毕业论文-基于51单片机的爱心彩灯设计与制作.doc

湖南机电职业技术学院湖南机电职业技术学院 毕业设计任务书毕业设计任务书 课题名称： 基于 51 单片机的爱心彩灯设计与制作 专 业： 机电一体化技术 学生班级： 机电 1309 学生姓名： 同组学生： 指导教师： 1 目目 录录 1 引引 言言 2 设计原理设计原理. 2.1MCS51 2.2 LED 2.3 中断指令 2.4 硬件接原理图 3 程序流程图程序流程图 3.1 主流程图. 3.2 流水灯子流程图. 3.3 中断程序流程图. 4 汇编程序汇编程序 4.1 主程序. 4.2 一秒钟定时程序. 5 小结小结 参考文献参考文献. 2 1.1 引言引言 随着人们生活环境的不断改善和美化，在许多场合可以看到彩色霓虹灯。 LED 彩灯由于其丰 富的灯光色彩，低廉的造价以及控制简单等特点而得到了广泛的应用，用彩灯来装饰已经成为一 种时尚。但目前市场上各式样的 LED 彩灯控制器大多数用全硬件电路实现，电路结构复杂、功能 单一，这样一旦制作成品只能按照固定的模式闪亮，不能根据不同场合、不同时间段的需要来调 节亮灯时间、模式、闪烁频率等动态参数。这种彩灯控制器结构往往有芯片过多、电路复杂、功 率损耗大等缺点。此外从功能效果上看，亮灯模式少而且样式单调，缺乏用户可操作性，影响亮 灯效果。因此有必要对现有的彩灯控制器进行改进。 课程设计是学完一门课后应用本课知识及以前的知识积累而进行的综合性、开放性的训练， 是培养学生工程意识和创新能力的重要环节。进一步巩固和加深 “单片机”课程的基本知 识，了解单片机设计知识在实际中的应用。综合运用“单片机”课程和先修课程的理论及 生产实际知识去分析和解决电路设计问题，进行单片机电路设计的训练。学习单片机设计电 路的一般方法，了解和掌握单片机电路的设计过程和进行方式，培养正确的设计思想和分析 问题、解决问题的能力，特别是总体电路设计能力。通过计算和绘图，学会运用标准、规范 和查阅有关技术资料等，培养单片机电路设计的基本技能。 该程序示例了单片机键盘控制p1 口流水灯花样的方法 ;具体表现为 :p3.2 3.2 3.4 3.5 四个小本文提出了一种基于AT89S51 单片机的彩灯控制方案，实现对LED 彩灯的控制。 按键，分别实现了四个控制。通过这次实验，我们也了解了团队合作的重要性，集体的力量 是伟大的，一个人如何融入一个团队是是一个重要问题，讲究合作才能取得最后的成功！ 3 2 设计原理设计原理 2.12.1 MCS51MCS51 单片机单片机 引脚说明引脚说明 MCS 单片机都采用 40 引脚的双列直插封装方式。图 2-9 为引脚排列图， 40 条引 脚说明如下： 1、主电源引脚 Vss 和 Vcc Vss 接地 Vcc 正常操作时为+5 伏电源 2、外接晶振引脚 XTAL1 和 XTAL2 XTAL1 内部振荡电路反相放大器的输入端，是外接晶体的一个引脚。当采用外 部振荡器时，此引脚接地。 XTAL2 内部振荡电路反相放大器的输出端。是外接晶体的另一端。当采用外部 振荡器时，此引脚接外部振荡源。 3、控制或与其它电源复用引脚 RST/VPD，ALE/，和/VppPROGPSENEA RST/VPD 当振荡器运行时，在此引脚上出现两个机器周期的高电平（由低到 高跳变） ，将使单片机复位 在 Vcc 掉电期间，此引脚可接 图 2-9 8051 引脚排列图 上备用电源，由 VPD 向内部提供备用电源，以保持内部 RAM 中的数据。 P1.0 1 P1.1 2 P1.2 3 P1.3 4 P1.4 5 P1.5 6 P1.6 7 P1.7 8 RST/VPD 9 RXD P3.0 10 TXD P3.1 11 INT0 P3.2 12 INT1 P3.3 13 T0 P3.4 14 T1 P3.5 15 WR P3.6 16 RD P3.7 17 XTAL2 18 XTAL1 19 VSS 20 P2.0 21 P2.1 22 P2.2 23 P2.3 24 P2.4 25 P2.5 26 P2.6 27 P2.7 28 PSEN 29 ALE/PROG 30 EA/VPP 31 P0.7 32 P0.6 33 P0.5 34 P0.4 35 P0.3 36 P0.2 37 P0.1 38 P0.0 39 VCC 40 8031 8051 8751 4 ALE/ 正常操作时为 ALE 功能（允许地址锁存）提供把地址的低字节PROG 锁存到外部锁存器，ALE 引脚以不变的频率（振荡器频率的）周期性地发出正脉冲 6 1 信号。