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The usage and maximum residue limits (MRLs) for plant growth regulators (PGRs) in foodstuffs are social issues widely concerned by the public and various stakeholders. This paper overviews the latest updates on PGRs in the Chinese national food safety standard, MRLs for pesticides in foods (GB 2763—2019), and conducted a matching analysis with domestic PGR registration and application. Furthermore, the PGR MRLs among China, Codex Alimentarius Commission (CAC), USA, Japan and EU were compared. The main findings and suggestions were given in this review. Firstly, the domestic standard covers almost half (41.7%) registered PGR active ingredients, which surpasses CAC.Secondly, the domestic standard basically contains staple crops, but the product categories and their classification stipulated in the standard are not as rich and detailed as those in EU and Japan. Especially for minor crops and foodstuffs of animal origin. The standard system for PGRs still needs to be further improved. Thirdly, the domestic standard is not aligned to international standards in some extent, and may have less influence on international trade. Finally, suggestions were put forward to improve the MRL standard system of PGRs, such as synchronising the MRL standard with the pesticide registration, and acting on the international convention. [ABSTRACT FROM AUTHOR]

The creation of painting in Taiwan in the early twentieth century was first inspired by Japanese art teachers. The new idea of "realistic painting" introduced at the time allowed the discovery of "local colors." However, the Taiwanese painters who employed the artistic ideal of "painting one's intent" were able to escape the limitation imposed by the concept of "local colors." How did the painters explore the artistic styles offered by the new global contexts through the colonization of Japan is an important issue that requires in-depth investigation. This issue is further complicated by painters who were not only influenced by the Japanese arts but also the traditional Chinese arts, as some of the Taiwanese painters moved to China after their training in Japan in order to search for a new style that conflates the Eastern and the Western arts. Taking several painters, Liu Jintang, Chen Chengpo, and Guo Bochuan as examples, this paper explores issues of identity, cultural impacts, and stylistic developments of the arts in the early twentieth century. [ABSTRACT FROM AUTHOR]