TIAN Wei et al.
On the Charcoal Kilns at the Xiwubi Site and their Experimental Archaeology.......................................................................................................67

Abstract：We found a group of special relics during our excavation at Xiwubi from 2018 to 2019. To know the nature of the relics, we unearthed the entire region.Combing folk customs and laboratory work, we have investigated the function of the special relics in the specific archaeological context.We have come to the conclusion that the special relics should have been charcoal kiln of the Erlitou culture.

CHAI Qiuxia and YE Danni
An Investigation of the Raiment Depicted in the Mural Painting of the Dahuting Han-Period Burial at Xinmi...............................................................74

Abstract：The mural painting of the Dahuting Han-Dynasty burial at Xinmi is rich in figurines. The authors, through analyses of hair style, decorations, costumes and shoes of the No.2 burial, discusses the Eastern-Han-Dynasty raiment.

LUAN Fengshi
On the Longshan-Period Jade Artifacts of Northern Shaanxi and Southern Shanxi Provinces................................................................................................80

Abstract：In recent years, the urban site of Shimao and a series of other new archaeological discoveries have drawn attention to the jade artifacts unearthed at Shimao. The newly released jade artifacts from the Bicun site, Shanxi province, together with those from Taosi and Qingliangsi, shed light on interactions among those sites. In general, jade artifacts of the three site have evident common features, which should have been of the same jade tradition. The majority of the jade artifacts, including rectangular yue, bi, gui, zhang, and knife, together turquoise-inlaid technique, should have originated in the Haidai region, featuring the Dawenkou-Longshan tradition.

AI Wanqiao
A Preliminary Discussion of the Beads Unearthed from the Ganguya Cemetery.......................................................................................................92 

Abstract：To clarify questions on beads left by the archaeological report of Jiuquan Ganguya, we selected samples to be observed and analyzed, and confirms that the so called“white pottery/steatite beads”should be fired steatite beads mixed with shell beads, publishes a series of basic information and surface features of carnelian beads, and explores the origin and the continuance of some beads based on the identified materials and the crafts style, and especially discusses the spread of the shell beads. This research lays a foundation for further discussion on the handicraft and material exchange in the Northwest during the first half of the 2nd millennium BC.

ZHU Naicheng
On the Origin and Development of the Turquoise-Inlaid Dragon of the Erlitou Culture............................................................................................................103

Abstract： The transformations of the turquoise-inlaid dragon of the Erlitou culture proceeded in two trajectories. On the artifact level, it transformed from turquoise-inlaid dragon to turquoise-inlaid plaque; on the motif level, the pattern transformed into the dragon image on bronze and bone artifacts of the Shang and Zhou Dynasties. The Erlitou turquoise-inlaid dragon was derived from the stone-carved dragon in the palatial area of Shimao. The Taosi color-painting dragon differed from those at Shimao, Xinzhai and Erlitou, which should have been of another cultural tradition and possibly rooted in time difference. The stone-carved images of the Shimao palatial area should be no earlier than the Xinzhai phase, and beyond the Xia-Dynasty remains.

CHEN Yantang
On the Warring-States Lead Glazed Pottery lei from Linzi.................................................................................................................111

Abstract：The lead-glazed pottery Lei from the Warring-States tomb at Linzi is the earliest known monochrome lead-glazed artifact from archaeological context, which is of significant academic value. The so-called glass-glazed ball with snake pattern from the royal tomb of the Yue state at Hongshan, Jiangsu Province, is the earliest color-painting lead-glazed pottery. The color-painting lead-glazed technique should have been influenced by the technique of lead barium glass, the developments of which were parallel, rather than one after another. A comparative study shows that the green-glazed Lei in the Nelson-Atkins Museum of Art shares similarities with that from Linzi, the two of which could arch each other.

Ma Mingyue and WEI Zheng
On the Weights and Measurements from the Marquis Tombs of the Han and Wei Period....................................................................................................118

Abstract：Weights and measuring instruments have been unearthed from some of the Cao-and-Wei tombs in the Han Dynasty. Burials of the kings and marquises then normally had more than one weight and measuring instrument, most of which had not been used. They are different from the civilian tombs and should be explained separately. A systematic investigation reveals four phenomena: brand new weights and measures were buried in group in some of the marquises tombs; weights and measures were also unearthed from some tombs of marquise’s wives; weights and measures were deposited in a concentrated manner; no weights and measures have come to light in the marquise tombs of the Eastern Han Dynasty, while copper weight quan reappeared in the tomb of CAO Xiu during the Cao and Wei period. The author argues that those instruments should not be daily objects, but of symbolic value. They should have symbolized the establishment of a feudal state, and the related bureaucratic department. The copper quan of CAO Xiu's tomb could have been a symbol of a new title system.

JI Duxue
On the Jingdezhen Hongwu Porcelain of the Ming Dynasty.................125

Abstract：The establishment of the Jingdezhen imperial kiln of the Ming and Qing Dynasties has been debated for a long time. The author, through analyses of archaeological remains and stratigraphy of the Hongwu site, argues that the main Hongwu discoveries are tiles and white porcelain, while the so-called white-and-blue porcelain or underglaze red of Hongwu should have dated to the Yongle period. Furthermore, a systematic investigation of the Hongwu-period burials shows that the white-and-blue porcelain and underglaze red porcelain of the Yuan Dynasty style was continuously in use, till a major shift at the end of the Hongwu period. Therefore, the Jingdezhen imperial kiln may have been established in the 35th year of the Hongwu period or at then end of the Hongwu period.

XU Xiaoli
An Investigation of the Painting of the Emperors and Ministers of the Ming Dynasty in the Henan Museum....................................................................136

Abstract：The Painting of Emperors and Ministers in the Henan Provincial Museum was originally dated to the early Ming Dynasty. The author, combing textual records and historical portraits, argues that, according to the raiment style, the painting should have been drawn in the middle and late Ming Dynasty.