List

1、Pre-Qin Ritual and Music Culture and Reinterpretation of "Poetry expresses

ambition" in "The Shi Daxu"，Professor Liu Qian，Doctoral Supervisor, School

of Literature, Jinan University，Executive Director of the IAHLS

From P1 to P10

Summary:

The Shi Daxu is usually regarded as an important beginning of the

transformation of Chinese poetry creation theory from "poetry expressing

ambition" to "poetry predestined relationship". However, if we examine it in the

context of the pre-Qin ritual and music culture, we will find that this statement is

taken out of context and subjectively attached to the theory of "Poetry

Expressing ambition" in "Shangshu·Yao Dian" and "Shi Daxu".In fact, "The

Shi Daxu" directly inherits the "poetry" concept of "Shangshu·Yao Dian". The

"poetry" it refers to refers to a form of expression of elegant music in court

ceremonial activities, rather than a literary form that expresses

temperament.The "emotion" in "The Shi Daxu" refers to ethical and moral

emotions rather than natural emotions. It is the motivation for the performance

of "poetry" music ritual activities, rather than the motivation for the creation of

poetry texts.Although "The Shi Daxu" also involves poetry texts derived from

people's natural emotions, it is two completely different concepts from "poetry".

The connotation of "poetry" is "ambition", that is, the political and religious

meaning derived from the text of the poem, not the original meaning of the

poem.The proposal of "poetry and love" should have originated in the Wei and

Jin Dynasties. It is the product of the prosperity of literary poetry, and it is also a

symbol of the independence of literary poetry from the poetry of classics. In the

Tang Dynasty, Kong Yingda's "Mao Shi Zhengyi" completely equates the

"poetry expressing will" expressing ritual and music activities in the "Shi Xu"

with the poetry creation theory "poetry predestined affection" from the

perspective of sparseness.

2、圖斯卡尼亞的藝術遺產：伊特魯裏亞發展簡史 By 喬治·丹尼斯、弗魯奇奧·卡

納里，譯者：李敏 等

From P11 to P29

3 、 An archaeological study on the origin of ancient Chinese painted pottery,

black pottery and white pottery ritual vessels，Sun Ruchu（孫汝初），Senior

Fellow of the International Archaeology and History Linguistics Society

From P30 to P86

1Journal of International Archaeology and Historical Linguistics

The 22th Volume

Executive Summary

The world's ancient pottery is the iconic utensil that human beings truly entered

from raw food into cooked food.It is a necessary process for humans to move

from ignorant, low-IQ general animals to high-level animals at the top of the

food chain.The evidence unearthed by archaeology proves that the world pottery

is the invention of the Chinese people in Xianrendong and Dingtonghuan areas in

Wannian County, Jiangxi Province 17,000 years ago, and gradually spread from

south to north to northern China, the Japanese archipelago, the Korean

peninsula and the northern Asia region of Russia; and It spread westward to

West Asia, North Africa and Europe through the Eurasian steppe passage and

eastward to North and South America.Painted pottery and black pottery created

around 10,000 years ago by Shangshan Culture in Zhejiang, southern China,

painted pottery and black pottery from Peiligang Wuyang Jiahu Culture around

8,500 years north of the Yangtze River, painted pottery black pottery from

Shizhao Village in Dadiwan, Gansu around 8,000 years ago, Source, around 7000

years ago, Banpo painted pottery in Shaanxi Province, Mianchi Yangshao culture

painted pottery in Henan and so on.What is the inheritance relationship between

the above and the painted pottery of Gansu Majiayao around 5000 years ago?

These are major questions that urgently need to be clarified.Therefore, this

paper hopes to study the reasons for the emergence and development of early

pottery ritual vessels and the process of origin, development and dissemination

according to the time sequence of the appearance of Chinese pottery. At the same

time explore issues related to world pottery and southern China pottery.

4 、 The David Vases of 1351 CE at the British Museum:Controversies and

Confirmations of Their Significance for Studying Yuan Dynasty Blue-and-white

Porcelain，Li Baoping，Executive Director of the IAHLS

From P87 to P96

An introduction of the David vases and their inscriptions

The pair of David vases is among the most widely published example of Chinese

porcelain, and also arguably the most famous Chinese ceramic objects in the

world. Named after their famous owner Sir Percival David (1892-1964), and now

displayed at the entrance of the Sir Joseph Hotung Centre for Ceramic Studies at

the British Museum that display the David collection in its entirety, both vases

carry lengthy and near identical dedicatory inscriptions which date the pair to

1351 CE, the late Yuan dynasty.