摘要: 中文摘要考古中国四川屏山县石柱地遗址2010-2012年度新石器时代遗存发掘简报四川省文物考古研究院宜宾市博物院屏山县文物管理所摘要：石柱地遗址位于四川省宜宾市屏山县楼东乡田坝村7、8组，地处金沙江右岸一至五级阶地。为配合向家坝水电站建设，2010年5月至2012年6月，四川省文物考古研究院等单位对该遗址进行了5次考古发掘，发掘面积14650平方米。共清 ...

中文摘要

考古中国

四川屏山县石柱地遗址2010-2012年度新石器时代遗存发掘简报

四川省文物考古研究院

宜宾市博物院

屏山县文物管理所 

摘要：石柱地遗址位于四川省宜宾市屏山县楼东乡田坝村7、8组，地处金沙江右岸一至五级阶地。为配合向家坝水电站建设，2010年5月至2012年6月，四川省文物考古研究院等单位对该遗址进行了5次考古发掘，发掘面积14650平方米。共清理有新石器时代、西周时期、战国秦汉时期及明清时期各类遗迹800余个，出土各类小件器物1000余件。新石器时代遗存在I区、III区有发现，清理有灰坑、房址、墓葬等遗迹，遗物以陶器为主，另有少量石器。石柱地遗址新石器文化遗存与成都平原的宝墩文化及峡江地区的新石器文化遗存有着密切联系，对研究宝墩文化南下以及金沙江下游新石器晚期的考古学文化交流及序列建立提供了重要的实物资料。

关键词：石柱地遗址；新石器时代；金沙江流域

 

云南文山市清水沟岩画调查简报

云南省文物考古研究所

文山州文物管理所 

摘要：2017年，云南省文山州文山市德厚镇大龙村清水沟组发现一处内容丰富的彩绘岩画，该岩画中的手印图像是目前云南省境内发现的规模最大、手印个体数量最多的一处。2019年2月17至18日，云南省文物考古研究所、文山州文物管理所对该岩画进行了调查。根据该岩画绘制内容及风格和叠压情况，将其分为四个不同时期的作品。反映了先民自我意识的萌发及生殖崇拜的现象，体现了新石器时代晚期分布在这一地区的原始人群的生业模式。

关键词：手印岩画；女性生殖崇拜；年代分期；生业模式

探索与研究 

青海共和盆地史前时期装饰品刍议

艾婉乔（中国社会科学院考古研究所）

摘要：基于文献梳理和实物考察，归纳了青海共和盆地史前装饰品的种类、形式和使用；浅色石串饰可能在仰韶中晚期农业文化西进背景下，由马家窑文化引入共和盆地；齐家文化时期，装饰品承袭前期器类、进一步丰富，形成鲜明的地方特色；部分新见串珠可能来自河西走廊西部。当地装饰品独具一格或与其位置相对封闭、生业有别于周边相关。公元前二千纪上半串饰在甘青局地的流行，为探讨卡约、辛店、寺 洼等文化装饰习俗来源提供了线索。

关键词：尕马台遗址；宗日墓地；共和盆地；装饰品；串珠

 

周代多璜式组玉佩相关问题研究

张睿祥　杨筱平　欧秀花（天水师范学院文物保护技术系）

摘要：多璜式组玉佩是周代大型玉佩饰的主流形制，流行于西周至春秋中晚期。目前发现并复原的20余件多璜式组玉佩，均出自诸侯及其夫人或次夫人墓，是墓主人身份地位的象征物。这些多璜式组玉佩自上而下用朱线将玉璜、玉珠管按照尺寸递增或递减的规律穿系而成，所用玉璜为青玉或青白玉，且多由旧玉改制而成。组玉佩用璜数量多寡与佩戴者身份地位有关，并且遵循主观意识形态下较为统一的以璜为核心的佩璜规范。

关键词：周代；多璜式组玉佩；穿系方式；佩璜规范

 

