過(guò)了驚蟄，萬(wàn)物萌發(fā)，又到了山花爛漫，春意盎然的時(shí)節(jié)，一直到清明，都是踏青的好日子。《詩(shī)經(jīng)》中“昔我往矣，楊柳依依”講的本是古人離別時(shí)的場(chǎng)景，但風(fēng)格意境寄托于樹(shù)枝搖動(dòng)帶來(lái)的親近之意，由此“楊柳”代表的惜別之情持續(xù)了近3 000年。錢穆先生說(shuō)這帶著性靈的比興，就是詩(shī)的境界。有了這樣源自植物的詩(shī)意，種植既是生存，也成了生活中花園、樹(shù)林與園林營(yíng)造的傳統(tǒng)。

大致和《詩(shī)經(jīng)》同一時(shí)代的《荷馬史詩(shī)》中記述著奧德修斯（Odysseus）進(jìn)入雅典國(guó)王莊園中歆羨地觀賞由清泉灌溉的梨、石榴、蘋果、葡萄、無(wú)花果等高大果木以及枝繁葉茂的橄欖樹(shù)、爭(zhēng)奇斗艷的花草構(gòu)成的植物景致。而彼時(shí)雅典已在廣場(chǎng)、體育場(chǎng)、學(xué)園等公共場(chǎng)所進(jìn)行植物的設(shè)計(jì)與種植。成行的梧桐樹(shù)、橄欖樹(shù)、柳、楊等為市民露天進(jìn)行活動(dòng)提供了舒適的遮陰。哲學(xué)家柏拉圖（Plato）也曾因?yàn)閺V場(chǎng)上梧桐樹(shù)的樹(shù)蔭而贊美它。詩(shī)人品達(dá)（Pindar）把古代奧運(yùn)會(huì)舉辦地種植的橄欖樹(shù)描述為“宙斯的小樹(shù)林”。據(jù)推測(cè)這種橄欖就是“王冠橄欖”，按照傳統(tǒng)，奧運(yùn)會(huì)冠軍的勝利王冠就是用這種橄欖樹(shù)枝編成的，這一體育精神的象征延續(xù)至今。

伴隨著種植，園林的營(yíng)造表達(dá)著對(duì)自然生機(jī)與活力的贊美。頤和園在玉瀾堂到宜蕓館之間的夕佳樓，是傍晚時(shí)分面西觀賞湖景的地方，上掛對(duì)聯(lián)“隔葉晚鶯藏谷口，唼花雛鴨聚塘坳”，描繪的即是夕陽(yáng)下一派生機(jī)活潑的自然景象。這里提到了水中種植形成的生境對(duì)水禽鳥(niǎo)類的吸引，生動(dòng)有趣，相得益彰。

孫筱祥先生在20世紀(jì)60年代撰寫的《園林藝術(shù)及園林設(shè)計(jì)》中有1/3篇幅講種植設(shè)計(jì)，其中有一段關(guān)于月光下植物配置的論述：“在月光下，紅花變?yōu)楹稚S花變?yōu)榛野?，白花則帶著青灰色，淡青色和淡藍(lán)色的花卉則比較清楚。因此舉行月光晚會(huì)的夜花園，應(yīng)該多用色彩亮度較強(qiáng)，明度較高的花卉，例如，淡青色、淡藍(lán)色、白色、淡黃色的花卉。在月光下，花卉的色相是不可能豐富的，為了使月夜的景色迷人，補(bǔ)救色彩的不足，最好多運(yùn)用具有強(qiáng)烈芳香的植物”，進(jìn)而提到作為生境的要點(diǎn)“自然界的顯花植物中，許多蟲(chóng)媒花，由于蛾類都在夜間活動(dòng)，長(zhǎng)期自然選擇的結(jié)果，許多夜間開(kāi)花，在色彩上雖然大都是白色、淡藍(lán)色或淡黃色，但都是有濃烈的芳香以吸引昆蟲(chóng)”。此段講述了融合色彩、芳香、生態(tài)習(xí)性的種植對(duì)月光下夜花園動(dòng)人景色的生境與意境營(yíng)造。

②利用機(jī)械變頻機(jī)組進(jìn)行變頻。購(gòu)置極數(shù)、頻率不同的兩臺(tái)臥式電機(jī)，同軸連接。其中一臺(tái)電動(dòng)機(jī)接電網(wǎng)側(cè)，工作在發(fā)電機(jī)狀態(tài)，在50Hz工頻下運(yùn)行；另一臺(tái)電動(dòng)機(jī)在低于工頻的某一頻率，產(chǎn)生一個(gè)低頻小電網(wǎng)，帶動(dòng)同步機(jī)組倒轉(zhuǎn)發(fā)電，從而將水泵機(jī)組由額定轉(zhuǎn)速降低至相應(yīng)的發(fā)電轉(zhuǎn)速，從而提高發(fā)電效率。這種方式在劉老澗站、泗陽(yáng)站都有成功的運(yùn)用經(jīng)驗(yàn)。

InHomer’s Epic, which is roughly at the same time asThe Book of Songs, Odysseus admired the gorgeous planting landscape in the king’s manor of Athens depicted by tall fruit trees (pears, pomegranates, apples, grapes, figs) watered by clear springs, as well as the luxuriant olive trees and vibrant flowers. At that time, the urban greening of Athens had conducted plants design in public places such as agora stadium and academy with rows of buttonwood, olive trees, willows and poplars that provided comfortable shade for citizens to conduct activities in the open air. The philosopher Plato has praised the buttonwood in the square for its shade. Besides, the poet Pindar described the olive trees planted at the ancient site of Olympic Games as “the grove of Zeus”. It is presumed that the olive is supposed to be the “crown olive”, which is traditionally used for the winning crowns of Olympic champions as a symbol of sportsmanship that continues till today.

