabh1896. C. Wang, J. Liang, S. Hwang, X. Li, Y. Zhao, K. Adair, C. Zhao, X. Li, S. Deng, X. Lin, X. Yang, R. Li, H. Huang, L. Zhang, S. Lu, D. Su and X. Sun, Nano Energy, 2020, 72, 104686. C. Wang, X. Li, Y. Zhao, M. N. Banis, J. Liang, X. Li, Y. Sun, K. R. Adair, Q. Sun, Y. Liu, F. Zhao, S. Deng, X. Lin, R. Li, Y. Hu, T.-K. Sham, H. Huang, L. Zhang, R. Yang, S. Lu and X. Sun, Small Methods, 2019, 3, 1900261. C. Wang, J. Liang, M. Jiang, X. Li, S. Mukherjee, K. Adair, M. Zheng, Y. Zhao, F. Zhao, S. Zhang, R. Li, H. Huang, S. Zhao, L. Zhang, S. Lu, C. V. Singh and X. Sun, Nano Energy, 2020, 76, 105015. C. Wang, R. Yu, S. Hwang, J. Liang, X. Li, C. Zhao, Y. Sun, J. Wang, N. Holmes, R. Li, H. Huang, S. Zhao, L. Zhang, S. Lu, D. Su and X. Sun, Energy Storage Mater., 2020, 30, 98-103. C. Wang, S. Hwang, M. Jiang, J. Liang, Y. Sun, K. Adair, M. Zheng, S. Mukherjee, X. Li, R. Li, H. Huang, S. Zhao, L. Zhang, S. Lu, J. Wang, C. V. Singh, D. Su and X. Sun, Adv. Energy Mater., 2021, 11, 2100210. C. Wang, Y. Zhao, Q. Sun, X. Li, Y. Liu, J. Liang, X. Li, X. Lin, R. Li, K. R. Adair, L. Zhang, R. Yang, S. Lu and X. Sun, Nano Energy, 2018, 53, 168-174. C. Wang, K. Adair and X. Sun, Acc. Mater. Res., 2022, 3, 21-32. C. Wang, R. Yu, H. Duan, Q. Lu, Q. Li, K. R. Adair, D. Bao, Y. Liu, R. Yang, J. Wang, S. Zhao, H. Huang and X. Sun, ACS Energy Lett., 2022, DOI: 10.1021/acsenergylett.1c02261, 410-416. C. Wang, Q. Sun, Y. Liu, Y. Zhao, X. Li, X. Lin, M. N. Banis, M. Li, W. Li, K. R. Adair, D. Wang, J. Liang, R. Li, L. Zhang, R. Yang, S. Lu and X. Sun, Nano Energy, 2018, 48, 35-43. C. Wang, K. R. Adair, J. Liang, X. Li, Y. Sun, X. Li, J. Wang, Q. Sun, F. Zhao, X. Lin, R. Li, H. Huang, L. Zhang, R. Yang, S. Lu and X. Sun, Adv. Funct. Mater., 2019, 29, 1900392.

With the publication of Madman of Chu: A Myth of Loyalty and Dissent in 1980, Laurence Schneider established the view that the controversy over Qu Yuan between various erudites during the Han dynasty was a dispute between adherents and opponents about the question of what the Chu minister and poet stood for. The present study challenges this view by demonstrating that, aside from the so-called biographies by Sima Qian and Liu Xiang, all other contributions to the debate represent readings of the Li sao. Once this is understood, each contribution to the debate can not only be seen in its own light but it can also be examined in its relation to the section and sentence commentary by Wang Yi written in the second century C.E. The understanding of the controversy as a discourse of rather varied interpretations of the Li sao enables us to regard the Chuci zhangju by Wang Yi as a commentary that stood at the end of this controversy that lasted more than three centuries. It also enables us to see that the controversy rested on a particular set of premises, especially the question of the literary status of the Li sao and its author. The final thesis resulting from the present study is that the main reason for the lasting influence of Wang Yi's commentary together with the fact that it remained unchallenged until the twelfth century is that it was built on a sound and varied exegetical foundation, namely the controversy on the Li sao during the Han.The first part of this article examines the contributions to the controversy by Jia Yi (201–165), Liu An (?178–122), Sima Qian (145–?86), Liu Xiang (79–8), Yang Xiong (53 B.C.E-18 C.E.), Liang Song (?–83 C.E.) and Ban Gu (32–92) in chronological order. The second part juxtaposes their works with the commentary of Wang Yi in order to understand how the Eastern Han commentator employed the contributions of his predecessors and how he reacted to them.