淮滨王岗楚墓出土公子戈及相关问题

黄锦前（兰州大学历史文化学院）

贺传凯（河南博物院） 

摘要：公子鄝公戈应系春秋晚期楚器，器主公子系楚昭王或楚惠王子，曾任鄝县县公。淮滨王岗M1的墓主或即公子，亦即鄝公，墓葬年代为战国早期。蔡公子吴戈应系公子即鄝公在灭蔡战争中所获的战利品，死后以其随葬。台北故宫博物院藏鄝公鼎和缶的“鄝公”，亦应指楚鄝县县公，而非鄝国国君。王岗楚墓所出有关材料与包山简等所载楚鄝县的有关情况可互相印证，互为补充。

关键词：公子吴戈；公子 鄝公戈；鄝县；县公；包山楚简

 

四川汉代陶翼虎研究

苏　奎（成都博物馆） 

摘要：近年，在四川崖墓当中发现了新奇、罕见的陶翼虎，年代为东汉中晚期。陶翼虎背部方形或者圆形的孔洞模仿自商周时期的铜虎尊，显然，其用途应为陶牺尊，而不是以往学者们所说的陶器座；其羽化造型的思想渊源来自两汉时期的升仙思想，既有本地因素的直接影响，也有关中因素的间接影响；其写实的模塑表现方式与本地崖墓当中的动物俑完全一致。总的来看，四川汉代陶翼虎是融合了早期牺尊造型、本地升仙思想和陶俑艺术的复古创新产物，颇具时代特征和地域特色。这类器物被随葬于崖墓当中，不仅是仙境模拟之物，也反映了个别墓主人的思古之情。

关键词：东汉中晚期；陶翼虎；陶牺尊；复古；升仙思想

 

唐宋时期芝麻钉装烧工艺初探

王　瑾（成都文物考古研究院） 

摘要：芝麻钉装烧是我国唐宋时期烧制瓷器时采用的一种重要装烧工艺，陕西、河南、北京、四川等地的多个窑口都采用过这一技术，尤以北宋晚期的汝窑最为著名。这种装烧工艺的使用可追溯至魏晋十六国时期北方的低温釉器烧造，且和二次烧成有密切的关系。五代黄堡窑对这一技术进行了革新，并以新的面貌传承到了汝窑、修内 司官窑、郊坛下官窑、张公巷窑等举世闻名的窑场。这一技术的变革与窑工烧造经验的积累及供瓷制度的推动有密切关系。

关键词：芝麻钉痕；烧造工艺；垫具；叠烧；匣钵单烧

 

蒙元城址考古二题

杭　侃（北京大学中国考古学研究中心）

摘要：蒙元时期在北方地区出现了一批新规制的城市，它们虽然采取了夯筑的形式，城市的平面也呈方形或者长方形，但是这些城市在城市选址、城市边界、空间利用方式等方面带有明显的游牧民族的特色，其中城墙围合的部分实际上带有子城的性质。元上都的城市边界远比现在城墙围合的范围大，但在蒙古国时期开平城不可能是三重城垣。不能以中原城市模式去看待游牧民族的城市。城址的考古工作，重点应该在能够揭示其构成要素和城市属性的节点部分加以展开。

关键词：蒙元城址；边界；元上都；城市考古

文明互鉴 

 

阿尔泰周边所见短柄石棒来源及功能蠡测

李水城（北京大学考古文博学院） 

摘要：短柄石棒的分布西起额尔齐斯河与鄂毕河流域，东至米奴辛斯克盆地，北抵森林草原，南达中国新疆北部和蒙古西部。棒首主要雕刻马头、人头和公羊头。这个共有的文化习俗显示出，在这一广阔区域的不同族群（考古学文化）有较密切的交往。相较各地石棒出现的时间，鄂毕河与额尔齐斯河流域的石棒出现时间稍早，进而影响到南西伯利亚和新疆北部。鉴于圆雕马头石棒主要出自额尔齐斯河与鄂毕河流域，推测这一文化特质的出现与东欧草原的居民向乌拉尔山以东迁徙殖民有关，并将“马崇拜”习俗引入西伯利亚。短柄石棒的功能有可能为萨满的施法器具，也有可能作为氏族首领的权力象征。

关键词：阿尔泰周边；短柄石棒；来源；功能；蠡测

 