因此，它可用作对外输出的时钟，或用于定时目的。但要注意，每当访问外部 数据存储器时，将跳过一个 ALE 脉冲，ALE 端可以驱动（吸收或输出电流）八个 LSTTL 电路。 对于 EPROM 型单片机，在 EPROM 编程期间，此引脚接收编程脉冲（ 功能）PROG 外部程序存储器读选通信号输出端，在从外部程序存储取指令（或数PSEN 据）期间，在每个机器周期内两次有效。同样可以驱动八 LSTTL 输入。PSENPSEN /Vpp 、 /Vpp 为内部程序存储器和外部程序存储器选择端。当EAEA /Vpp 为高电平时，访问内部程序存储器，当/Vpp 为低电平时，则访问外部程EAEA 序存储器。 对于 EPROM 型单片机，在 EPROM 编程期间，此引脚上加 21 伏 EPROM 编程电源 （Vpp） 。 4、输入/输出引脚 P0.0 - P0.7，P1.0 - P1.7，P2.0 - P2.7，P3.0 - P3.7。 P0 口（P0.0 - P0.7）是一个 8 位漏极开路型双向 I/O 口，在访问外部存储器 时，它是分时传送的低字节地址和数据总线，P0 口能以吸收电流的方式驱动八个 LSTTL 负载。 P1 口（P1.0 - P1.7）是一个带有内部提升电阻的 8 位准双向 I/O 口。能驱动 (吸收或输出电流)四个 LSTTL 负载。 。 P2 口（P2.0 - P2.7）是一个带有内部提升电阻的 8 位准双向 I/O 口，在访问 外部存储器时，它输出高 8 位地址。P2 口可以驱动(吸收或输出电流)四个 LSTTL 负载。 P3 口（P3.0 - P3.7）是一个带有内部提升电阻的 8 位准双向 I/O 口。能驱动(吸收或输出电流)四 个 LSTTL 负载 2.22.2 LEDLED 显示数码管显示数码管 LED 有共阴极和共阳极两种。如图所示。二极管的阴极连接在一起，通常此公共 阴极接地，而共阳极则将发光二极管的阳极连接在一起，接入+5V 的电压。一位显示 器由 8 个发光二极管组成，其中 7 个发光二极管构成字型“8”的各个笔划（段） ag，另一个小数点为 dp 发光二极管。当在某段发光二极管施加一定的正向电压时， 该段笔划即亮；不加电压则暗。为了保护各段 LED 不被损坏，需外加限流电阻。 LEDLED 数码管结构原理图数码管结构原理图： 5 图 3 AT89C2051 引脚配置 AT89C2051 芯片的 20 个引脚功能为： VCC 电源电压。 GND 接地。 RST 复位输入。当 RST 变为高电平并 保持 2 个机器周期时，所有 I/O 引脚复位至 “1” 。 XTAL1 反向振荡放大器的输入及内部时 钟工作电路的输入。 XTAL2 来自反向振荡放大器的输出。 P1 口 8 位双向 I/O 口。引脚 P1.2P1.7 提供内部上拉，当作为输 入并被外部下拉为低电平时，它们将输出电流，这是因内部上拉的缘故。 P1.0 和 P1.1 需要外部上拉，可用作片内精确模拟比较器的正向输入 （AIN0）和反向输入（AIN1） ，P1 口输出缓冲器能接收 20mA 电流，并能 直接驱动 LED 显示器；P1 口引脚写入“1” 后，可用作输入。在闪速编 程与编程校验期间，P1 口也可接收编码数据。 P3 口 引脚 P3.0P3.5 与 P3.7 为 7 个带内部上拉的双向 I/0 引脚。P3.6 在内部已与片内比较器输出相连，不能作为通用 I/O 引脚访问。P3 口的输 出缓冲器能接收 20mA 的灌电流；P3 口写入“1”后，内部上拉，可用输 高电平驱动高电平驱动 共阴极共阴极 低电平驱动低电平驱动 共阳极共阳极 6 入。P3 口也可用作特殊功能口。 2.32.3 中断指令中断指令。 在 CPU 和外设交换信息时，存在着快速 CPU 和慢速外设间的矛盾， 机器内部有时也可能出现突发事件，为此，计算机中通常采用中断技术。 CPU 和外设并行工作，当外设数据准备好( 或有某种突发事件发生)时 向 CPU 提出请求，CPU 暂停正在执行的程序转而为该外设服务(或处 理 紧急事件)，处理完毕再回到原断点继续执行原程序。 中断优先级：当有多个中断源同时 向 CPU 申请中断时，CPU 优先响 应最需紧急处理的中断请求，处理完毕再响应优先级别较低的 ，这种预 先安排的响应次序。 中断的嵌套：在中断系统中，高优先级的 中断请求能中断正在进行的 较低级的中断源处理， （1）中断技术是实时控制中的常用技术，51 系列单片机有三个内部中 断，二个外部中断。所谓 外部中断就是在外部引脚上有产生中断所需要 的信号。 