Li Xinwei
On the Celestial Pole Ideology Reflected in the Prehistoric Pottery
Motifs..........................................................................................................81

Abstract： The Lingjiatan jade plaque and other important relics have revealed that the celestial-pole concept, recorded in the pre-Qin period documents, may have come into being during the prehistoric period. Its core consists of the celestial-pole being depicted by an octagonal pattern and a knot, as well as that a divine bird and a pig being correlated with the movement of the celestial pole. It contributes greatly to the celestial-pole concept revealed in pottery patterns. The author carries out a synthetic research. It shows that the relevant motifs include crisscrosses, polygonal stars and poly-rays as the starting point, as well as the knot pattern as the motion hub. In addition, curves could be employed to symbolize rotations centering the celestial pole, which could be surrounded by birds, beast faces and pinnacle architectures. The synthesis has significantly enriched the understanding of the celestial-pole concept in the prehistoric period, which could shed light on the interpretations of the more complex patterns on prehistoric jade artifacts and the regional interactions.

Liu Li et al.
From the Conical-Baseamphorae to the Flat-Base Amphorae.................94

Abstract： According to previous typological analysis, jiandiping, the conical-base amphorae, of the Yangshao culture were developed from pingdiping, the flat-base amphorae, which were in turn derived from globular jars. Recent studies have proved that globular jars and conical-base amphora were brewing vessels, but it is unclear whether flat-base amphorae also had brewing functions. In order to answer this question, we carried out residue analysis on 20 flat-base and conical-base amphorae unearthed from the Lingkou site in Lintong, Shaanxi. We identified starch granules with characteristics of fermentation，phytoliths from cereal husks, as well as yeast cells, together suggesting that both types of pottery were brewing vessels. Ancient people used germinated broomcorn millet, rice and wild Triticeae seeds as a saccharifying agent to make alcoholic beverages; the main ingredients include millets, rice, wild Triticeae, wild pea, snake gourd root, foxnut and ginger. Some plant stems/leaves and inflorescences were also added, perhaps to utilize their medicinal properties. Using reed straws to sip alcohol may have been one of the ways to drink at that time. These results shed new light on the long tradition of alcohol production and consumption in the Neolithic Yellow River region.

Kong Deming and Kong Weipeng
On Lacquer Wares Unearthed at Yinxu...........................................................107

Abstract：Lacquer wares in the Yinxu period were mainly mimics of bronze wares, which were of diverse categories, delicate patterns and bright colors. They were related to daily life, customs, religions, feasts and wars. Lacquer wares production of Yinxu was an important craftsmanship. Lacquer wares from Xindian were of distinctive regional features. Lacquer wares were also used in high-elite burials of Yinxu, which, together with bronze artifacts, constitute the ritual sets then.

Wu Gongqin
On the Jade huang of the Han dynasty from Xuzhou...............................115

Abstract： Jade huang of the Han period unearthed from Xuzhou can be classified into four categories, which, according to style transformation, can be divided into two stages. The first stage is in the early and middle Western Han, which was the epic time for jade huang. The second stage was from the late Western Han to the Eastern Han, which was the decline time. Jade huang were mainly from large or medium sized burials, the tome occupants of which were of the royal house or high-level elites. Jade huang were used for ritual, decoration and mortuary purposes. That jade huang being employed in burials during the Han period reflects the high status of the tomb occupants and the ideology of becoming immortal then.

Xu Dong
On the Feature, Nature and History of the Xinyang Style of Manjusri
Statues in the Tang Dynasty.............................................................................120

Abstract： This article, based on four Tang-dynasty Manjusri statues, summarizes the development of the Xinyang style of Manjusri statues. Combining textual records, the author analyzes their social, political and religious significance. The Xinyang style should have come into existence after the Anshi chaos, which rooted in the re-construction of the governmental authority.

Li Youping
On the Dasheng-Nanlv Bell in the Walters Art Museum........................129

Abstract：The Dasheng-Nanlv bronze bell, made in Northern-Song-dynasty, in the Walters Art Museum, is another treasure in the collections in North America. It was originally from Tianjing, which was first sold to America in 1914. Dr. Henry Walters purchased the bell in 1916 and donated it in 1931. The bell is largely intact, though the double-dragon decoration at the top is broken. That the bell accords with the scale “Nanlv” is unique among the thirty Dasheng bells known so far of the Song period.

Yu Shanying and Luo Yonghua
On the Dasheng Bell of the Northern Song Dynasty at Mount
Weiyu...........................................................................................................133

Abstract：A Northern Song Dynasty bronze bell, which wasin the collection of the Dayou Palace in Mount Weiyu, is now in the Huangyan County Museum. According to its form, pattern and inscriptions, this bell should originally have been part ofthe Northern-Song Dasheng chime-bell set. The bell is the second Dasheng bell found in Zhengjiang, and the largest one so far. Typologically, it could be classified into the large ones. Combing historical records, the Dasheng bell at Huangyan should have become part of the collection after the Song and Jin dynasties.

Zhang Jianmin
On a jiehua Painting Named Taoyuan by Yuan Yao...............................140

Abstract： In the Qing dynasty, the jiehua painting went through its final major transformation. Yuan Yao was a very influential artist in jiehua, though very little was recorded about him. A drawing named Taoyuan is in the collection of the Henan Provincial Museum, which partially employed the jiehua technique. This article analyzes the multiple techniques in the painting and compares it with other related works, in order to show Yuan Yao’s innovation and contribution.