Deng Shuping
On the Liangzhu Jade in the Collections of Europe and
America...............................................................................................79

Abstract: At the beginning of the 20th century, Chinese antiquities were scattered in Europe and America. Highly priced and easily carried ancient jade has become the majority sold to Europe and the United States. The author traveled and visited more than 20 museums in 1979-1980, and carefully studied jade objects in the repository of each museum. By the 1990s, the author repeatedly visited the important collections to conduct special research. "Characterized engraving symbols on Liangzhu jade" was one of the topics I paid most attention to at the time. In addition to reviewing the European and American collections and publications of Liangzhu jade in the last 100 and more years, and introducing four Liangzhu jade bi-disc engraved with inscriptions on the circumference, the author also briefly discusses the characteristics of the 16th to the 20th century’s imitation of Liangzhu ancient jade.

Sun Ming
On the Bronze Gu in the Shang and Zhou Dynasties and the
Related issues....................................................................................99

Abstract: The ritual bronze gu first appeared in the period of the Erligang culture, reached its peak in the time of the Yinxu culture, and gradually declined and disappeared in the early Western Zhou dynasty. The cross-shaped holes on the stand came into being due to the pelitic core supporting technology that was employed in the casting process. The use of metal core supporting technology first appeared in the period of the Erligang culture, and was gradually standardized in the Yinxu culture. The hollow patterns on the stand were common decorations in the Shang and Western Zhou dynasties. The strip-shaped notch might be used to fix the artifact in the casting process. However, the possibility that the notch was rooted in some special cultural practices or special-customized requirements cannot be ruled out.

Wang Yunjin
A Comparative Study of the Gandhara and Mathura Visual
Art Styles............................................................................................107

Abstract: Gandhara art and Mathura art are the two most important art styles of Mahayana Buddhism in the Kusanas period. There are great differences in their sculpture materials, modeling features and artistic styles of Buddha statues. This paper compares the two Buddhist visual art, and introduces their geographical distributions, as well as their major differences. According to the unearthed cultural relics from Gandhara and Mathura, although the two visual art styles were of two independent art systems, their developments were consistently correlated and influencing one another. The native Indian features, characterized by the Mathura art, had impacted Gandhara statues ever since the initial stage of Gandhara art, the influence of which continued till the late stage of Gandhara art. With the influence of“ Kapisa style” from Gandhara art, short Buddha statues came into being in the age of Kusanas in the art form of Mathura. In the Gupta era, based on the incorporation of Gandhara' s plaster statues, "wet gown Buddha statues" were created in Mathura art, which marked that the Indian Buddha statues were eventually transformed into the oriental style after being continuously integrated into the Asian aesthetic value.

He Zhiguo Wang Ye
On the Influence of the Han-Period Architecture Miniatures
in the
Soul vessels.......................................................................................116

Abstract: Mono-floor architectures and fivefold jars were common in the lower Yangtze River valley during the Han and Jin period. At the transition from the Han period to the Three Kingdoms, northern population migrated southwards to the lower Yangtze River valley, and brought with them popular Central-Plains features, including multi-floor architectures and courtyard-architecture miniatures. The new elements from the north were incorporated with the local jars and vases, the fusion of which led to the origin of the soul vase. It shows southern migrations from the north and their interactions with locals in the Yangtze River valley took place in prior to the Yongjia migration, which can shed light on the economy of the lower reaches of the Yangtze River.

Zhao Li
On the Mural Fragments from the Kizil Grotto in the Guimet
Museum...............................................................................................129

Abstract: Based on the previous research, the author’s work experiences in the relic sites for decades, and the extensive investigation abroad, this paper rechecked and measured 16 fragments of Kizil grotto murals in the collection of the Guimet Museum of France. The author identifies the original corresponding positions of all of the murals in the caves and makes image restorations by computer technology, which will serve as a reliable base for further studies.

Yang Kun
A Discussion of the Patriarch Sacrificial Activities Recorded in
the
Western Zhou dynasty Bronze Inscriptions..............................137

Abstract: Multiplefacets-such as appellations, missions and tomb hierarchy, can provide important information whether a character recorded in bronze inscriptions of the Western Zhou dynasty might be a clan leader or not. In the Western Zhou dynasty, the patriarch was entitled to lead sacrificial activities, which, for example, include worships of many generations of ancestors. Clan members had the obligations to help the clan leader to carry out sacrificial activities. The patriarch instructedand urged clan members to sacrifice to ancestors, by gifting the members sacrificial vessels or artifacts. Clan members imitated patriarchal behaviors in their sacrifice activities.