再论滇文化的金属饰件

——中国西南与欧亚草原、中亚文化交流的一些新例证

黄　维（中国钱币博物馆）

摘要：云南滇池地区与境外古文化曾有接触，但这种接触的具体路径还不明晰。目前大致有两种，其一是通过北方草原经“半月形边地文化传播带”南下，其二是经印度、缅甸至云南的南方丝绸之路。对于这两种路线，历来有较多争议，很早就有学者认为，早期中西方文化交流，主要是由北方丝绸之路来承担，但要将这条路线连接起来，还缺乏较为系统的证据。在前人研究基础上，系统考查了从云南至甘肃、陕西、新疆和欧亚草原地带、中亚、西亚等地的金属器物。文物证据表明，青铜时代的滇文化通过北方欧亚草原地带，与中亚、西亚有着直接或间接的文化交往，一些金属器不仅表现出相似的制作技术和艺术风格，而且有的器物造型几乎相同。从目前的考古资料来看，滇文化的诸多金属器，就其制作技术、艺术风格来说，是通过北方草原经“半月形边地文化传播带”与中亚发生直接或间接联系。

关键词：滇文化；金属器；文化交流

 

科技考古

 

内蒙古敖汉旗兴隆沟遗址出土陶器岩相与成分的初步分析

栗媛秋（中国社会科学院考古研究所）

摘要：内蒙古敖汉旗兴隆沟遗址是辽西地区史前研究的重要遗址之一，对该遗址出土陶器进行科技分析有助于进一步认识该地区史前陶器工艺发展及文化演变。通过对兴隆沟遗址三个地点出土陶器的岩相和成分进行分析，可知该遗址从兴隆洼文化、红山文化到夏家店下层文化制陶工艺有显著差异，不同文化时期采用了不同的制陶黏土，夏家店下层文化时期工艺表现出明显进步。

关键词：兴隆沟遗址；陶器；岩相分析；成分分析

英文摘要

BriefReport of 2010-2012 Archaeological Excavations of Neolithic Remains at ShizhudiSite in Pingshan County, Sichuan Province

Abstract：The Shizhudi site islocated in Group Seven and Eight of Tianba Village, Loudong Township, PingshanCounty of Yibin, Sichuan Province, situated on the first to fifth terraces on theright bank of Jinsha River. From May 2010 to June 2012, five archaeological diggingswere conducted to cooperate with the construction of Xiangjiaba HydropowerStation, covering a total area of 14600 square meters. More than 800 remainsand over 1000 small objects of varying types were discovered, spanning fromNeolithic Age, Western Zhou Dynasty, Warring States & Qin-Han Period toMing & Qing Dynasties. Neolithic remains were found in areas I and III,including ashpits, house foundations and burials; unearthed objects consistedlargely of potteries, while there was a small fraction of stone implements. TheNeolithic cultural remains of Shizhudi site had close relations with BaodunCulture of Chengdu Plain and Neolithic cultural remains in Xiajiang area. Thearchaeological excavations yielded important materials for the study of BaodunCulture’ s spread down south, as well as the cultural exchanges at lowerreaches of Jinsha River during the late Neolithic Age and establishment ofchronology.

Key Words：Shizhudi Site,Neolithic Age, Jinsha River Basin

 

BriefInvestigation Report of Qingshuigou Rock Paintings in Wenshan City, YunnanProvince

Abstract：In 2017, a rockpainting site with rich content was found at Qingshuigou, Dalong village, Dehoutown in Wenshan, Yunnan Province, which lies under a limestone rock shelter. Itis the largest rock painting site discovered so far in Yunnan, and also withmost handprint images. From February 17th to 18th, 2019, Yunnan Institute ofCultural Relics and Archaeology and Wenshan Prefecture Administration ofCultural Relics jointly carried out archaeological investigation at the site,including detailed measurements, photograph and aerial photograph of the rockpaintings, and conducted a field survey in its surrounding area. Stone artifactscollected around the site and coarse pottery sherds discovered in neighboringcaves suggest there has been a long history of human activities in this area.According to the content and distribution of rock paintings, we divide theimages into two groups from northwest to southeast. The 28 discernible imagesin Group A consist of an image of pregnant woman, 27 handprint images including15 left hands, 9 right hands and 3 indistinguishable hands. A total of 54images were documented in Group B, out of which 48 images are recognizable,including 2 human figures, 26 animals (one is black), 8 stilt houses, a girthrail, 3 solar patterns，a village sight and a huntingscene. Based on overlaying relationship, the rock paintings are divided intofour different periods. The handprint images, which are stacked at the bottom, fallinto the earliest period. We believe the site was a place for reproductionworship, where people prayed to the Goddess of Fertility for offspring, and thenumber of handprint images probably stood for numerous children or the numbersof them. The life scenes and hunting scene in Group B were created by primitivetribes living in this region during the late Neolithic Age, with meek animalsarranged in a certain order, which suggests the beginning of animaldomestication. For the primitive tribes, rice agriculture and livestockdomestication should be their main ways of livelihood. This articlepreliminarily analyzes the rock paintings from the anthropological,archaeological and historical perspectives, and tries to figure out their ageand living patterns of the people who created them. In the future it’snecessary to carry out further archaeological survey of rock paintings andrelevant sites in this area, as well as comparative study with rock paintingsin neighboring regions, such as Guangxi Province.

