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Academic discussion of traditional zinc-smelting technology in China has been hampered by a paucity of physical data recovered from early production sites. In recent years, however, the discovery of former zinc-smelting sites in the municipality of Chongqing in south-western China has provided important evidence from archaeological excavations that contribute to the study of this topic. Taking the smelting furnace found at the Linjiangerdui site in Zhong County as an example, this paper introduces and discusses the form, use and maintenance of the zinc-smelting furnace of the Ming Dynasty (AD 1368–1644), and makes a preliminary comparison with the smelting furnaces dating to the Qing Dynasty (AD 1636–1912) unearthed in Shizhu County and the mountainous Hunan Province in an attempt to elucidate the development and evolution of ancient Chinese zinc-smelting technology. [ABSTRACT FROM AUTHOR]

This study is “Sichuan Qingyin Performance in China; The Transmission Process, Obstruction and Way to Resolve”. The study employed the qualitative research methodology of ethnomusicology. The objectives were to 1) Investigate the development of Sichuan Qingyin performance in China. 2) Examine the transmission process of Sichuan Qingyin performance in Sichuan and Chongqing, China. Based on the study findings, 1) Sichuan Qingyin is closely related to ancient Chinese Quyi art. The sources of Sichuan Qingyin are complex. Sichuan Qingyin was formed roughly during the early Qing Dynasty. From the late Qing Dynasty to the early years of the Republic of China, Sichuan Qingyin flourished. During this period, the performances of Sichuan Qingyin were very popular in the streets of Sichuan and Chongqing. Sichuan Qingyin has developed significantly since the People's Republic of China was founded. Due to changes in the times, Sichuan Qingyin is being squeezed by other art forms, so the present state of affairs is not optimistic. 2) Today, the transmission process consists mainly of school education and professional performance groups. There are many obstacles to contemporary Sichuan Qingyin, such as a lack of performance venues, a loss of audiences, and an absence of newly composed works; this study outlines corresponding measures and recommendations. [ABSTRACT FROM AUTHOR]