Section two the evaluation of biocompatibility of the acellular dermal matrix by the method of cell culture. the new born rat ' s epdermic cells were cultured with the acellular dermal matrix together as experiment group, while the epdermic cell were cultured simply as control. 24 hours later, under the invert microscope, the epidermic cells anchored well and transparent flat cells were observed in both groups. 7 days later, both cultured cells were taked out and fixed in 95 % ethanol, stained with hematoxylin and were observed under light microscope. many cleaved cells were observed in both groups. during cell culture, no pathogenic microganism was observed. so we considered the acellular dermal matrix was aseptic and had good biocompatibility. section three subdermal implantation of the acellular dermal matrix. 24 rats were used in the experiments. a piece of acellular dermal matrix ( 1. 5 x 1. 5cm2 ) was implanted beneath the dorsum skin flaps of each rat, 1 week, 2 weeks, 3 weeks and 4 weeks after implantation, 6 pieces of acellular dermal matrix were harvested and the size of implanted acellular dermal matrix were measured, the sections were used for he staining and observed under light microscope. the result were as folio wing : 1 - 2 weeks after implantation, the acellular dermal matrix began to adhere to the tissue around and turned red gradually ; 3 - 4weeks after implantation, the acellular dermal matrix adhered closely to the tissue around and could be recognized easily, 1 - 3 weeks after implantation, the size of implanted acellular dermal matrix had no statistical difference ( p > 0. 05 ). 4 weeks after implantation implanted acellular dermal matrix contracted ( p < 0. 05 ). under light microscope, l - 2weeks after implantation, the fibroblast cells infiltrated the acellular dermal matrix and a small amount endothelial cells of vessel and lympho - histiocytic cells infiltrated the acellular dermal matrix. 3 - 4 weeks after implantation, infiltrating blood vessels were evident. so we think that the acellular dermal matrix had low immunological reactions and could induce the infiltration of fibroblast macrophage cell and the endothelial cells of vessel
結果如下：皮下包埋卜周者，無細胞真皮基質漸與周圍組織粘附，顏
色由蒼白轉紅；皮下包埋3周者，無細胞真皮基質與周圍組織緊密枯附，盾晰葉辯；術后卜周，包埋的基質面積變化較包埋前無統計學差異o川0引，術后4周包埋的無細胞真皮基質面積較包埋前縮小j刃刀5 ） 。光鏡下術后卜周，宿主的淋巳組織細胞、成纖維細胞浸入生長，
釉附在膠原纖維上，少量血管內皮細胞浸入基質；術后34周，無細胞真皮基質內較多的血管形成，故可認為無細胞真皮基質免疫原性低，能誘導宿主的成纖維細胞、巨噬細胞浸入生長，為一種新型的真皮替代物。第四部分無細胞真皮基質與自體斷層皮片復合移棺的研究， sd大鼠10隻，在其背部卜方造成全厚皮膚缺損的創面
Is a specialist inproducing technological ceramics which range from blue and white porcelain, faience, various vitreous enamel to glazed enamel with famile rose featured by our unique technology. we have incorporate stylish design and perfect frame into our products. the area of our factory floor reaches 6000 square metres. the quality commodities produced by our advanced furnace sell to many regions and countries all over the world and thus become a favorite item approved by our customers. putting quality on top and keeping promise is out motto which proclaim our persuit. we are unveiling a new arena with unremitting efforts as before for the ceramics industry. we hereby invite you at home or from abroad to visit us come to our stand for business in the guangzhou fair
振成陶瓷工藝廠是一家專門生產工藝陶瓷的廠家，主要以生產青花，鬥彩，各種
釉上彩以及具有本廠特
色的
釉下粉產品為主，產品風格獨特，機構完善，生產廠房佔地面積達6000多平方米，窯爐設備先進，產品遠銷世界各地，我們一如既往的開辟陶瓷的另一片新天地，竭誠歡迎國內外朋友到本廠或到交易會定貨，建立友好的合作關系。
A christmas frost had come at midsummer ; a white december storm had whirled over june ; ice glazed the ripe apples, drifts crushed the blowing roses ; on hayfield and cornfield lay a frozen shroud : lanes which last night blushed full of flowers, to - day were pathless with untrodden snow ; and the woods, which twelve hours since waved leafy and fragrant as groves between the tropics, now spread, waste, wild, and white as pine - forests in wintry norway. my hopes were all dead - struck with a subtle doom, such as, in one night, fell on all the first - born in the land of egypt
聖誕的霜凍在仲夏就降臨十二月的白
色風暴六月里便颳得天旋地轉冰凌替成熟的蘋果上了
釉彩積雪摧毀了怒放的玫瑰乾草田和玉米地里覆蓋著一層冰凍的壽衣昨夜還奼紫嫣紅的小巷，今日無人踩踏的積雪已經封住了道路十二小時之前還樹葉婆娑香氣撲鼻猶如熱帶樹叢的森林，現在已經白茫茫一片荒蕪，猶如冬日挪威的松林，我的希望全都熄滅了受到了微妙致命的一擊，就像埃及的長子一夜之間所受到的一樣。
The architectural characteristics of the building are rather unique. it is designed in art deco style and rendered with shanghai plaster, and has a green glazed chinese tiled hipped roof decorated with dragon shaped ornaments at four corners, representing a harmonious blend of chinese and western styles
馬禮遜樓建築特
色獨特，選用上海批蕩，並以裝飾派藝術建築風格建成，廡殿式的屋頂以青
釉中式瓦片砌築，四角飾以瑞，反映了中西相容的風格。
" really, my dear albert, " replied lucien, lighting a manilla at a rose - colored taper that burnt in a be beautifully enamelled stand - " how happy you are to have nothing to do. you do not know your own good fortune !
