…………宋颖（118）二人台“五更”定格考……………………………………………武君（125）论内蒙古乌兰牧骑对非物质文化遗产的传承…………郝凤彩娜达罕（132）
.补白……………………………………………………(9)(15)(33)(64)(108)(136)
WithintheMeaningofBuddhistArt………………………………………………Naranbilig（5）
TheAnthropologyofAestheticsasanInterculturalandInterdisciplinaryQuest
…………………………………WrittenbyWilfriedvanDamme，TranslatedbyLiXiu-jian（10）"NewAesthetics"and"NewAestheticsinChina"……………………HUANGYing-quan（16）TheAnalysisofChineseArtAnthropologyDiscipline’sBackgroundandDevelopment
………………………………………………………………………………………ANLi-zhe（22）
DramaPerformancesAndVillagesOrder:ChentangSherpa’s“Mani”PerformanceAndItsSignificance……………………………………………………………SangJiDongZhi（28）
ToUnderstandSymbolFeatureoftheKamGrandChoirsbytheViewof“StatePresence”……………………………………………………XIAOJin-xiang，BaoLong-yuan（34）AestheticPerspectiveoftheFormingReasonofFolkCustoms
  ——TakeGuYiNuoOperaofHeBeiasanexample……………………………QinPei（39）
TheFieldworkofMorinkhuur’sCraftsmanship
  ——TakeBuHe’sCraftsmanshipforExample……………………………………………
……………………………………………………LIXu-dong，WURi-ga，HUANGJun-jin（44）
TheSurvivalInvestigationofZhuchengMaoQianginShandongProvince
………………………………………………………………………………WangZeng-xin（53）
TheoryStudyonTibetanBuddhistChantingMusicRese