2.1.2 供試品溶液 將富馬酸喹硫平片置于相應(yīng)溶出介質(zhì)中后，照溶出度測(cè)定方法操作，分別于0、5、10、15、20、30 min時(shí)取10 mL溶出液（同時(shí)補(bǔ)充相應(yīng)同溫新鮮介質(zhì)10 mL），濾過(guò)，作為供試品溶液。

主編：鄭曦教授

2020年3月16日

Planting and Habitat

Along with planting, the garden creation expresses the praise for the vitality of nature. The Xijia Pavilion in the Summer Palace, located in-between the Yulan court and the Yiyun court, is a place to enjoy the lake-scape in the evening. An attached couplet presents that “in the setting sun, songbirds use the huge lotus leaf as their nest, and little ducks gnaws at the flowers, gathering in shallow water ponds”, which depicts a lively scene of nature in the sun set, and actually represent the habitat of water planting attracting waterfowl, vividly and interestingly complement with each other.

種植實(shí)際上給予了我們一種期盼，不斷生長(zhǎng)與四時(shí)流變的期盼，生境營(yíng)造與生物多樣性提升的期盼；同時(shí)，植物的美麗也在不斷地感動(dòng)著我們。種植并不是園林景觀的一部分，而是塑造了它。

作為營(yíng)造的材料，設(shè)計(jì)師需要了解植物生長(zhǎng)所需的地形、土壤、氣候和它的形態(tài)與生態(tài)學(xué)特征；還需要了解植物的潛力，如生長(zhǎng)的速度、最大高度和寬度以及成熟時(shí)的特性等，也要知道它單株的形式，更要熟悉它們組合起來(lái)的樣子。事實(shí)上植物在種植前就存在了，它們是在不斷生長(zhǎng)和變化中的。這也意味著種植工程不會(huì)完工，需要我們持續(xù)養(yǎng)護(hù)與監(jiān)測(cè)植物的生長(zhǎng)情況，評(píng)價(jià)其對(duì)提升生物多樣性的貢獻(xiàn)，對(duì)增進(jìn)人與自然、人與人情感交流的貢獻(xiàn)。今天的種植設(shè)計(jì)和生境緊密地聯(lián)合在了一起，種植在表達(dá)自然美、藝術(shù)美的同時(shí)也以生物、生態(tài)學(xué)的知識(shí)作為支撐，這樣的植物體系也是整個(gè)城市唯一有生命的基礎(chǔ)設(shè)施。

式中:為過(guò)程方差，R(θ,x,w)為具有參數(shù)θ的相關(guān)性函數(shù)[22]。在可靠性設(shè)計(jì)優(yōu)化中,通常采用平方指數(shù)函數(shù)(即各向異性高斯函數(shù))作為相關(guān)性函數(shù)[18]，其表達(dá)形式如下：

The solar term of Insects Awaken has just passed, here comes a vigorous spring with all creatures sprouting and flowers blooming everywhere, indeed it is a good season for outings until the Qingming Festival.The Book of Songshas the saying: “When I left here, willows were blowing in the wind”, which describes the scene of farewell in ancient times, but attach with the artistic conception of intimate emotion brought by the swinging of the willow branches. It lasted nearly 3,000 years using “willow” to represent the hardness of farewell. QIAN Mu says that analogy with inherent spirit is the realm of poetry. With such poetic flavor rooted in plants, planting has also become the tradition for gardens, grove and landscape creation except for the survival production.

兩組患者麻醉效果如表1所示,觀察組產(chǎn)婦的痛覺(jué)恢復(fù)時(shí)間等綜合麻醉效果要好于對(duì)照組,兩組差異性較大(P>0.05),具有統(tǒng)計(jì)學(xué)意義。

One third pages of the booklandscape Art and Designwritten by SUN Xiao-xiang in the 1960s is devoted to planting design, among which there is a discussion on the planting design in the moonlight: “in the moonlight, the red flowers turn brown, the yellow flowers turn gray, the white flowers turn steel-gray, and the light cyan and pale blue flowers are more clear. Thus, the night garden holding moonlight evening party should be decorated with flowers with stronger color, such as, light cyan, pale blue, white, and faint yellow. In the moonlight, the color of flowers is hardly to present rich so that it is best to use more plants with strong aroma in order to compensate for the lack of color.” The key to the habitat is that “in flowering plants, many insect flowers are night flowers and are mostly in colors of white, pale blue or faint yellow with strong aroma to attract insects, because moths are nocturnal, which is the result of long-term natural selection.” This paragraph expounds the creation of habitat and artistic conception of the night garden in the moonlight with planting design considering color, aroma, ecological habits.

The designer should comprehensively understand the landform, soil, climate, shape and ecological characteristics of plants as the material of landscape design. It is also necessary for designers to understand the potential of plants, such as its growth rate, maximum height and width, and characteristics at maturity, as well as its individual planting form, and be more familiar with the way they were put together in clusters. In fact, plants exist before being planted and they are consistently growing and changing, which also means that the planting projects never come to the ends, and it will require us to continuously maintain and monitor the growth of plants, to evaluate their contribution to the improvement of biodiversity, and to the enhancement of human interaction with nature and human emotions. Today’s planting design and habitat are closely linked together. Supported by the knowledge of biology and ecology, planting expresses the beauty of nature and art. Such plant system is the only living infrastructure of the whole city.

Planting actually stands for expectations, the expectation of continuous growth, the expectation of constant transitions among seasons and years, and the expectation of habitat creation and biodiversity improvement. Simultaneously, we are always being moved by the beauty of plants. Planting shapes the landscape, instead of being part of it.