每个中断源有固定的中断服务程序的入口地址(称矢量地址或向量地址)。 当 CPU 响应中断以 后单片机内部硬件保证它能自动的跳转到该地址。因 此，此地址是应该熟记的，在汇编程序 中，中断服务程序应存放在正确 的向量地址内。 (或存放一条转移指令)；而在 C 语言中是靠 Interrupt n 的关键字 n 自动设 置的。 （2）单片机的中断是靠内部的寄存器管理的，这就是中断允许寄存器 IE，中断优先权寄存器 IP ，必须在 CPU 开中断即开全局中断开关 EA， 开各中断源的中断开关，CPU 才能响应该中断源的 中断请求，其中缺一 不可。 （3）从程序表面看来，主程序和中断服务程序好象是没有关连的，只 有掌握中断响应的过程， 才能理解中断的发生和返回，看得懂中断程序， 并能编写高质量中断程序。 7 表 2.1 常用中断 符号 名 称中 断 引 起 原 因 中断服务程序入口 INT0外部中断 0P3.2 引脚的低电平或下降沿信号 0003H INT1外部中断 1P3.3 引脚的低电平或下降沿信号 0013H T0定时器 0 中断 定时计数器 0 计数回零溢出 000BH T1定时器 1 中断 定时计数器 1 计数回零溢出 001BH T2定时器 2 中断 定时计数器 2 中断(TF2 或 T2EX 信号） 002BH TI/RI 串行口中断 串行通信完成一帧数据发送或接收 引起中断 0023H 2.4 硬件原理图硬件原理图 晶振（12MHz）定时 1 秒 对于 12MHz 的晶振而言，其时钟周期 T=1/f=1/12us,而 89C51 的一个 机器周期包括 12 个时钟周期，所以一个机器周期为 1us，对于 T0 而言， 使之工作于 16-bit， 最大计时为 65536*1=65536us，需要多次定时才能实现一秒定时。 8 XTAL2 18 XTAL1 19 ALE 30 EA 31 PSEN 29 RST 9 P0.0/AD0 39 P0.1/AD1 38 P0.2/AD2 37 P0.3/AD3 36 P0.4/AD4 35 P0.5/AD5 34 P0.6/AD6 33 P0.7/AD7 32 P1.0 1 P1.1 2 P1.2 3 P1.3 4 P1.4 5 P1.5 6 P1.6 7 P1.7 8 P3.0/RXD 10 P3.1/TXD 11 P3.2/INT0 12 P3.3/INT1 13 P3.4/T0 14 P3.7/RD 17 P3.6/WR 16 P3.5/T1 15 P2.7/A15 28 P2.0/A8 21 P2.1/A9 22 P2.2/A10 23 P2.3/A11 24 P2.4/A12 25 P2.5/A13 26 P2.6/A14 27 U1 AT89C51 SRCFILE=1.ASM PROGRAM=1.HEX D1 LED-RED D2 LED-RED D3 LED-RED D4 LED-RED D5 LED-RED D6 LED-RED D7 LED-RED D8 LED-RED X1 CRYSTAL C1 30nF C2 30nF VCC+5V R1 270 R2 270 R3 270 R4 270 R5 270 R6 270 R7 270 R8 270 vcc+5v C3 1nF R9 10k vcc+5v R10 10k R11 10k R12 10k R13 10k 3 程序流程图程序流程图 9 3.1 总流程图总流程图 N Y N Y N Y N Y N Y 初始化 INT0 按下？INT1 按下？T0 按下？T1 按下？ 流水灯逐点点亮间隔点亮动 点亮 逐点熄灭 有键按下？ 10 3.2 流水灯子程序流程图流水灯子程序流程图 N Y N Y 其他子程序流程图与上图按下其他键的流程图和它相类似。 3.3 中断程序流程图中断程序流程图 p1.0-1.7 流 动点亮 消除抖动 INT0 键按下？ 按键释放？ 