WANG Shulin.............................................................72 

On the Jixian courtyard in the Luoyang palace of the Tang Dynasty 

Abstract：Jixian Scholar Office in tang Dynasty was an important institution for collecting books in the palace, which had functions such as compiling books, waiting for imperial orders and advising on etiquette system, etc. Its location was of great value to the study of palace layout and political space. Based on the analysis of historical documents and archaeological excavations, the boundaries of Jixian Scholar Office are studied as follows: east to Mingfu Gate Street in Tang Dynasty, north to Zhangshan Gate Long lane, west to Mingfu Gate West Street, south to today’s Tang Gong Zhong Road. Furthermore, the internal layout of Jixian Scholar Office was reconstructed according to the literature, and it was pointed out that the foundation sites of two buildings in No.2 excavation area in the middle of West Area in Luoyang Palace in Tang dynasty might be related to the north corridor of the west courtyard and the main hall of the middle courtyard of Jixian Scholar Office.

WEI Jiyin....................................................................82 

A research of jue with the pattern of animal face mask 

Abstract：Bronze jue with the gridded-animal-mask pattern appeared in the late Shang Dynasty and was popular in the early Western Zhou Dynasty. The shape and pattern of this type are largely the same. The date and decorative features of unearthed jue, together with the pottery mold from the Xindian site in Anyang, show that the production center was relocated from Anyang to Luoyang and Guanzhong, and the technique was transmitted to surrounding areas from these three production centers. The relocation of the casting center should be related to the migration of craftsmen at the Xindian bronze foundry, who moved westwards with the Ge aristocracy. Most of the people who used this jue type should have been Yin adherents.

SONG Rui, LIU Yixin and ZHOU Yaogang..............89 

On the image of one head with dual bodies on the Shang and Zhou bronze 

Abstract：The pattern of a dual body and a single head was common on the Shang and Zhou bronze wares. There has been a lack of systematic synthesis and discussion in academia on this topic. The study of this ornament contributes to the chronological change of the Shang and Zhou bronze culture, while providing a deep understanding of the common beliefs shared between the Yin and Zhou nobles.

ZHANG Rui..................................................................98

A artistic investigation into the pottery creators unearthed from the Chu-kingdom burials at Changtaiguan of the Warring States period 

Abstract：A large number of pottery vessels, including tripod, pot, he, gui and tun were unearthed from the Chu-state tomb at Chengyang, Changtaiguan, Xinyang, Henan Province. The related social background was a chaotic and turbulent time with declining rites and rituals. The prosperous Chu lacquered wood wares, and the unearthed pottery showed diversified features in styles, craftsmanship and decorations. Artisans applied lacquer to decorate pottery surface, the combination of which was an innovation. The wares were endowed with both the“simplicity”of pottery and the“elegance”of lacquered wood wares. They redefined the aesthetic paradigm of painted pottery, while shaping the new pottery style unique to this period.

CUI Songlin.............................................................102 

On the bronze dagger of Gaodu 

Abstract：There is an inscribed bronze dagger ge of the Warring States period in the collection of the Sanmenxia Municipal Museum. The inscription contains a series of important information such as the place of casting, the date of casting, as well as the casting and management system of weapons. Through the interpretation of its inscriptions and information, the author investigates the absolute date of the weapon and clarifies the relationship between Gaodu of the Han state, Gaodu of the Wei state and the heartland of the Eastern Zhou. The discovery of this weapon also provides a new chronological standard for weapons of the Han state during the Warring States period.

WANG Chuanming.............................................106 

On pottery of the bird-fish pattern from the Xinzhi cemetery at Changyi, Shandong 

Abstract：The Xinzhi cemetery was in use from the middle of the Western Han Dynasty to the Eastern Han Dynasty. The typology of pottery with painted or carved bird-fish pattern, as well as an analysis of tomb-related elements, show that the differences in the shape of the round catcher and the small flat-top lid lead to different patterns. These pottery wares with the bird-and-fish pattern did not make a mainstream in the local burial custom, but a special choice for comparatively wealthy families. They are of great value for studying the production and circulation of local bird-fish pattern pottery. They also shed light on burial customs, and the choices and wishes of the tomb occupant’s family and their descendants.