Fan, R., Zhang, X., Liang, A., Shi, X., Chen, X., Bao, K., Yang, X. and Jia, S. 2012. Tillage and rotation effects on crop yield and profitability on a Black soil in northeast China. Can. J. Soil Sci. 92: 463–470. To evaluate the feasibility of no-tillage (NT) practices for Black soils (Mollisols) in northeast China, knowledge of the effects of different tillage and rotation combinations on crop yield and profitability is required. An 8-yr field experiment was conducted to investigate variation of corn (Zea mays L.) and soybean (Glycine max L. Merr.) yields and economic returns under NT, moldboard plow (MP) and ridge tillage (RT) combined with continuous corn (C-C-C), corn-soybean (C-S), and corn-corn-soybean (C-C-S) rotations. Under C-S rotation, corn and soybean yields were similar to or slightly higher in NT than in MP and RT; NT corn profitability was 15.9% higher than MP, and NT soybean profitability was even higher, 62.9 and 22.4% higher than MP and RT, respectively. There were no differences in crop yield and profitability between the C-C-S and C-C-C rotations. The C-S under NT produced better yield and profitability, particularly in dry years, than the C-C-C and C-C-S rotations. Accordingly, NT combined with C-S would be a good practice to increase crop yields and profitability for the Black soils in northeast China.

The article presents multicolor emission observed in poly(methyl methacrylate) specimens co-doped by trivalent terbium and europium ions. The bright luminescence was obtained using organometallic complexes of lanthanides and energy transfer antenna effect. Spectroscopic characterization exhibit wide excitation spectrum according to chelating structure of used complexes and characteristic Tb3+ and Eu3+ emission peaks in luminescence spectra. The calculated CIE 1931 chromaticity coordinates confirm that colorful emission from green to red can be obtained using proposed materials. Full Text: PDF ReferencesJ.-H. Jou, M.-C. Sun, H.-H. Chou, C.-H. Li, "White organic light-emitting devices with a solution-processed and molecular host-employed emission layer", Appl. Phys. Lett. 87, 043508 (2005). CrossRef R. Mac Ciarnain, D. Michaelis, T. Wehlus, A. F. Rausch, N. Danz, A. Brauer, A. Tünnermann, "Emission from outside of the emission layer in state-of-the-art phosphorescent organic light-emitting diodes", Organic Electronics 44, 115 (2017). CrossRef G. Williams, C. Backhouse, H. Aziz, "Integration of Organic Light Emitting Diodes and Organic Photodetectors for Lab-on-a-Chip Bio-Detection Systems", Electronics 3, 43 (2014). CrossRef P. Miluski, D. Dorosz, M. Kochanowicz and J. Żmojda, "Fluorescent polymeric optical fibre illuminator", Electronics Letters, 52, 18 (2016). CrossRef L. Bilro, N. Alberto, J. L.Pinto, R. Nogueira, "Optical Sensors Based on Plastic Fibers", Sensors 12, 12184 (2012). CrossRef P. Miluski, D. Dorosz, J. Żmojda, M. Kochanowicz, J. Dorosz, "Luminescent Polymer Optical Fibre Sensor for Temperature Measurement", Acta Phys. Pol. A 127, 730 (2015) CrossRef C. Lethien, C. Loyez, J. P. Vilcot, N. Rolland, P. A. Rolland, "Exploit the Bandwidth Capacities of the Perfluorinated Graded Index Polymer Optical Fiber for Multi-Services Distribution", Polymers 3, 1006 (2011). CrossRef J. Zubia, J. Arrue, "Plastic Optical Fibers: An Introduction to Their Technological Processes and Applications", Opt. Fiber Technol. 