11 4 汇编程序汇编程序 4.1 主程序：主程序： 12 ORG 0000H ;中断入口程序; LJMP START ORG 0003H RETI ORG 000BH RETI ORG 0013H RETI ORG 001BH RETI CLEAR: RET; ; 初始化程序 ;START:ACALL CLEAR ; 主 程 序 STAR1:MOV P3,#0FFH JNB P3.2,FUN2 JNB P3.3,FUN3 ;关闭按纽 JNB P3.4,FUN0 JNB P3.5,FUN1 JNB F0,STAR1 ;曾经有键按下 F0 置 1 RET; FUN0:LCALL DL10MS ;消除抖动 JB P3.4,STAR1 WAITL0:JNB P3.4,WAITL0 ;等待键释放 SETB F0 FUN01:LCALL FUN00 LCALL STAR1 LJMP FUN01; FUN1:LCALL DL10MS ;消除抖动 JB P3.5,STAR1 WAITL1:JNB P3.5,WAITL1 ;等待键释放 13 SETB F0 FUN10:LCALL FUN11 LCALL STAR1 LJMP FUN10; FUN2:LCALL DL10MS ;消除抖动 JB P3.2,STAR1 WAITL2:JNB P3.2,WAITL2 ;等待键释放 SETB F0 FUN20:LCALL FUN22 LCALL STAR1 LJMP FUN20; FUN3:LCALL DL10MS ;消除抖动 JB P3.3,STAR1 WAITL3:JNB P3.3,WAITL3 ;等待键释放 CLR F0 MOV P1,#0FFH ;关显示 LJMP STAR1; FUN00:MOV A,#0FEH ；从 P1.0 到 P1.7 移动点亮 FUN000:MOV P0,A LCALL DL05S JNB ACC.7,OUT RL A AJMP FUN000 OUT: RET; FUN11:MOV A,#0FEH ；从 P1.0 到 P1.7 依次点亮 FUN111:MOV P1,A LCALL DL05S JZ OUT RL A 14 ANL A,P1 AJMP FUN111; FUN22:MOV A,#0FEH ；间隔点亮 FUN222:MOV P1,A LCALL DL01S CPL A RL A MOV P1,A LCALL DL01S RET; FUN33: MOV A,#01H ；逐点熄灭 FUN333: MOV P1,A LCALL DL01S JNZ OUT RL A ORL A,P1 AJMP FUN333 DL01S:MOV R2,#0FFH ; 延时程序 MOV R7，#02H LOOP1: DJNZ R2,LOOP1 LOOP5：DJNZ R7，DL512 RET DL10MS:MOV R3,#14H LOOP2: LCALL DL512 DJNZ R3,LOOP2 RET DL05S:MOV R4,#0AH LOOP3: LCALL DL10MS DJNZ R4,LOOP3 15 RET DL30S:MOV R5,#03H LOOP4:LCALL DL05S DJNZ R5,LOOP4 RET END 4.2 一秒钟定时程序一秒钟定时程序 MOV B,#0AH ；允许中断 MOV TMOD,#01H ；工作方式 1 MOV TH0,#0B0H MOV TL0,#3CH SETB TR0 ；启动计数 SETB EA ；开中断 BU:JBC TF0,SHI SJMP BU SHI:MOV TH0,#3CH MOV TL0,#0B0H RET 16 小结小结 经过努力，我们组终于完成这次数字彩灯的课程设计任务。我们首先查阅了大量 的书本资料，接着又上网搜集了许多有用信息，有时候为了找到一个合适的电路而苦 恼，有时候又为取得一点成功而由衷的高兴。 当最终的方案设计出来以后，我们请教了信息学院的几位老师，他们的一个小小 指点就给我们很大启示和灵感，对我们的程序提出了很多有价值的建议，在此对个位 老师特别是辅导老师苏扬表示热烈感谢，对在设计和买元件期间给于我们帮助的同学 们同样表示衷心感谢。 通过课程设计，我们增强了对单片机的理解，学会查寻资料比较方案，学会单 片机的设计计算；进一步提高分析解决实际问题的能力，创造一个动脑动手独立 开展电路实验的机会，锻炼分析解决程序编写问题的实际本领，真正实现由课本知 识向实际能力的转化；通过典型程序的设计与制作，加深对基本原理的了解，增强了 实践能力。 由于我们的能力和水平有限，实验过程过于简陋，实验经验尚浅，错误之处在所 难免，恳请老师加以纠正，以后不断学习改进！ 17 湖南机电职业技术学院湖南机电职业技术学院 机电一体化技术专业机电一体化技术专业毕业设计开题报告毕业设计开题报告 姓名：付广志 专业：机电一体化技术 班级：机电 1309 课题名称 基于 51 单片机的爱心彩灯设计与制作指导教师张凤娟 18 本课题要解决的问题及采用的研究方法： 一、背景和研究意义 背景: 以微处理器为核心的微型计算机以其小型、价廉、高可靠性等优势，迅速走出机房；基于高 速数值解算能力的微型机,表现出的智能化水平引起了控制专业人士的兴趣。