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ZhouCecong,"Yidui zui gu de yaojiu hu zhi faxian," 423-25. ) he readsi~. "He Xuejin("GuanyuMancheng Hanmu tonghu,"358)andthe editorsof the official1980 excavationreport(Mancheng Han mufajuebaogao,43) readthe character as f-i too, althoughHe notesthatthe radical is clearlydifferentfromthe unmistakable ren \ radicalseena fewcharacters laterin the wordjia f?. " Accordingto his interpretation the line wouldmean"finehu to be honoredin ceremony,"clearlyimplyingthatthis is a vessel designedto be usedin somekindof ritual context.

345-406), Admonitionsof the Instructressto PalaceLadies,handscroll, ink and color on silk. Copyright of The Trustees of The British Museum. 4 Left: screened bed illustrated in fig. 3. Right: a Northern Wei funerary couch from Luoyang, early sixth century. After Wu Hung, The Double Screen: Medium and Representation in Chinese Painting (London: Reaktion Books, 1996), figs. 55, 56. - ;>

5 Bythe earlyeighthcentury,women in garden settingsbeganto appearon the screensrendered in tombs,as discoveredon the backwallof a grave nearXi'an(fig. The famousscreenpanels,now in the Shoso-inin Nara,Japan,of women seatedbeneath treesreflectthis new trend,as do the women,entertainers,and diversionsdepictedon actualscreensdiscoveredin fragmentaryconditionin tombs at Astana. Amongthesearetwo fragmentsrepresentingdancers and musicians found in tomb 72TAM230,dating to 2 Reconstruction of fig. 1. After Wu Hung, The Double Screen: Medium and Representation in Chinese Painting (London: Reaktion Books, 1996), fig.

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