7, 101 (2001). CrossRef N. Sultanovaa, S. Kasarovaa, I. Nikolov, "Dispersion Properties of Optical Polymers", Acta Physica Polonica A 116, 585 (2009). CrossRef J. Arrue, F. Jiménez, I. Ayesta, M. Asunción Illarramendi, J. Zubia, "Polymer-Optical-Fiber Lasers and Amplifiers Doped with Organic Dyes", Polymers 3,1162 (2011). CrossRef P. Miluski, M. Kochanowicz, J. Żmojda, "Spectroscopic investigation of organic co-doped PMMA for optical fiber technology", Journal Of Optoelectronics And Advanced Materials, 19, 379 (2017). DirectLink P. Miluski, M. Kochanowicz, J. Żmojda, and D. Dorosz, "Emission properties and energy transfer in Perylene-Rhodamine 6 G co-doped polymeric fiber", Chinese Optics Letters 14, 12, 121602 (2016). CrossRef H. Liang, Z. Yang, L. Xiao, F. Xie, " Radiative transition probability of a europium (III) chelating polymer", Optoelectronics And Advanced Materials ? Rapid Communications 4, 9, 1396 (2010). CrossRef H. Jiu, J. Ding, Y. Sun, J. Bao, C. Gao, Q. Zhang, "Fluorescence enhancement of europium complex co-doped with terbium complex in a poly(methyl methacrylate) matrix", Journal of Non-Crystalline Solids 352, 197 (2006). CrossRef K. Kuriki, S. Nishihara, Y. Nishizawa, A. Tagaya, Y. Koike, Y. Okamoto, "Spectroscopic properties of lanthanide chelates in perfluorinated plastics for optical applications", Journal of the Optical Society of America B 19, 8, 1844 (2002). CrossRef P. Miluski, M. Kochanowicz, J. Żmojda, D. Dorosz, "Luminescent properties of Tb3+-dopedpoly(methyl methacrylate) fiber" Chinese Optics Letters, 15, 7, 070602 (2017). DirectLink P. Miluski, M. Kochanowicz, J. Żmojda, D. Dorosz, "Properties of Eu3+ doped poly(methyl methacrylate) optical fiber", Optical Engineering, 56, 2, 027106 (2017). CrossRef D. Oh, N. Song and J.-J. Kim, "Plastic optical amplifier using europium complex", Proc. SPIE, 4282, (2001). CrossRef X. Xu, H. Ming, Q. Zhang, "Optical-transition probabilities of Nd3+ ions in polymer optical fibers", Optics Communications 199, 369 (2001). CrossRef Z.-Q. Zheng, H. Liang, H. Ming, Q.-J. Zhang, X.-H. Han, G.-Z. Wang, J.-P. Xie, "Optical Transition Probability of Sm 3+ Ions in a Polymer Optical Fibre", Chin. Phys. Lett. 21, 2, 291 (2004). CrossRef

COVID-19 Pandemic resulted in social mobility and travel restrictions to contain the infection. It has been reported that there happened post-pandemic surge in the use of the internet and social media as people rely on it more often for entertainment, work, and learning purposes. It is also been used as an unhealthy coping strategy for pandemic related stress. The smartphone was found to be the most common gadget used for accessing internet-based services. Owing to the postural alterations related to the small screen size of smartphones, neck pain was reported very commonly among smartphone users. Neck pain among smartphone users is a public health concern needing immediate attention in the pandemic time. Many of the risk factors leading to neck pain among smartphone users are modifiable. The authors outline preventive strategies that are mostly self- regulated. The strategies recommended include reducing Smartphone usage time (Smartphone-Free Time, Smartphone-Free Zone), maintaining ideal posture (Focus Breaks, Mobility Breaks, How am I keeping my posture?, Hands-free alternatives), doing regular exercises, preparing and following an activity schedule, and inculcating healthy habits. References Sohrabi C, Alsafi Z, O’Neill N, Khan M, Kerwan A, Al-Jabir A, et al. World Health Organization declares global emergency: A review of the 2019 novel coronavirus (COVID-19). Int J Surg 2020; 76: 71–6. https://doi.org/10.1016/j.ijsu.2020.02.034 Király O, Potenza MN, Stein DJ, King DL, Hodgins DC, Saunders JB, et al. Preventing problematic internet use during the COVID-19 pandemic: Consensus guidance. Compr Psychiatry 2020; 100:152180. https://doi.org/10.1016/j.comppsych.2020.152180 Sun Y, Li Y, Bao Y, Meng S, Sun Y, Schumann G, et al. Brief Report: Increased Addictive Internet and Substance Use Behavior During the COVID‐19 Pandemic in China. Am J Addict 2020 ;29(4):268–70. https://doi.org/10.1111/ajad.13066 Varga E. How does the Internet Influences the Readers’ Behavior. Procedia Manuf. 