他们将微型机嵌入到一个对 象体系中，实现了对象体系的智能化控制。这样一来，计算机便失去了原来的形态与通用的计算机功能。 为了区别于原有的通用计算机系统，把嵌入到对象体系中、实现对象体系智能化控制的计算机，称作嵌 入式计算机系统。由于嵌入式计算机系统要嵌入到对象体系中，实现的是对象的智能化控制，因此。它 有着与通用计算机系统完全不同的技术要求与技术发展方向。嵌入式系统虽然起源于微型计算机时代。 然而，微型计算机的体积、价位、可靠性都无法满足大量的对象系统的嵌入式应用要求，因此，嵌入式 系统必须走独立发展道路，这条道路就是芯片化道路。芯片化道路即是将计算机做在一个芯片上，从而 开创了嵌入式系统独立发展的单片机时代。 意义: 单片机是指一个集成在一块芯片上的完整计算机系统。尽管他的大部分功能集成在一块小 芯片上，但是它具有一个完整计算机所需要的大部分部件：CPU、内存、内部和外部总线系统，目前大部 分还会具有外存。同时集成诸如通讯接口、定时器，实时时钟等外围设备。而现在最强大的单片机系统 甚至可以将声音、图像、网络、复杂的输入输出系统集成在一块芯片 二、主要内容 1设计并实现具有复位功能的单片机小系统； 2利用单片机进行灯光的场景开关控制； 3利用单片机进行灯光的循环点亮控制及速度变化控制； 4利用单片机进行灯光的色彩连续变化效果控制。 5利用单片机进行灯光的三色联动定时控。 三、研究拟采用的方法 19 毕业设计进度计划： 步骤时间进度 第一步 04.20-04.21 确定设计方案 第二步 04.21-04.25 硬件电路图设计 第三步 04.25-04.28 编写软件 第四步 04.28-05.01 软硬件整体调试 第五步 05.01-05.10 完成论文初稿 第六步 05.10-05.15 论文定稿、总结答辩 指导教师意见 年 月 日 教研室意 见 年 月 日 20 您好，为你提供优秀的毕业论文参考资料，请您删除以下内容，您好，为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O 谢谢！谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. “I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs,“ Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. “The nomadic people were very excited about our visits,“ Nasun recalls. “We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in.“ For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as “red burgeon“, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. “Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged,“ Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.“Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root,“ he says. “Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled.“ The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sa le rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. “The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. “Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime- soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with 21 its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I