Key Words：Handprint image,Reproduction worship, Chronology, Livelihood

 

AStudy of Pre-Historical Ornaments Discovered in Gonghe Basin, Qinghai Province

Abstract：Based onarchaeological findings and personal observation, this paper summarizes thematerials, types, shapes and uses of the body ornaments unearthed from thepre-historical sites of Gamatai and Zongri in Gonghe Basin, Qinghai province,concluding that the light-colored stone beads were brought into the GongheBasin through the Majiayao Culture under the background of agrarian people’smoving westwards during the mid and late Yangshao period. During the laterphase when Qijia Culture was prevalent, while beads continued to be adopted,ornament types were further enriched, forming distinctive localcharacteristics. Some of the newly appeared beads probably came from thewestern part of Hexi Corridor. The distinctive style of the body ornaments inGonghe Basin might be a result of the relatively closed geographical positionand the different subsistence modes from neighbors. The prevalence of longstrings of beads in certain regions of Gansu and Qinghai during the first halfof the 2nd millennium BC provides clues to explore the origin of ornamentcustoms of the later  Kayue, Xindian andSiwa Cultures.

Key Words：Gamatai site, ZongriCemetery, Gonghe Basin, Ornaments, Beads

 

AStudy of Relevant Issues Concerning Multi-Huang Jade Ornament Sets of the ZhouDynasty

Abstract：Multi-Huang (璜, a jade tablet in the form of a semi ring) jade ornament setswere  the mainstream of large jadeornaments in the Zhou Dynasty, which prevailed during the Western Zhou Dynastyand the Spring and Autumn Period. From well preserved Zhou Dynasty burialswhich were not looted or disturbed, more than 20 sets of multi-Huang jadeornaments have been found and restored, which can be divided into three types.The multi-Huang jade ornament sets were exclusively unearthed at burials ofvassals with distinguished identities or their consorts, not available in theburials of other nobilities. Not only did they symbolize the status of tomboccupants, but also helped to maintain their elegant deportment. Themulti-Huang jade ornament sets show three features in the selection of jadematerials, types of decorative patterns and the manners of threading jadeHuang. Firstly, the materials of Huang were mainly green jade or greenish whitejade; dragons in varying shapes were the most common patterns; and the jadeHuang were threaded with scarlet strings, in an increasing order of sizes fromtop to bottom. Secondly, the number of Jade Huang was determined by the statusof the wearer, which lacked a strict system, but more Huang were used forvassals than their consorts. Thirdly, jade Huang used in the ornament sets weremostly remodeled from old jade wares，which was probablyrelated to King Wu's policy to share gems and jades with vassals as rewards forconciliation, or due to blocked sources of jade material.

Key Words：Zhou Dynasty,Multi-Huang Jade ornament sets, Manner of threading, Regulations of wearingjade Huang

AStudy of Gongzi Ge Unearthed at a Chu Burial in Wanggang, Huaibin and RelevantIssues

Abstract：In 1995, two GongziChuai Liaogong ge ( 公子鄝公戈 , "dagger-axe of GongziChuai Liaogong") were unearthed at a burial of the Chu State in Wanggangvillage, Huaibin County, Henan Province. Based on the age and geographicinformation recorded in inscriptions, they were identified as bronze implementsof the state of Chu from the late Spring and Autumn period. Their owner, GongziChuai, who was the son of King Zhao or King Hui of the Chu State, once servedas the magistrate of Liao County (i.e. Liaogong). It’spossible that he is the owner of burial M1 at Wanggang, Huaibin. According tothe unearthed bronze weapons, armors, chariot and horse implements, etc.,burial M1 is dated to the early Warring States period.

