The author found fragments of Chinese texts in Uighur script at the St. Petersburg Branch for Oriental Studies of Russian Academy of Sciences and identified their corresponding Chinese originals. The phonological system of the Chinese written in Uighur is basically the same as that of the northwestern dialects of Tang and Five Dynasties. Although the fragments were composed later during the period of Yuan Dynasty, its phonological system is undoubtedly quite different from that of colloquial Chinese used in Yuan Dynasty. As a result of detailed examination of the texts, it has become clear that the phonological system behind the texts is well reflected by the Uighur inherited reading of Chinese characters similar to the Japanese Ondoku system, i.e., Chinese reading of Chinese characters.
On the other hand, it is occasionally observed that Chinese characters are sporadically inserted between Uighur lines in the above texts. These inserted Chinese characters must have been read in Uighur. These Chinese characters appear not only as words, but also as phrases and sentences. An interesting fact is that in some bilingual texts such as ″Thousand Character Essay″the Uighur inherited, reading of Chinese is followed by its corresponding Uighur translation. Furthermore, in other texts represented by ″Abhidharmakosabhasya-tika Tattvartha″, it is recorded how Uighur speakers read Chinese texts in Uighur pronunciation, translating the contents into the Uighur language. Taking these facts into consideration, a conclusion is inevitable that Uighurs had their own way of reading Chinese texts which is typologically comparable to the Japanese Kundoku system, i.e., Japanese reading of Chinese characters.
Japanese is known as a language in which Ondoku and Kundoku are well developed. It is extremely difficult to understand the contents of Chinese texts merely by listening to Ondoku reading, where a large number of homonyms are created by the loss of many phonological distinctions. Japanese Buddhist monks recite Chinese Buddhist texts following the Ondoku system, but at the same time they understand the contents by Kundoku reading utilizing ideographic nature of Chinese characters. The author would like to argue that Uighur monks of the Yuan dynasty period employed the same kind of method when reciting Chinese texts.

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著者らは, 既存の語-日本語辞書を基にして, 見出し語数約2万の日本語-語辞書を半自動的に作成した. この辞書が日常よく使われる語彙をどの程度含んでいるかなどの特性を調べるために, 国立国語研究所の教育基本語彙6, 104語のうちのより基本的とされている2, 071語, およびEDR日本語テキストコーパスの出現頻度上位2, 056語に対し, 日本語-語辞書の収録率を調査し, いずれについても約80%の収録率であることが分かった. 未収録語について, 逐一その理由を調べ, 判明した種々の理由を整理すると共に, それに基づいて未収録語を分類した. その結果, 辞書作成をする時に収録率を上げるために注意すべき点などについていくつかの知見を得ることができた. 本論文では, それらについて述べる.

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　ASTERとLandsatによる計40シーンの衛星画像データを用い，塩類集積土壌域の空間分布とその時間変化を詳細に抽出できる手法について検討し，これをタリム盆地北部のオアシス周辺に適用した．まず，衛星画像データの反射スペクトル情報から，植生の活性度，表土の性質，および土壌の含水の程度に対する正規化指標SAVI，NDSI，NDWIを計算し，これらの大小関係を同時に表せるNDXI画像を提案した．2004年のASTERデ－タからNDXI画像を作成した結果，雨期では塩類集積土壌が雨水と混合するので塩類集積土壌の分布域は特定できないが，乾期（夏季）になれば植生の分布域・活性度の時間的変化は小さくなり，塩類集積土壌の分布が顕著になることがわかった．このNDXI画像によれば土壌水分量の大小によって塩類集積のメカニズムが異なることが示された．次に，LandsatとASTERのNDXI画像を最尤法によって分類した結果，固定砂丘の変化が最も大きく，面積が半減し，この多くが農地を含む植生域と塩類集積土壌の面積の単調増加に寄与していることがわかった．さらに，土壌サンプルに対して測定された反射スペクトルと塩分濃度から，反射率と塩分濃度との相関性に対する1次回帰式を求め，これを塩分指標（SI）と定義した．衛星画像にSIを適用した結果，2003年になると塩分濃度が全体的に増加し，塩類集積土壌の大部分は30 ppt以上の高濃度であり，流動砂域も塩分濃度が高い状態にあることが明らかになった．

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A. Six years ago, thanks to an antiquarian I could see and get photos of faithful copies of wall paintings which had belonged to cave temple no. 9 at Bezeklik (Albert Grünwedel’s numbering)．All of them are said to be from Kaesong in North Korea．These are 10 praṇidhi paintings, a picture of Goddess Ḍākiṇī (Chi. Tuzhini 荼枳尼), portraits of three abbots (都統, Tutung) with Chinese names, three venerable teacher monks with Sanskrit names, three Uigur noblemen, and two Uigur noble women, together with another 19 Korean Buddhist wall paintings.