2020; 46:949–56. https://doi.org/10.1016/j.promfg.2020.05.013 Zhuang L, Wang L, Xu D, Wang Z, Liang R. Association between excessive smartphone use and cervical disc degeneration in young patients suffering from chronic neck pain. J Orthop Sci. 2020; https://doi.org/1016/j.jos.2020.02.009 Davey S, Davey A. Assessment of smartphone addiction in indian adolescents: a mixed method study by systematic-review and meta-analysis approach. Int J Prev Med.2014;5(12):1500–11. Available from: http://www.ncbi.nlm.nih.gov/pubmed/25709785 Smetaniuk P. A preliminary investigation into the prevalence and prediction of problematic cell phone use. J Behav Addict 2014 Mar;3(1):41–53. https://doi.org/1556/JBA.3.2014.004 Lee H, Seo MJ, Choi TY. The Effect of Home-based Daily Journal Writing in Korean Adolescents with Smartphone Addiction. J Korean Med Sci. 2016;31(5):764. https://doi.org/3346/jkms.2016.31.5.764 Yu S, Sussman S. Does Smartphone Addiction Fall on a Continuum of Addictive Behaviors? Int J Environ Res Public Health.2020;17(2):422. https://doi.org/10.3390/ijerph17020422.10. Kwon M, Kim D-J, Cho H, Yang S. The smartphone addiction scale: development and validation of a short version for adolescents. PLoS One2013;8(12): e83558. https://doi.org/1371/journal.pone.0083558 Ding D, Li J. Smartphone Overuse – A Growing Public Health Issue. J Psychol Psychother.2017;07(289):1-3. https://doi.org/0.4172/2161-0487.1000289 Boumosleh JM, Jaalouk D. Depression, anxiety, and smartphone addiction in university students- A cross sectional study. PLoS One 2017;12(8): e0182239. https://doi.org/1371/journal.pone.0182239 Xie Y, Szeto G, Dai J. Prevalence and risk factors associated with musculoskeletal complaints among users of mobile handheld devices: A systematic review. 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Graphene-based composites have received a great deal of attention in recent year because the presence of graphene can enhance the conductivity, strength of bulk materials and help create composites with superior qualities. Moreover, the incorporation of metal oxide nanoparticles such as Fe3O4 can improve the catalytic efficiency of composite material. In this work, we have synthesized a composite material with the combination of reduced graphene oxide (rGO), and Fe3O4 modified tissue-paper (mGO-PP) via a simple hydrothermal method, which improved the removal efficiency of the of methylene blue (MB) in water. MB blue is used as the model of contaminant to evaluate the catalytic efficiency of synthesized material by using a Fenton-like reaction. The obtained materials were characterized by SEM, XRD. The removal of materials with methylene blue is investigated by UV-VIS spectroscopy, and the result shows that mGO-PP composite is the potential composite for the color removed which has the removal efficiency reaching 65% in acetate buffer pH = 3 with the optimal time is 7 h. Keywords Graphene-based composite, methylene blue, Fenton-like reaction. References [1] Ma Joshi, Rue Bansal, Reng Purwar, Colour removal from textile effluents, Indian Journal of Fibre & Textile Research, 29 (2004) 239-259 http://nopr.niscair.res.in/handle/123456789/24631.[2] Kannan Nagar, Sundaram Mariappan, Kinetics and mechanism of removal of methylene blue by adsorption on various carbons-a comparative study, Dyes and pigments, 51 (2001) 25-40 https://doi.org/10.1016/S0143-7208(01)00056-0.[3] K Rastogi, J. N Sahu, B. C Meikap, M. 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Three compounds were isolated from the rhizome part of Canna edulis for the first time including liquiritigenin, methyl caffeate and uracil. Their structures were elucidated by spectroscopic methods as MS and NMR. Keywords Canna edulis Ker Gawl, liquiritigenin, methyl caffeate, uracil. References [1] T. H. Vu, Q. U. Le, Edible Canna (Canna edulis Ker), A Potential Crop for Vietnam Food Industry, International Journal of Botany Studies, Vol. 4, No. 4, 2019, pp. 58–59.[2] N. Tanakar, The Utilization of Edible Canna Plants in Southeastern Asia and Southern China, Economic Botany, Vol. 58, No. 1, 2004, 112–114.[3] A. S. A. Snafi, Bioactive Components and Pharmacological Effects of Canna indica - an Overview, International Journal of Pharmacology and Toxicology, Vol. 5, No. 2, 2015, pp. 71–75.