CaigongziWu ge  (蔡公子吴戈,"dagger-axe of Gongzi Wu of Cai State") unearthed from the sameburial, is considered to be a spoil of the war wiping out the State of Cai,which was commanded by Gongzi Chuai. The ge was buried with him after hisdeath. In the collection of Taipei Palace Museum, a ding and a fou also bearthe inscriptions of "Liaogong" ( 鄝公), whichwere interpreted as "the Duke of Liao", yet actually refer to the Liaocounty magistrate of Chu. The ding and fou of Liaogong in Taipei Palace Museumwere from recently looted burials, which possibly came from Wanggang as well.    Archaeologicalfindings from the Chu burials in Wanggang, and relevant information of LiaoCounty recorded on the bamboo slips of Chu (such as Baoshan bamboo slipsunearthed in Jingmen City, Hubei Province in 1991) are mutually confirming andsupplementing. Inscriptions on the Gongzi Chuai Liaogong ge and Caigongzi geare informative and of significant value, through which we can traceinformation on their owner, relative issues of historical geography, identityof the owner of burial M1 at Wanggang, as well as historical facts andbilateral relations of the Chu and Cai States at early Warring States period.

Key Words：Caigongzi Wu ge,Gong zi chuai liaogong ge, Liao County, County magistrate, Baoshun bamboo slipsof Chu

AStudy of Han Dynasty Pottery Winged Tigers Discovered in Sichuan

Abstract：Tiger is a fierceanimal in real life which has been in existence since antiquity and is hardlysurprising. However, winged tiger is an astonishing imaginary animal createdthrough adding wings on the sides of an actual tiger. In recent archaeologicalexcavations of cliff tombs in Sichuan Province, two pieces of such curious andrare winged pottery tigers have been discovered, which provide a very goodentry point to explore the origin of winged tiger from the Han dynasty.Withresembling overall shapes and postures, the pottery winged tigers were mouldedwith clay, hollow on the inside, and date to the middle and late Eastern HanDynasty. There are two significant characteristics particularly worthy offurther investigation. Firstly, there are square or round holes in the back.Analysis indicates that they should be imitations of tiger-shaped bronze Zun,which were wine containers from the Shang and Zhou dynasties. Obviously, theyshould be regarded as pottery Xi Zun (vessel in the form of an animal) ratherthan pottery vessel bases as previously believed. Their appearance in Sichuanregion, which was a remote area of the Han culture, should be considered as amanifestation of "restoring ancient ways".Secondly,the tigers bearing wings belong to the important theme of winged mythicalanimals in ancient China. As regards ideological origin, they were products ofthe thought of “becoming immortal” that prevailed in the Han dynasty. Localinfluential factors played the dominant role, while those from the Guanzhongarea also had lesser effects. Some argue that they were variants of westernwinged lions, however, we can’t reach such conclusion based on existingarchaeological materials.Interms of their visual origin, we should eliminate the misunderstandings of"Bi Xie" ( 辟邪 ) and "Qiong Qi" ( 穷奇) in thefirst place. Through careful observation and analysis, we can perceive that theyoriginated from the local image of "Bai Hu" ( 白虎，white tiger), which also inspired the emergence of wingless potterytigers. In particular, the realistic expression of modeling is exactly the sameas pottery animal figurines buried in local cliff tombs.Ingeneral, pottery winged tigers of the Han dynasty unearthed in Sichuan Provincewere products of retro-innovation, combining the shape of early Xi Zun, thenative thought of immortality and the art of pottery figurines in the Handynasty, with unique distinctions of the times and region. This genre ofartifacts was buried in tombs not only to simulate the celestial world, butalso reflect the nostalgia of a few tomb owners.Key Words：Middle and LateEastern Han Dynasty, Pottery Winged Tigers, Pottery Xi Zun, Restoring AncientWays, The Thought of Becoming Immortal

