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提出一种考虑用户用电灵活性的社区能源系统双层优化模型，在上层，能源运营商通过优化售电价格来最大化其利润；在下层，建立了反映电热水器蓄热特性的热动态模型以及反映洗碗机和洗衣机的负荷可转移特点的运行特性模型。用户根据运营商提供的电价灵活控制电负荷的开关状态及运行时段，最大程度地降低其用电成本。然后，通过上下两层迭代求解该双层优化问题。仿真结果表明，能源运营商可以发挥其定价的灵活性，优化售电价格；而用户可以利用其需求响应能力，从而降低用电成本；此外，提出的双层优化方法可以将供需双方的灵活性结合起来，使能源运营商和用户受益均衡。

Assessing pod yield and plant phosphorus demand can provide theoretical guidance for fertilization management of high yielding peanut (Arachis hypogaea L. ). Following this rationale, a large dataset was collected from field experiments (n = 265) across the main peanut planting regions of China for a period spanning from 1990 to 2021 to evaluate nutrient uptake behavior of peanut under current optimum fertilization management. Across the entire dataset, the results showed that average peanut pod yield and harvest index (HI) were 4 642 kg / hm² and 0. 54. The average peanut phosphorus (P) requirement was 6. 45 kg / t. Across five ranges of pod yields (<3, 3-<4, 4-<5, 5-6, and >6 t/ hm² ), both nutrient uptake and HI increased with increasing pod yield. The P requirement increased with yield, attributed to an increase in straw P concentration as P luxury uptake occurs under high pod yield. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Agricultural Resources & Environment / Nongye Ziyuan yu Huanjing Xuebao is the property of Journal of Agricultural Resources & Environment Editorial Board and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Shandong Medical Journal is the property of Shandong Medical Health Newspapers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Prataculturae Sinica is the property of Acta Prataculturae Sinica Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Chinese Journal of Inorganic Analytical Chemistry / Zhongguo Wuji Fenxi Huaxue is the property of Beijing Research Institute of Mining & Metallurgy Technology Group and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Prataculturae Sinica is the property of Acta Prataculturae Sinica Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Tang and Song Yunjian brocade is a special type of Shu brocade, which makes use of the unique technique of drawing warps and the fusion of colors and patterns, together with the use of jacquard technique, so the artistic effect is unique. It can be said that Yunjian brocade is one of the most representative types of Shu brocade. We took the Tang and Song Yunjian brocades as the object of study, and used literature review and comparative analysis to conduct a horizontal comparison of the two in terms of appearance, Yunjian art, weaving techniques, organizational structure and application, so as to reveal the main factors affecting the differences between the Tang and Song Yunjian patterns. We believe that the Yunjian brocade of the Tang Dynasty was a unique technique of weaving the dyed warp threads to create a “colorful striped Yunjian” with a natural color transition. It was rich in colour, with red, yellow, green, blue and white as the dominant color, and orange, blue and brown as intermediate and compound colors. The strips were arranged in moderate widths, evenly spaced and naturally varied, with small patterns such as roundels woven on the ground pattern of Yunjian, forming a Yunjian jacquard brocade. With the basic organization of twill, the Yunjian jacquard brocade was mostly used for costumes and temples. The Song Yunjian brocade was made by fusing the brocade pattern with color and light to form a “ring Yunjian” of color and light. The overall style is stately, with elegant colous.In addition to the common “five main colors”, a large number of gray-green, dark-green, yellow-brown and other intermediate and compound colors were added, so that the overall tone was gray but not stuffy, bright but not garish. The patterns were decorated with small geometric motifs such as tortoise back, connected coins, and chain patterns on the surrounding open space, and the main flowers were set off on the ground motifs, with orderly movement and distinctive layers. The basic organization was twill and satin, being mostly used for costume and painting and calligraphy framing. The main factors influencing the difference of Yunjian patterns in Tang and Song Dynasties are as follows. First, there were differences in color configuration created by political culture. The Tang Dynasty adopted a policy of internal enlightenment and tolerance and external openness and absorption. And the whole society was in a lively and free atmosphere, so the colous were sharply contrasting bright, showing a sense of confidence and splendour. The Song Dynasty was in political decline, and the whole society was in a sad and depressed tone. People preferred cool and elegant colors, reflecting a sense of calmness and peace. Secondly, the difference of Yunjian patterns was influenced by the aesthetic style. People in the Tang Dynasty were influenced by Hu people in the western regions and pursued Yunjian striped fabrics. The Song Dynasty, under the influence of Neo-Confucianism, emphasized standardization and seriousness in all aspects, so the Yunjian patterns showed rational beauty with distinct layers, complexity but not disorder. Thirdly, economic prosperity promoted the innovation of the weaving technology. The Tang Dynasty was prosperous and strong, with frequent trade with countries in the western regions. In addition to the increased communication with Western textile technology, the jacquard loom came into being in this period, and the weft pattern technology began to be used. On this basis, colorful striped Yunjian brocades were created and woven. In the Song Dynasty, the commodity economy and urban economy were unprecedentedly active. The government, society and trade demand soared, stimulating the development of the folk silk weaving industry. The improvement of jacquard looms could produce complex and exquisite satin fabrics, which laid the technological foundation for the production of ring Yunjian brocades. Through the comparison and analysis of the influencing factors of Yunjian brocades in the Tang and Song Dynasties, we re-examined the wisdom of Shu brocade artisans in brocade design, which is helpful for the protection, inheritance and development of this traditional craft, and provides reference for its design in modern fabrics. [ABSTRACT FROM AUTHOR]