「真的，我親愛的子爵， 」呂西安一邊回答，一邊湊近一隻塗著五彩瓷
釉的燭臺，在一支玫瑰
色的小蠟燭上點燃了一支馬尼拉雪茄， 「象你這樣整天在無所事事多快樂，你還不知道你自己是多麼有福氣啊！ 」
Clearly defined examples are the narrow - necked vases resembling pilgrim bottles. as well as zinc - barium glazes in yellow, blue and beige colors, the weigels also used a soft, gray pebble glaze and dark overglaze
在使用黃
色藍
色和米黃
色等顏
色的鋅-鋇
釉的同時，魏格爾夫婦還使用了一種
色調柔和的加里卵石
釉和深
色的
釉上
釉。
Different glazing techniques are used on this vessel. the design inside the round panel is painted in doucai technique, which is a combination of underglaze blue and overglaze colours. some of the outlines are painted in gold to give a glimmering effect
這件體積不大的扁壺，集合了不同的施彩方法，圓形開光內的八吉祥圖案是以和留
釉下青花與
釉上彩結合的鬥彩工藝勾繪而成，外面則有象徵皇權的明黃
色作地，上面繪有紅藍綠彩的雲蝠紋。
Color - painting is of two sorts : overglaze painting and underglaze painting. overglaze painting, with five - colored painting or fencai as its example, is to outline patterns with zhuming pigment and to fill them with various colors on the already glazed surface of the porcelain, before it is placed into a closed oven for a further baking at a compar - atively low temperature from 700 to 800c. underglaze painting is to paint with qinghua, underglaze red and other pigments on the body before it is glazed. its feature is that all the colors are under the glaze formed at high temperature and thus will never fade away
釉上彩如五彩粉彩等，是在已燒成瓷的
釉面上描繪紋樣填彩，再入紅爐以低溫燒烘，溫度約700 - 800度。此外，燒窯前即在坯體素胎上繪畫，如青花
釉里紅等，則稱為
釉下彩，其特點是彩在高溫
釉下，永不退
色。
Cizhou kiln was one of the popular civilian klins existing in areas of henan, hebei and shanxi provinces. as the clay body - of yellowish brown, red and grey - was coarse and loose, the cizhou kiln potters applied a layer of white slip on the surface and decorated the ware with carved, sgraffito and russet painted patterns before firing them in the kiln
磁州窯是一個極大的民體系散佈於河南河北山西等地，其胎土質地粗松顏
色黃褐紅灰都有，所以磁州製品，多先以白
色化妝土塗抹胎面，再用刻剔或鐵繪技法裝飾花紋，之後再上
釉燒制。
The celadon from the guan kiln of southern song dynasty has an elegant shape, vivid glaze, jade - like countenance, thin body and thick glaze. it is considered as the treasure among ancient porcelain products
南宋官窯青瓷造型端莊
釉色滋潤青瑩如玉薄胎厚
釉，歷來被視為我國古代瓷器中的珍品。
The appearance of such glaze colors changed the history of being dominated by blue and white porcelains, so it is also called a piece of pioneering work, which is one of the most important contributions made by jun porcelains to the ceramic industry
該
釉色的出現改寫了「青白瓷一統天下的歷史」 ，故又稱之為創舉，這也是鈞瓷對陶瓷業做出的最大貢獻之一。
Since the copper red glaze material contained other oxidised metal materials, changes occurred in the kiln, and various glaze colours, merged to form accidental suffused glazing
因銅紅
釉料中混雜其他金屬氧化物，在窯內發生變化，多種
釉色相互交融，形成窯變花
釉。
Formation of colors
釉色變化
This catalogue accompanies an exhibition which presents 178 pieces of jingdezhen monochromes of the yuan to qing periods from the zhuyuetang collection. the exhibits are published in 9 groups according to their colours which range from whitetransparent, red, blue, celadon, green, yellow, to brown, black and tea - dust
依
釉色分成白、紅、藍、青、綠、黃、醬、烏金、茶葉末等九組，各組以時代為序，系統地展示了景德鎮元明清三代官窯顏
色釉的各類品種和一道
釉工藝的發展脈絡。
Is the red on fittings glaze ? do you have pics of tunkou, if you have please post it, thanks ! !
劊鋒刀刃老師請問你的劍裝上的紅
色是
釉色嗎？有沒有劍吞口有的話請上圖很想拜讀，謝謝！ ！ ！
As for the glaze color, jun porcelains have presented its colorful style, which is also there individuality
在
釉色方面，宋代鈞瓷表現了豐富多彩的風貌，這也是其獨具的個性。
It broke the situation that was controlled by the single aesthetics standard and became the pioneer of freehand brushwork with intellectuals in tang dynasty
它打破了以
釉色裝飾為主要審美標準的一統天下局面，同唐朝文人「逸品畫家」一起開創了大寫意中國畫的先河。
Revealing the imagination and creative talents of hong kong potters - the styles on display range from traditional to avant - garde, while the decorative work features an abundant variety of glazes and firing techniques - the exhibits fulfil both functional and aesthetic requirements
展出作品均為當代製作，器物兼具實用與美感，造型既有傳統特色亦有創新變化，釉色及燒制技巧豐富而多樣化，充分反映本港陶藝家的想像力及創意。