 

APreliminary Study on the Sesame Spur Firing Technique in Tang and SongDynasties

Abstract："Sesame spurfiring" is a technique used in pad firing or pivot firing of pottery andporcelain, which reduces the contact surface between the spur and the glaze byusing a spur whose tip is so fine that it would only leave a sesame-sizedafter-firing mark on the glaze, so that the fired object would present an optimalappearance. This is an important technique used in the firing of fine ceramics inancient China, with a long history of technical development and actualproduction. It was applied in a number of kilns such as Huangbao Kiln inShaanxi, Xing Kiln and Caocun Kiln in Hebei, Gongyi Kiln, Ru Kiln, Jun Kiln andCizhou Kiln in Henan, Qiong Kiln in Sichuan, Longquanwu Kiln in Beijing, GangwaKiln in Inner Mongolia, Jiaotanxia Imperial Kiln and Xiuneisi Imperial Kiln inZhejiang, etc., with the use in mid and late Northern Song Dynasty’s Ru Kilnbeing the most well-known example. Kiln furnitures which formed this kind ofsesame spur marks were mainly a variety of cushion burning tools withsupporting spurs. Cushion firing tools in different shapes not only showedcertain characteristics in time-space distribution, but also had greatdifferences between eras in their appearance and use in different kilns. Generallyspeaking, the development of "Sesame spur firing" technique in Tangand Song Dynasties can be devided into three periods: the first period is theTang Dynasty, represented by Gongyi Kiln, Xing Kiln and Huangbao Kiln of Tangdynasty; the second period is the Five Dynasties, represented by Huangbao Kilnof the Five Dynasties and Qiong Kiln; the third period is the Song, Liao, JinDynasties, represented by Ru Kiln, Jun Kiln, Jiaotanxia Imperial Kiln andXiuneisi Imperial Kiln. The application of this firing technique can be tracedback to the low-temperature glaze-ware firing in northern China during the Weiand Jin Dynasties and the period of Sixteen Kingdoms, with close ties to thetechnique of dual firing. Huangbao Kiln of the Five Dynasties renovated thistechnique by pasting different numbers of spurs and adopting new skills called"separate sagger for each ware" and "firing in piledsaggers", and passed it down to world-famous kilns such as the Ru Kiln,Xiuneisi Imperial Kiln, Jiaotanxia Imperial Kiln, Zhanggongxiang Kiln and soon. This technical change was closely related to the improvement of pad andsagger as firing experiences accumulated as well as the impetus of the porcelaintributary system. 

Key Words：Sesame spur mark, firingtechniques, pad, stack-up firing, firing in separate saggers

 

TwoIssues of Mongol-Yuan City Sites Archaeology

Abstract：A number of newcities appeared during the Mongol-Yuan period in northern China. With rammedwalls and square or rectangular planes, the cities showed characteristics oftraditional Chinese cities built before the Mongol-Yuan period. However, theirlocations, boundaries, and space allocations reflect noteworthy features ofnomads.     Thefirst part of this article focuses on the boundaries of Mongol-Yuan cities innorthern China, arguing that the city walls were not equal to the boundaries ofthe cities, merely the boundaries of the "inner cities". The scope ofa certain city was wider than the space encircled by its wall. Given thedifference in habits between Mongolians and Han Chinese, the cities were indistinct styles. Therefore, besides the space within city walls, we should alsopay attention to the actual boundaries of the Mongol-Yuan cities in our futurearchaeological work.Inthe second part, this article discusses the city planning of Xanadu (the UpperCapital of the Yuan Dynasty, Yuan Shangdu) in the Mongol-Yuan Period and theMing Dynasty. The first issue is the boundary of Xanadu. According to historicalrecords, archaeological findings and the landscape of the city, it could beinferred that the areas five Li (about 2.5 kilometers) outside the west gate andten Li (about 5 kilometers) outside the south gate were still significant partsof Xanadu in the Yuan Dynasty. And the locations of the mountains, forests andgraveyards also marked the boundaries of the city. The second issue is theconstruction process of Xanadu during the Mongol-Yuan Period. From thehistorical view, its triple walls were not built simultaneously. Kublai Khan’spalace of usual residence was located somewhere between the inner wall and theouter wall, rather than within the "inner city". The third issue isthe re-construction of Xanadu (Kaiping) after the Yuan Dynasty. As the Kaipingcity had become a place of strategic importance to defend the Mongol invasionduring the Ming Dynasty, its outmost city wall could be constructed ortransformed at that time. Some relics excavated at the Yuan Shangdu site also suggestthat the city had undergone large reconstruction. To clarify the constructionprocess of Xanadu during different periods should be an importantarchaeological work afterwards.Urbanarchaeology requires long-term efforts of generations of scholars. A basic workis to draw a map of relics through different times for a certain city. Also,it’s not practical for archaeologists to conduct excavation on the full scaleof a city. Archaeological work of city sites should focus on the crucial nodesof ruins.Key Words：Archaeological Sitesof Mongol-Yuan period Cities, Boundary, Xanadu (Upper Capital of the YuanDynasty, Yuan Shangdu), Urban Archaeology 