[4] X. J. Zhang, Z. W. Wang, Q. Mi, Phenolic Compounds from Canna edulis Ker Residue and Their Antioxidant Activity, LWT - Food Science Technology, Vol. 44, No. 10, 2011, pp. 2091–2096, https://doi.org/10.1016/j.lwt.2011.05.021. [5] F. Xie, S. Gong, W. Zhang, J. Wu, Z. Wang, Potential of Lignin from Canna edulis Ker Residue in The Inhibition of α-d-glucosidase: Kinetics and Interaction Mechanism Merging with Docking Simulation, International Journal of Biology and Macromolecules, Vol. 95, 2017, pp. 592–602, https://doi.org/10.1016/j.ijbiomac.2016.11.100.[6] J. Zhang, Z. W. Wang, Soluble Dietary Fiber from Canna edulis Ker By-product and Its Physicochemical Properties, Carbohydrates Polymers, Vol. 92, No. 1, 2013, pp. 289–296, http:/doi.org/10.1016/j.carbpol.2012.09.067.[7] T. M. H. Nguyen, H. L. Le, T. T. Ha, B. H. Bui, N. T. Le, V. H. Nguyen, T. V. A. Nguyen, Inhibitory Effect on Human Platelet Aggregation and Coagulation and Antioxidant Activity of Canna edulis Ker Gawl Rhizhomes and Its Secondary Metabolites, Journal of Ethnopharmacology, Vol. 263, 2020, pp. 113-136, https:/doi.org/10.1016/j.jep.2020.113136.[8] T. A. Y. Diaa, M. A. Ramada, A. A. Khalifa, Acetophenones, a Chalcone, a Chromone and Flavonoids from Pancratium Maritimum, Phytochemistry, Vol. 49, No. 8, pp. 1998, pp. 2579-2583, http:/doi.org/10.1016/S003109422(98)00429-4. [9] W. Koji, Y. Osanai, T. Imaizumi, S. Kanno, M. Takeshita, M. Ishikawa, Inhibitory Effect of The Alkyl Side Chain of Caffeic Acid Analogues on Lipopolysaccharide-induced Nitric Oxide Production in RAW264.7 Macrophages, Bioorganic Med. Chem., Vol. 16, No. 16, 2008, pp. 7795–7803, https:/doi.org/10.1016/j.bmc.2008.07.006.[10] C. Y. Wang, L. Han, K. Kang, C. L. Shao, Y. X. Wei, C. J. Zheng, H. S Guan, Secondary Metabolites From Green Algae Ulva Pertusa, Chemistry of Natural Compounds Vol. 46, No. 5, 2010, pp. 828-830.[11] C. T. Inh, N. T. H. Van, P. M. Quan, T. T. Q. Trang, T. A. Vien, N. T. Thuy, D. T. Thao, New Diterpenoid Isolated from Medicinal Plant Euphorbia tithymaloides (P.), Vietnam J. Chem., Vol. 54, 2016, pp. 274-279, https:/doi.org/10.15625/0866-7144.2016-00304 (in Vietnamese).[12] Q. Y. Li, H. Liang, B. Wang, Z. Z. Zhao, Chemical Constituents of Momordica charantia L, Yao Xue Xue Bao, Vol. 44, No. 9, 2009, pp. 1014-1018.[13] V. T. Diep, L. T. Loan, N. T. Thu, T. T. Ha, N. M. Khoi, N. H. Tuan, D. T. Ha, Triterpen, Flavonoid and Pyrimidine Compounds from The Aerial Parts of Dregea volubilis, Journal of Medicinal Materials, Vol. 24, No. 6, 2019, pp. 329-332.[14] H. M. Eid, D. Vallerand, A. Muhammad, T. Durst, P. S. Haddad, L. C. Martineau, Structural Constraints and the Importance of Lipophilicity for the Mitochondrial Uncoupling Activity of Naturally Occurring Caffeic Acid Esters with Potential for the Treatment of Insulin Resistance, Biochemical Pharmacology, Vol. 79, No. 3, 2010, pp. 444–454, https:/doi.org/10.1016/j.bcp.2009.08.026.[15] K. Takahashi, Y. Yoshioka, E. Kato, S. Katsuki, O. Iida, K. Hosokawa, J. Kawabata, Methyl Caffeate as a Glucosidase Inhibitor from Solanum Torvum fruits and the Activity of Related Compounds, Bioscience, Biotechnology and Biochemistry, Vol. 74, No. 4, 2010, pp. 741–745, https:/doi.org/10.1271/bbb.9087.[16] S. M. Fiuza, C. Gomes, L. J. Teixeira, M. T. G. D. Cruz, M. N. Cordeiro, N. Milhazes, F. Borges, M. P. Marques, Phenolic Acid Derivatives with Potential Anticancer Properties, a Structure-Activity Relationship Study Part 1: Methyl, Propyl and Octyl Esters of Caffeic and Gallic Acids, Bioorgan Med Chem, Vol. 12, No. 13, 2004, pp. 3581-3589, https:/doi.org/10.1016/j.bmc.2004.04.026.[17] S. P. Lee, G. Jun, E. Yoon, S. Park, C. Yang, Inhibitory Effect of Methyl Caffeate on Fos-Jun-DNA Complex Formation and Suppression of Cancer Cell Growth, Bulletin of Korean Chemical Society, Vol. 22, No. 10, 2001, pp. 1131-1135.

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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