B. Among the 10 praṇidhi paintings, six correspond to ①，②，④，⑥，⑪，⑭ of the praṇidhi paintings published by A. von Le Coq, Chotscho (Berlin: Dietrich Reimer, 1913). But four of the praṇidhi paintings are reversed just as a reflected image in a mirror, with the exception of the inscriptions. These are shown here as －①,－②,－③, and－⑪ which correspond to ①, ②, ③, and ⑪ of the original praṇidhi paintings published by A. von Le Coq.

C. The copies of the wall paintings of cave temple no. 9 at Bezeklik would have been introduced to Koryŏ in the late 13th or in the 14th century when Koryŏ became a vassal state of the Yuan dynasty.

D. The origin of Tutung and abbot’s change of social roles through successive centuries.

E. Worship of Avalokiteśvara.

F. Meditative practices and the Guan Wuliangshou jing 観無量寿経.

G. The Poetical translation into Uigur of the Guan Wuliangshou jing by Kki Kki (Chi. Naonao 巙巙, 1295–1345) circulated in the Yuan dynasty, when Uigur Buddhism was in its glory, until it was expelled by Islamic forces in the next century.

H. A very simple prototype of the so-called praṇidhi paintings can be traced to the wall paintings of the Buddhist grottoes near Kucha, i.e., Kizil, Kumutra, etc., but the latter paintings were so artificially and naturally damaged that we can hardly understand their narrative meaning exactly.

I. Reconsidering the Buddhism of the Northern route of Chinese Turkistan, in areas such as Kucha and Turfan, we can know that the Sarvāstivādin or Mūlasarvāstivādin School flourished there and Mahāyāna Buddhism was believed in as is shown in historical records and excavations.

J. The 13 praṇidhi paintings and other paintings which had originally been in cave temple no. 9 at Bezeklik, and are now only available in photos in A. von Le Coq’s edition, are a nearly perfect copy, and so should be considered as newly found scale copies of these lost wall paintings.

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 This research mainly purpose on Uyghur’s who are traditionally regarded as having the same floor-seating style while they have different cultural backgrounds and considered seating style through elucidation of changes in Uyghur's way of living in Japan and the environment transition.

 This paper focused on the taking off outdoor footwear and defines the culture of taking off outdoor footwear at the entrance in Japan as " Dwelling culture of taking off outdoor footwear."

 The specific contents of the study are (1) To understand the seating style in Uyghur and Japan, (2) To understand the characteristics of change through comparison between the two country, (3) Based on the relationship between the taking off outdoor footwear and go to the floor and floor finish and seating style, we examine the characteristics of the seating style of them, considered about dwelling culture of taking off outdoor footwear.

 The total 15 Uyghur families were surveyed. They are living in Japan for their assistance in interviews. In order to capture the subject's living style in Japan and Uyghur, we surveyed the questions prepared in advance by visiting the subject's home and interviewing them. The interview contents are the family constitution, dwelling style and seating style of interviewee, they live in Japan, and they live in Uyghurs before came to Japan. The survey period is 4 months from May 2018 to August 2018.

 This study considers the way of seating style for Uyghur’s living in Japan with the same custom of “take off outdoor footwear and go to the floor” and floor-seating, through capturing the change of seating style with environmental transition.

 1. Even the Uyghur’s are also in the process of being chair-seating, and the tendency is strong in the place of eating, while the floor-seating is easily inherited unusual place of the hospitality, and can be pointed out as a common point with Japan.

 2. As Uyghur’s ethnic identity, it can be pointed out that floor-seating preference for a place of relaxation and the point of making it a high-floor, and it is considered to be an inheritance of traditional dwelling style. However, this point does not become apparent in Environmental transition to Japan, and it is conscious as a response action to the physical environmental, such as reduction of room size and number of rooms.

 3. With the Environmental transition, 1/3 choose a different seating style from Uyghur, and it can be said that all cases use chair-seat and floor-seat together shows the floor-seat and the chair-seat are easy to keep compatibility depending on environment and it can be considered that the taking off outdoor footwear and go to the floor is the upper concept of floor-seating style.

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　中国では、国家統合を念頭においた漢語普及と少数民族言語・文化の尊重とを両立させる政策として双語教育が提唱され、初等教育段階から徹底した普及がすすめられている。本発表では、新疆自治区の区都ウルムチ市を中心に、中国における漢語と民族語の双語教育（ここでは漢語と語）の概況とその受容過程を、幼稚園や小学校における子どもの言語使用の実態に即して報告する。

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2001年度、中国·新疆族の日常生活の調査の中から、民族的伝統的な衣生活に着目し、その支えとなっている背景を考察した。カシュガル市は中国の西端に位置し、タクラマカン砂漠が隣接する乾燥地帯である。宗教はほとんどがイスラム教である。女子の仕事は主に家事、育児、農業(果物·綿·稲等の栽培)で、一部の人は絨毯織に携わっている。女子の衣料で伝統的なものの第一はアトレスシルク(絹絣)で、日常にもよく用いられている。また被りもの(スカーフ)やマスクも用いられ、宗教性が強い。族の女子は化粧や装飾品にも伝統のものをよく伝え、老若共に華美で、イスラムの宗教と砂漠の風土性が強く表現されている。

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