Assumptionsof the Origin and Function of Scepters with Short Stems Discovered in Altay andIts Surrounding Areas

Abstract：A stone scepter withshort stem was unearthed from a burial at Qiemuerqieke (Chemurchek) Town inAltay City, Xinjiang in 1960s. Later, similar objects were also found inmultiple counties spanning from Burqin, Fuyun, Bortala, Hutubi to Qitai. The topof scepters is always represented by anthropomorphic or zoomorphic relief andsculpture. These stone scepters usually measure 20-30cm in length and 3-4cm indiameter. They are dated to the beginning of the 2nd millennium BC and attributedto the Chemurcheck culture.Analogousartifacts were also found in Russia, Kazakhstan, Tuva and Mongolia, especiallywith a higher occurrence in the Ob-Irtysh interfluves and the Minusinsk Basin inSouthern Siberia. Representations of horse head and human head are prevailingamong the stone scepters found in the former regions, while representations ofram head are exclusively found in the latter regions including Tuva andMongolia. These stone scepters are dated to the early and middle Bronze Age, accordingto Russian scholars.Thedistribution of stone scepters with short stem spreads over a vast territory,ranging west to the Ob-Irtysh interfluves, east to the Minusinsk Basin, north tothe forest-steppe, and south to Northern Xinjiang and Western Mongolia. Thesharing cultural custom of using stone scepters suggests an intensive culturalexchange could have happened between a variety of ethnic groups (archaeologicalcultures) living in this extensive area. By comparing the absolute dates ofstone scepters from different regions it can be concluded that stone sceptersfirst appeared in the ObIrtysh interfluves and later were dispersed further toSouthern Siberia and Northern Xinjiang.Consideringthe fact that most stone scepters with horse head sculpture are distributed inthe Ob-Irtysh interfluves, it is assumed that the emergence of stone scepterswas connected with the migration of populations from Eastern Europe to theTrans-Urals along the Eurasian Steppes. The practice of horse worship was thustransmitted into Southern Siberia. As regards the function of stone scepters,it might be used as shaman’s toolkit or a symbol of power for clan chiefs.Key Words：Altay andSurrounding Areas, Stone Scepter with Short Stem, Origin,  Function, Assumption

  

Revisitingthe Metal Ornaments of Dian Culture: New Evidences of Cultural Exchangesbetween Southwestern China, Eurasian Steppe and Central Asia

