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Human-headed birds, a recurrent yet understudied motif on Han dynasty pictorial stones, are examined in this study with a focus on their mythical representations. Placed within visualisation of the world of the Queen Mother of the West, a belief popular in the Han Dynasty, these figures are argued to depict the Blue Birds (Qingniao) of Han mythology. Moreover, a distinct variation in the Shandong region shows a human-headed bird offering Jiahe, an auspicious plant, symbolising immortality and well-being in tomb art. Through a chaîne opératoire analysis, the paper traces their creation as a composite form, integrating familiar Han bird imagery—particularly owls—with Greco-Roman Siren elements transmitted along the Silk Road. The regional clustering of such depictions in zones of early cross-cultural contact underscores the role of external influences in shaping Han visual traditions. This study highlights how mythological beings were adapted amid shifting religious ideas and transregional interactions in early imperial China.

In 2021, two small gilt bronze Buddha statuettes were unearthed from a tomb from the Eastern Han Dynasty in Chengren Village, Xianyang City, Shanxi Province. The excavation team believe that these statuettes are from the late Eastern Han Dynasty and represent the earliest independent gilt bronze Buddha statuettes ever discovered in China through archaeological excavations, a belief that has attracted widespread interest and debate among scholars worldwide. However, because the tomb had been looted in the past, the publication of these findings immediately sparked considerable debate, particularly over the dating of the statuettes. The main controversy revolves around two dating proposals: the “Late Eastern Han Dynasty” and the “Period of the Sixteen Kingdoms”. This paper proposes a third viewpoint by examining previously overlooked aspects and materials regarding the statuettes and by placing them within the context of the Guanlong region’s tradition of small gilt bronze Buddha statuettes. We contend that the two statuettes were not created at the same time: we believe that the standing Buddha statuette dates from the end of the “Period of the Sixteen Kingdoms”, whereas the flat five-Buddha statuette was likely crafted between the Yanxing 延興 era and the early Taihe 太和 era of Emperor Xiaowen 孝文帝 of the Northern Wei Dynasty. The styles, combinations of forms, and themes in these statuettes are not distinctive and are, in fact, typical of small gilt bronze Buddha statuettes from the late “Period of the Sixteen Kingdoms” to the mid-Northern Wei Dynasty in the Guanlong region.

The spread of Taoism to the Western Regions marked the movement of Central Plains culture to the frontier, demonstrating its influence on local society. During the Han Dynasty, Central Plains culture had reached the Western Regions. With the deification of Laozi and his becoming the founder of Taoism, the story “Laozi converting the barbarians” (Laozi huahu 老子化胡), which claimed that Laozi journeyed to the west and taught the Hu people, provided the impetus for the spread of Taoism to the Western Regions. The Tang imperial family venerated Laozi and regarded Taoism as the state religion. Laozi belief, including the veneration of the man himself, his writings, his stories, and the precepts claimed to be related to him, was also used to assist in the Tang Dynasty’s governance of the Western Regions. Following the Tang Dynasty’s decline, the Central Plains’ influence receded from the Western Regions. However, due to the relaxed religious environment in the Western Regions, Taoism, which was representative of Central Plains culture, still survived there. Moreover, Taoism attempted to incorporate Islam in the Western Regions into its divine system by huahu, which might be related to the early history of exchange between the two religions.

The period between the Han and Tang dynasties was a crucial time in the development of the Daoist cosmic concept. During that time, Daoist believers needed to place important deities properly in the newly created heavenly realm. Faced with placing the great deity Lord Lao in a specific place, different Daoist believers made various attempts with some complex adjustments, which eventually reached the consensus during the Tang Dynasty at the latest that “Lord Lao lives in Great Clarity Heaven”. The investigation of this adjustment process would present multiple possibilities in the development of the Daoist cosmic concept.