OBJECTIVE: To systematically review the efficacy and safety of denosumab injection versus zoledronic acid injection in the treatment of postmenopausal osteoporosis, so as to explore the economics by cost-effectiveness method. METHODS: Chinese databases such as CNKI, CBM, Wanfang Data, and VIP and English databases such as PubMed, Embase and the Cochrane Library were retrieved to collect the randomized controlled trial of denosumab injection versus zoledronic acid injection in the treatment of postmenopausal osteoporosis (study group was treated with denosumab injection, control group was given zoledronic acid injection). The retrieval time was from the establishment of the database to May 2022. After literature screening and data analysis, efficacy of the two regimens was analyzed by Meta-analysis. Cost-effectiveness analysis was used to compare the economics of the two regimens from the perspective of health care system. RESULTS: Totally 3 studies were enrolled, including 1 163 patients. Meta-analysis showed that compared with zoledronic acid injection, desuzumab injection could significantly improve the percentage change of bone mineral density of lumbar spine and hip bone in postmenopausal osteoporosis ( lumbar spine: MD = 1. 07,95% CI = 0. 23-1. 91,P = 0. 01; hip: MD = 0. 89,95%CI = 0. 13-1. 65,P = 0. 02), with statistically significant difference; yet did not significantly reduce the risk of fracture(OR = 0. 52,95%CI = 0. 23-1. 17,P = 0. 11),and the difference was not statistically significant. In terms of safety, the incidence of adverse drug reactions in both regimens was low, and no particularly severe adverse drug reactions occurred. Cost-effectiveness analysis showed that the cost-effectiveness ratio of dizumab injection was lower than that of zoledronic acid injection ( 492. 03 vs. 834. 34 ). CONCLUSIONS: Desumumab is superior to zoledronic acid in increasing bone mineral density in the treatment of postmenopausa [ABSTRACT FROM AUTHOR]

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The Yunjian pattern as an art form from the West gradually merged with Chinese decorative art in the Han and Tang Dynasties and has a unique artistic effect. As a typical fabric pattern in the Han and Tang Dynasties the Yunjian pattern not only reflects the prosperity of the East-West Silk Road trade but also is a typical example of multi-cultural exchange and integration. However the academic circles focus on the exchange and integration of narrative motifs between the East and the West ignoring the purely decorative Yunjian patterns. Therefore the previous research on Yunjian patterns of Han and Tang fabrics is not in-depth and comprehensive. Combining the fabric image of archaeological discovery and historical documents and other materials we aim to explore the definition origin spread and development of Yunjian patterns on Han and Tang fabrics and to analyze the reasons behind them. We believe that Yunjian patterns are multi-color patterns with a natural blooming effect. At present the Yunjian patterns are mainly divided into two categories according to the color the rainbow Yunjian pattern with a variety of color changes and the Yunjian pattern with shade changes of the same color system. The Yunjian pattern originated from the art of Coptic dyeing and weaving. Copts in Egypt drew inspiration from the rainbow with Christian teachings. They designed the dyeing and weaving pattern as a strip arrangement of rainbow colors and weaved a rainbow-like Yunjian pattern fabric. Later the pattern was brought into Central and Western Asia through Alexander's Eastern Expedition. Influenced by various cultures in the region the Yunjian pattern changed from a rainbow strip arrangement to an overall horizontal strip design. The Yunjian stripes were woven with natural-style plant and flower patterns in the middle. And the color was no longer limited to rainbow colors but gradually changed to the same color system which evolved into Greek art style of Yunjian decoration belt. Then along the Silk Road it was spread to Xinjiang China during the Han and Jin Dynasties and Yunjian wool tapestry fabrics appeared. Due to the spread of Western influences to the East the Yunjian-patterned fabric and its aesthetic concept of liking a variety of colors were spread to the Central Plains through Xinjiang wool tapestry fabrics which gave rise to people's fondness for colorful fabrics at that time. During the Han and Jin Dynasties due to the limitation of dyeing and weaving technology civilian women obtained colorful pleated skirts by stitching different-colored fabrics. In the Sui and Tang Dynasties the dyeing and weaving technology was further developed narrow striped pleated skirts became more and more common and Yunjian tie-dyed fabrics with multiple colors and shades of gradual change and Yunjian jacquard brocade with naturally transitional patterns and flowers were dyed and weaved. There are three main reasons for the formation of Yunjian patterns. First the smoothness of the Silk Road and the prosperity of trade provided the necessary prerequisites for the spread of rainbow patterns. Secondly the exchange of goods between the East and the West brought about the exchange of weaving technology. The improvement of dyeing and weaving technology provided technical support for the expression of innovative Yunjian patterns. Thirdly the fabrics from the West as objects continued to influence people's cultural aesthetic concept and comprehensively changing stripes and brilliant colors arouse people's love for the Yunjian pattern and further promoting the spread and development of the Yunjian pattern in China. Starting with pattern change and weaving skills we discuss the definition of Yunjian patterns and analyze the evolution of Yunjian patterns on fabrics of the Han and Tang Dynasties. In the process of spreading from west to east the Yunjian pattern gradually merged with the national culture. In the process of evolution not only were the color processing characteristics of the Yunjian pattern retained but also the dyeing and weaving skills of the nation were integrated and finally a unique dyeing and weaving patterns was developed. This evolution process reflects the mutual exchange and integration of Chinese and foreign cultures during the Han and Tang Dynasties and reflects the openness and inclusiveness of Chinese culture. This article provides certain reference value for exploring cultural exchanges and mutual learning along the Silk Road. [ABSTRACT FROM AUTHOR]

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