CHANG Dongmeng and LIU Yudong...............112 

On the Nanyang Han Dynasty images feature avariety of Zun 

Abstract： Zun are many images in Nanyang Han Dynasty paintings. According to the archeological classification, they can be divided into four types according to their bottom foot: tripod, circle foot, pedestal and flat bottom, among which the tripod can be divided into three types: beast foot, pillar foot and cone foot. Its appearance and use environment are mainly dance and music drama, including encouragement, acrobatics, cockfighting and other entertainment, worship banquet and tomb worship and other sacrificial social activities, especially dance and music drama is the most common. The combination relationship between the bottle and other utensils can be divided into five types: the bottle is used alone; Bottle with spoon; Cup match ear, cup; Bottle and pot match; Bottles and POTS, round boxes, basins, bowls, cups and other utensils are used together. The investigation of images of zun in Nanyang Han Dynasty paintings enriches its cultural connotation. There is no claim that the inverted stand on the zun has the danger of being scalded.

ZAN Jinguo.............................................................119 

A research of the bronze mirrors of leaf pattern of the Han period from Shandong 

Abstract：The Han Dynasty is the heyday of bronze mirror casting. The grass-leaf-pattern mirror makes a very important mirror type among bronze mirrors of the Han Dynasty in Shandong. Its ornamental changes reflect the development and prosperity of the handicraft industry in the Han Dynasty at that time, which also proves that the Han Dynasty is the heyday of the development of ancient Chinese bronze mirrors. The authors classify the grass-leaf-pattern bronze mirrors of the Han Dynasty unearthed in Shandong. The aim is to decipher the handicraft casting technology and social and economic development of Shandong in the Han Dynasty.

ZHAO Tongmei.....................................................127 

A research of the stele for the construction of the bridge at Wude, Bo'ai 

Abstract：Located in Wugezhai Village, Jincheng Town, Bo’ai County, the stele of Junyi Bridge of Wude, erected in the seventh year of Wuding of the Eastern Wei Dynasty（549 AD）, inscribes the construction of the Yiqiao, which was sponsored by monks and civilians in Wude County. The stele not only records the history, culture, mountains, rivers and transportation of ancient Huaizhou, but also reflects the good deeds of the Buddhist Yiyi organization at that time. This paper intends to study the historical geography, folk beliefs, bridge construction and righteous acts of the Yiyi organization, as well as the statue shape system of Wude County. It reflects the development of Buddhism in the folk and the process of sinicization of Buddhist art in the Eastern Wei period, which could make up for the gap in the history of Buddhist statue making in the Eastern Wei Dynasty.

CHEN Aidong.......................................................133 

On the epitaph of the LIU Honggui couple of the Tang Dynasty 

Abstract：LIU Honggui was an important eunuch in the Middle Tang Dynasty, and his family members profoundly influenced the political changes in the Middle and Late Tang Dynasty. The new epitaph from the tomb of his wife of the Li lineage from Longxi confirmed his family lineage and reflected the marriage and family concepts of the eunuch group. The tombs of LIU Honggui and his family members are the first fully revealed and scientifically excavated burial sites of eunuch families in the middle and late Tang Dynasty. In addition to the interpretation of the epitaph of LIU Honggui and his wife, this article also attempts to discuss the cemetery layout, and relationship between residence and burial site of their family cemetery from an archaeology perspective.

WANG Zhaoyu.....................................................138 

A research of the Defan porcelain of the Wanli period in the Palace Museum collection

Abstract：The Palace Museum has a collection of blue and white bowls with the signatures of“Made in Defu of the Wanli period,”which are standard wares for the Defan porcelain in the Wanli period of the Ming Dynasty. The author, combining historical materials, excavations and collection materials, argues that this batch of porcelain are high-grade wares ordered by Defan to the Jingdezhen kiln in the Wanli period of the Ming Dynasty. Some patterns are similar with those of imperial wares, which are mainly used as daily life utensils of the royal palace.