The Kitchen God has always been regarded as the protector of Chinese families and one of the most common and far-reaching gods in Chinese folk beliefs. The emergence and development of the Kitchen God are inseparable from the material carrier of the stove. The Han Dynasty was a critical period for the development and integration of stoves and the Kitchen God belief. Based on archaeological discoveries of cultural relics, characters and images, as well as relevant historical documents and records, this paper focuses on the interactive and symbiotic relationship between the spiritual belief in the Kitchen God and the material culture of kitchen stoves and its influence during the Han Dynasty. The Han Dynasty combined stoves with high cooking benches, large stove chambers, multiple burners, and functional designs that incorporated images of the Kitchen God, making them both practical and spiritual. The Kitchen God’s identity and functions were transformed from ancestor to household god, from giving food to monitoring merits and demerits, along with the renewal of stoves. These developments laid the foundation for the Chinese people’s earnest hope for a prosperous life and a peaceful and harmonious family.

It has been confirmed that Bai Hu Tong Yi, a typical example of Etiquette Setting in Han dynasty, was revalued and restudied in the Qianlong and Jiaqing era of the Qing dynasty. In fact, the learning of this the book, based on the archaeologists' discontented feeling of imperial competitive examination, was popular along with the rise of Han learning in the Kangxi and Yongzheng era. This paper discusses the etiquette propensity of Qing textology. It is based on eight masterpieces of Confucian scholars who illustrated the studies of classical interpretation by returning to Confucian classic contexts. This kind of characteristic reflected effective utilization of traditional Confucian scriptures such as Bai Hu Tong Yi. Exploring the original meaning of the etiquette setting means the accordance to different research methods, the decomposition of negative image of Qing Textology, the recovery of classic scriptures and the upgrading of scholar's vision. Above all, inquiring the profound implication of etiquette setting interpretations will not only investigate in the pros and cons of ancient Confucian ritual, but also will explore the formation and the proper meaning of China etiquette civilization. Key words; Bai Hu Tong Yi; Qing Dynasty; classical interpretation; etiquette setting research

Qixiang is a unique sacrificial culture created by the Han army eight banners in northeast China. This culture not only has elements such as shamanism and Han people burning incense, but also has military sacrificial elements. This paper argues that Qixiang is the evolution and legacy of Maji, a military sacrificial ritual in ancient China. The Han military banner people in the Qing Dynasty took Maji as the main body, combined the Manchu Shamanism with the Han incense burning, and created a cultural symbol representing their own ethnic group. At present, the study of Qixiang not only helps to understand the complexity of the development and evolution of Manchu shamanism, but also helps to reveal the ethnic identity of Han bannermen under the Eight Banners system of the Qing Dynasty.

Archaeological research on food-production systems has focused heavily on the origins of agriculture and animal domestication; the agricultural practices of early states are comparatively less well understood. This article explores archaeological evidence for crop cultivation, field-management practices and the use of farming implements at the Western Han (202 BC–AD 8) village of Sanyangzhuang in Henan Province, China. The authors analyse the implications of these practices for the newly developed smallholder mode of production. By combining diverse strands of evidence, this investigation provides new insights into the status of agricultural production in the Central Plains during the Western Han Dynasty.

Excavation of the Han Dynasty chambered tomb at Laoguanshan in Chengdu, south-west China, has provided the earliest known evidence of pattern loom technology. Four model looms, along with accompanying artefacts and figurines relating to the weaving process, give insight into the technique of jin silk production. The discovery is hugely significant as it provides the first direct evidence of pattern-weave textile production in ancient China. Jin silk, made using this method, was both valuable and widely distributed, and the design of the machine influenced the invention of later looms and the spread of technology throughout Eurasia and Europe, representing great technological accomplishment for the second century BC.

We synthesize recent archaeological discoveries on the spread of Han wheat farming, including archaeobotanical evidence, artefacts related to wheat farming and wheat flour processing, and discovered texts such as wooden slips. We cross-examine the archaeological data with transmitted historical records within the wider social and cultural contexts of the Yellow River valley and adjacent regions. We conclude that the spread of wheat farming in the Middle Yellow River region was slower than that of the Lower Yellow River region due to environmental and social reasons. After Emperor Wu’s era, wheat farming began to take off in both regions, which was characterized by its expanding geographic distributions, its increasing importance in the imperial agricultural economies and its growing recognition by the society. The beneficial factors, including favorable climate-environmental conditions, accumulating agronomic knowledge, technological innovations and other factors, and changing dietary traditions played diverse roles in the regional development of wheat farming in these regions.