On The Yuan-Dynasty Qin-Zither G( ǔ Qín) and The Concept of Yuán‘ Qín’ Might Be Wrong in The Period Research of Classical Chinese Qin-Zither of Ages Wang Feng The article Chinese appears Abstract: Following Mr. Zheng Minzhong’s research on the Tang-Song Chinese Qin-zither, a seven- from page 006 to 030. stringed plucked instrument called ‘Gǔ Qín ’ in Chinese pinyin (Gǔ means ancient time while Qín means musical stringed instrument in here, therefore, ‘Gu Qin’ refers to a kind of Chinese classical stringed musical instrument), this thesis explores ‘Gǔ Qín’ of the Yuan dynasty (‘Yuan Qin’ for short), for there is not yet a fully convincing statement to define ‘Yuan Qin’ owing to the lack of a general description of its unique craftsmanship. The analysis based on historical documents and extant objects and the cases study of Yan Guqing who was a stringed instrument maker of the Song-Yuan dynasties and Zhu Zhiyuan who was known as the stringed instrument maker of the Yuan-Ming dynasties and the creator of ‘Ming Qin’ style ——the Chinese Qin-zither of the Ming dynasty arrives at the conclusion that the Gǔ Qín of the late Yuan to early Ming dynasties share the features the same as the Gǔ Qín of the late Southern-Song to early Yuan periods. Simply speaking, the so called ‘Yuan Qin’ is made of ‘Song-Yuan 158 Palace Museum Journal No.2,2018 vol.196 Qin’ and ‘Yuan-Ming Qin’ by style and feature except the Qin-zither bearing the certain reign title. There is no typical ‘Yuan Qin’, let alone the concept of ‘Yuan Qin’ that is wrongly used to divide the history periods of classical Chinese stringed instruments (Gǔ Qín) of separate ages. Keywords: classical Chinese Qin-zither (Gǔ Qín); Yan Guqing; Shi Muzhou; Zhu Zhiyuan; a musical stringed instrument of the Yuan dynasty (‘Yuan Qin’ for short) On Classical Chinese Qin-Zither (Gǔ Qín) of Emperor Qianlong’s Court Wang Yuegong Abstract: The thesis reviews historical documents and objects for the knowledge of the procedure The article Chinese appears of sorting, identifying, classifying, recording and display, production and uses of classical Chinese from page 031 to 056. Qin-zither which is a seven-stringed plucked instrument called ‘Gǔ Qín’ in Chinese pinyin (‘Gǔ’ means ancient time while ‘Qín’ means musical instrument in here, therefore, the term of ‘Gǔ Qín’ refers to a kind of Chinese classical musical stringed instrument) under Emperor Qianlong’s (乾隆) regime, examines thoroughly and finds the Music Tablature Booklet Titled with Emperor Qianlong’s Handwriting (Qianlong Yuti Qinpu Ce) to be actually the record of the collected Qin-zithers of Qianlong’s ( 乾隆 ) court. Court zither player Tang Kan proves to be Tang Kai who is also a zither maker. The links between classical Qin-zither with Emperor Qianlong ( 乾隆) and his court is worth a concern in the study of imperial court history of the Qing dynasty. Keywords: Qianlong ( 乾隆 ); imperial court; classical Chinese Qin-Zither (Gǔ Qín) Three Issues Concerning The Circulation History of‘Dwelling in The Fu Chun Mountains’ (Fù Chūn Shān Jū Tú) Liu Peng Abstract: Three misunderstandings are pointed out and analyzed in this thesis concerning the The article Chinese appears circulation history of ‘Dwelling in The Fu Chun Mountains’ (Fù Chūn Shān Jū Tú) by Painter Huang from page 057 to 062. Gongwang of the Yuan dynasty. Firstly, it is known that in the early Qing dynasty this painting was in the collection of Wu Hongyu of Yixing till he set a fire on it in his last days of life, but the painting fortunately avoided being ruined completely thanks for his two nephews’ immediate reaction to save it from the fire. However, it has been wrongly thought that only one of his nephews was involved in the salvage. Secondly, the painting was ruined into two parts in the fire, one of which named ‘Remaining Mountains’ (Shèng Shān Tú) was in the hand of Wu Qizhen, the other major part was first collected by Zhang Bojun of Danyang, then was bought by Ji Yuyong who passed it to his son Ji Bashi after his death. The seals of both Ji Yuyong and Ji Baishi left in this part of the painting confuse the later scholars to believe they are the same person. Thirdly, Wu Qizhen is usually mistaken for Wu Yu. Keywords: Wu Qizhen; Wu Hongyu; Ji Bashi; Wu Yu English abstract of the articles 159 On The Paintings of Old Juniper Trees at Yu Mountain by Shen Zhou and Wen Zhengming Qin Xiaolei The article Chinese appears Abstract: The analysis starts from the historical records and handed-down works to probe into the from page 063 to 079. authenticity of the paintings of ‘Juniper Trees at Yu Mount’ (Yúshān Gǔhuì) attributed to Shen Zhou and Wen Zhengming respectively and the inherent relationship between them. And the paintings are