Abstract：In 1956, a roundox-head buckle ornament was unearthed from a burial at Shizhaishan site in Jinning,Yunnan Province, dating to the Western Han Dynasty (206 BC- 8 AD).  Resembling samples haven’t yet been discovered in the Northern Steppe, let alone the centralplain culture. It possibly demonstrates a foreign origin.Scholarscommonly agree on the culture contact between the Dianchi Lake area in Yunnanand cultures from the Eurasian steppe, central and western Asia. However, theconcrete route hasn’t been clarified. Currently there are two theoretic routes:one is going southward through the Northern Steppe, via the "Semi-lunarTransmission Zone of Border Area Cultures"; the other is the Southern SilkRoad leading to Yunnan via India and Myanmar. These routes have long been acontroversial issue, from early on some scholars have been arguing that theNorthern Silk Road acted as the major channel for cultural exchanges betweenChina and the West, whereas we still lack systematic evidences.Thisarticle systematically studies various Bronze Age metal objects discovered indifferent regions, spanning from Yunnan, Gansu, Shaanxi, Xinjiang in China,Eurasian Steppe, to Central and Western Asia.Culturalrelics suggest that through the Northern Eurasian steppe, the Bronze Age DianCulture made cultural interactions with Central and Western Asia. In terms ofproduction techniques and artistic styles of these objects, direct or indirectconnections were made with Central Asia through the "Semi-lunar TransmissionZone of Border Area Cultures". Some metal objects exhibit similarproduction techniques and artistic styles, some of them are almost identical inshape, such as gold ornaments with spiral patterns, bronze Zhuo ( 啄 , a bronze weaponshaped like a bird’s beak), etc. In the process of suchcultural exchanges, "Sui" people ( 雟人) mightplayed an important intermediate role. We should not exclude the possibilitythat metal objects like gold ornaments with spiral patterns were in directcirculation; while the modeling features represented by bronze Zhuo, encirclinganimals and reliefs, etc. reveal the exchange of making techniques and artisticstyles, which reflect the profound recognition and imitation of culturalthoughts and values behind the similarity of physical forms. Different culturesalso remodeled similar types of artifacts at varying levels based on their ownopinions. For example, the hand pattern on the horizontal-socket bronze Ge (戈 , a dagger-axe) of Lijiashan site in Jiangchuan might be a transformedimitation of the fistshaped silver containers of Anatolia, and formed its owncultural characteristics. Such imitations of artifacts mirrored the materialconnotation of cultural exchanges.Key Words：Dian Culture, MetalObjects, Cultural Exchange

  

PreliminaryAnalyses of Petrography and Chemical Composition of Potteries Unearthed atXinglonggou Site, Aohan Banner, Inner Mongolia

Abstract：Liaoxi region is oneof the crucial regions in the study of Chinese prehistoric archaeologicalcultures and the origin of Chinese civilization. However, only a few scientificanalyses had been applied on the prehistoric pottery wares found in thisregion.   Locatedat Aohan Banner, Inner Mongolia Autonomous Region, Xinglonggou site is animportant prehistoric settlement in Liaoxi region. Location 1 of theXinglonggou site is from the middle of Xinglongwa Culture (8000-7500 BP).Location 2 is from the late Hongshan Culture (5500-5000 BP), and location 3 isfrom the Lower Xiajiadian Culture (4000-3500BP). The study on pottery waresexcavated at Xinglonggou site can help us obtain a further understanding of theimprovement of pottery and cultural evolution in the Liaoxi region. Therefore,in this paper, we carried out petrographic analysis and chemical compositionanalysis on 46 samples which were excavated at Xinglonggou Site.Thepetrographic results indicate that inclusions were intentionally added inpottery of the Xinglongwa Culture, which are obviously different from those ofthe other two cultures. During the Lower Xiajiadian Culture period, local soilmight be used in pottery making.Accordingto chemical composition results, we can conclude that manufacturing techniquesvaried during different cultural periods and revealed the most obviousimprovement in the Lower Xiajiadian Culture. Different kinds of clay were usedin the Xinglongwa Culture, Hongshan Culture, and Lower Xiajiadian Culture.Besides,caused by different inclusions, jars and bowls show a slight difference inchemical composition during the Xinglongwa Culture period. In the HongshanCulture period, people possibly adopted different techniques in making paintedpottery and non-painted pottery. And in the Lower Xiajiadian Culture period,all kinds of pottery wares were probably made with the same clay andmanufacturing techniques.Key Words：Xinglonggou site,Pottery, Petrographic analysis, Composition analysis

《四川文物》是西南地区唯一向国内外公开发行的文物考古类学术刊物。由四川省文物局主管，四川省文物考古研究院主办。立足西部、面向全国。坚持学术性为主，资料性和知识性兼顾的办刊宗旨。现已成为西部地区影响大并具特色的专业期刊之一，入选全国中文核心期刊、中国人文社会科学核心期刊、中文社会科学引文索引（2017-2018）扩展版来源期刊等。