ZHANG Sining and QI Ziyu...........................................................81 

A preliminary investigation of the central-pillar caves of the Northern Dynasties 

Abstract：The authors examine the formal characteristics of the central-pillar caves of the Northern Dynasties from a holistic perspective. Based on a review of the academic history, the authors investigate and give a retrospect into the widespread use and theoretical development of the term“Liangzhou model” proposed by SU Bai. They propose that the central-pillar style emerged in the northern area, rather than Liangzhou. Additionally, the article re-analyzes the chronological sequence of the central-pillar caves, in order to reveal the origin, transmission, development and diversification routes.

NING Yan............................................................................................90 

A study of the Liuqiu family of the Northern Dynasties 

Abstract：Six burials of the Western Wei and Northern Zhou period came to light from the excavation at Xiyuzhao village, Xi’an, from 2013 to 2016. Four epitaphs were found in four tombs. Though the other two burials were looted, the tomb occupants should have been of the Liuqiu group, according to the burial location, arrangement and accompanying goods. The Liu lineage served as officials in the Northern Wei, Western Wei and Northern Zhou courts, which culminated into a prestige house in the Northern Zhou. Though they served the barbarian polities, the Liu linage had no marriage correlation with the barbarian families till the Northern Zhou Dynasty. The contrast between their political position and marriage choice reflects the social and cultural dilemma of the Han prestige families.

LIU Songtao......................................................................................96 

On the early stone chime and its origin 

Abstract：The Shang Dynasty marked the early stage of the development of the stone chime. The Taosi site in southern Shanxi made the birthplace of the stone-chime culture. In the Early Taosi culture around 4300 years ago, stone chimes in the primitive form appeared, which made a development out of the original large flake stones suitable to hung up and be struck to sound. In the Middle and Late Longshan period, new types of stone chimes appeared in western Henan, which may have been influenced by the set of Taosi. Subsequently, stone chimes of the Taosi style appeared in the Qijia culture in Gansu and Ningxia areas, and the lower Xiajiadian culture in the western Liao River basin. In prior to the Shang Dynasty, stone chimes have completed the chain from the initial stage, to transmission and early integration.

ZHANG Changping......................................................................107 

On the type, date and cultural context of the bronze wares unearthed from the Jinsha sacrificial area 

Abstract：A few bronze-ware fragments came to light in the Jinsha sacrificial area, which have been overlooked for a long time. A comparison study could reveal their related wares and dates. They should originally belong to lei, zun, you and so on, which date to around the Yinxu Second Phase, the Shang-Zhou transition and the Spring and Autumn period. They suggest there may have been a long overlap between Sanxingdui and Jinsha, both of which were the centers of the Chengdu Plain. The Chengdu Plain was connected with the Central-Plain cultures through the middle Yangtze River and adjacent areas.

DOGNG Rui and GAO Pengfei.................................................117 

On the decorations and their symbolic meaning of the square pot with standing cranes 

Abstract：A square bronze pot with a pair of standing cranes was unearthed from the tomb of Duke Zheng. Two coiled-tail dragons were cast at the bottom to support the pot body, with welded ones on the sides. The cranes were about to fly. The design in total was lively and vivid, which was in contrast to the solemn style of ritual vessels. The so-called lotus petal pattern was in nature a modification of mountain pattern. The dragon and owl images indicate its nature of being a ritual vessel. The standing cranes were symbols for longevity, auspiciousness, and peace, which reflect the desire of the Zheng Kingdom for no war and longevity in the middle Spring and Autumn Period.

WANG Yingyu...............................................................................125

 A new study of the Chang’e image in the pictorial art of the Han period 

Abstract：Chang’e flying to the moon was a classic tale of ancient China. The image on a pictorial stone from the Xiguan burial, Nanyang, had been identified as Chang’e, which should have been the image of Nvwa indeed. Meanwhile, the authentic image of Chang’e had been unrecognized. The author, by correlating with both the myth of Houyi and that of Chang’e, identifies the Chang’e image on pictorial stones from Fanji, Xinye. It includes each stage of the story of Chang’e, starting from Chang’e being Houyi’s wife as an ordinary person.

PEI Jiali............................................................................................130

 A preliminary discussion of the Heavenly King’s retinue of the Tang Dynasty 

Abstract：The Heavenly King belief and the related image were mainly popular in the Tang Dynasty. The King of Heaven in Buddhist Culture has been an important issue in academia, while little attention has been paid to the retinue. The author attempts to analyze the chronological sequence of the retinue images. As for the reason why they became popular, the author argues it may have related to the intervention from the ruling class.

LI Changgao and CUI Peng...................................................138 

On the dragon pattern porcelain wares unearthed from the seignior dwelling site of the Ming Dynasty

Abstract：The Ming seigniors, as the representative of the special social class in the Ming Dynasty, could be studied through their related archaeological discoveries. The authors summarize the characteristics of the dragon pattern porcelain wares unearthed from the dwelling site of the early and late Ming period. Combined with relevant literature, the authors conclude that there are evident similarities and differences from the early to the late period. In the early Ming Dynasty, dragon patterns of the seignior style made the great majority of the discoveries unearthed from the dwelling site of the Ming seignior, which was accord with the Ming ritual system. In the late Ming Dynasty, both the imperial dragon-pattern porcelain and the seignior dragon pattern appeared at the same site, the phenomenon of which reflects changes in the related regulations. Five-claw-dragon pattern porcelain came to light both in the early and late Ming Dynasty, which enriched our understanding of how the five-claw-dragon pattern porcelain could be used in the Ming Dynasty.