studied thematically under the motif of ancient trees and discussed about their impacts upon the local landscape. Keywords: Shen Zhou; ‘Three Juniper Trees’ (Sān Huì Tú); Wen Zhengming; ‘The Seven Junipers’ (Yúshān Qīxīng Huì Tú); old trees painting; local landscape 160 Palace Museum Journal No.2,2018 vol.196 On Outianlaoyu’s Epilogue in Dong Qichang’s Calligraphy of ‘Lanting Poetry after Liu Gongquan’s Style’ (Lín Liǔ Gōngquán Shū Lántíng Shī) Yu Guojiang Abstract: As for the identity of Outianlaoyu ( 鸥天老渔 which reads Ōu Tiān Lǎo Yú in Chinese pinyin, The article Chinese appears literally means ‘Gull Sky Elder Fisherman’ in English) whose epilogue is left in Dong Qichang’s from page 080 to 083. calligraphy of ‘Lanting Poem after Liu Gongquan’s Style’ (Lín Liǔ Gōngquán Shū Lántíng Shī), it is studied in the thesis that Outianlaoyu ( 鸥天老渔) is the assumed name of Song Xian who was originally from Liyang of the late Ming Dynasty, styled himself Xianru and Ruyuan. In his residence there is a garden named Outian Bieguan ( 鸥天别馆 which read Ōu Tiān Bié Guǎn in Chinese pinyin, literally means ‘Gull Sky Alternative Mansion’ in English) , all of which above correspond with the content of the postscript and the style of the seals on it. The name of Sheng’er ( 绳儿) in the postscript stands for Song Zhisheng, the son of Song Xian. Keywords: Qichang’s Calligraphy of ‘Lanting Poem after Liu Gongquan’s Style’ (Lín Liǔ Gōngquán Shū Lántíng Shī); Outianlaoyu ( 鸥天老渔 ); Song Xian; Song Zhisheng On The Silk Embroidered Screen of Plants‘ and Insects’ (Cǎo Chóng Tú) and Its Handcrafts in The Collection of Dong-A University [The Republic of Korea] Sim,Yeon-OK Abstract: The richly embroidered screen of ‘Plants and Insects’ (Cǎo Chóng Tú) with the register The article Chinese appears number 595 in the collection of the Museum of Dong-A University in South Korea is highly valued with from page 084 to 100. its exquisite handcrafts and realistic artistic expression of multi-color three-dimensional composition. The analysis of its base fabric, colored silk and techniques, etc. aims for the pattern materials and fabric process characteristics as well as the significance of silk screen in the history of fiber handcraft. The silk screen presenting as much as possible the features of grass-and-insect painting of Artist Shin Saimdang with the mastery craftsmanship and colors is ranked highly in Korean history of embroidery technology. Keywords: the silk embroidered screen of ‘Plants and Insects’ (Cǎo Chóng Tú); theme pattern; colored silk for embroidery; embroidering handcrafts The Study of Zhu Yuanzhang’s Image in The Ci-Records of Long Xing (Lóng Xīng Cí Jì) by Wang Wenlu of The Ming Emperor Jiajing’s Period Wang Xi Abstract: Neither official nor unofficial history books provide an accurate portrayal of the image and The article Chinese appears personality of Zhu Yuanzhang who is the founding Emperor of the Ming Dynasty, so the analysis based from page 101 to 109. on the combination of The Ci-Records of Long Xing (Lóng Xīng Cí Jì) written by Wang Wenlu and the folk myths and legends popular among the people ever since the early Ming dynasty outlines and shapes the portrait and political image of Zhu Yuanzhang in the thesis. Keywords: Zhu Yuanzhang; image feature; The Ci-Records about Long Xing (Lóng Xīng Cí Jì) by Wang Wenlu; myths and legends; research English abstract of the articles 161 Spread and Changes of The New-Styled Mañjuśrī Image in Emperor Qianlong’s Period Chen Jie Zhang Xin The article Chinese appears Abstract: The analysis focusing on the spread and changes of the new-styled Mañjuśrī image in the from page 110 to 125. process of the court Buddhist statues during Emperor Qianlong’s ( 乾隆 ) period of the Qing Dynasty starts with the Mañjuśrī statue of Shuxiang Temple in Mount Wutai by reviewing the production of series of Mañjuśrī images in Ding Guanpeng’s paintings, Baoxiang Temple in Xiangshan Hill, Zhengjue Temple in Yuanmingyuan imperial garden and Shuxiang Temple in Chengde, discussing the interpretation of the gestures of Mañjuśrī images, the blend of the Han and the Tibetan rituals, the reshaped and mixed statue details as well as the impacts that religious culture had upon the imperial belief and aesthetic idea and the changes of art style that followed. Keywords: new-styled Mañjuśrī image; Emperor Qianlong; Mount Wutai; Ding Guanpeng; Tibetan Buddhism 162 Palace Museum Journal No.2,2018 vol.196 Thoughts about The Future of The Digitalized Palace Museum Feng Naien Abstract: The museum definition and role evolving with technology progress demands the The article Chinese appears digital Palace Museum to be updated in the bran-new form bearing richer connotation and more from page 126 to 134.