第一章考察中山王陵出土的“兆域图版”之“名实”，这套中山王陵园的“设计方案”既反映了白狄族丧葬习俗的传承，也显现出中原华夏族群礼仪制度的深刻影响。

第二章考察莫高窟壁画中的艺术形象“共命鸟”之“来源”，在古印度佛教中原本不同的两个概念（南亚地区真实存在的鸟类、寓言故事中的双头鸟）随佛教传入东土之后被东土之人混为一体，并赋予了新的形象（人首鸟身的双头鸟）。

第三章考察忽必烈的酒器“渎山大玉海”之“流传”，作为蒙古传统酒器的“大玉海”，却是用汉地的玉料（南阳独山玉）和工艺制成，又被安置在统御汉地的元大都之中。

第四章考察《红楼梦》中的文学形象“金西洋自行船”之“原型”，“自行船”的创意与技术源自欧洲，但是传入中国之后，被清宫工匠进行了“中国化”的改造。

通过这四件文化交融的“个案”，探讨考察文化交融时应有的基本方法与基本维度。

The first chapter examines the name and reality of the Zhaoyutuban plates excavated from the tomb of King Zhongshan. This design of the mausoleum of the King of Zhongshan reflects both the inheritance of the funeral customs of the Bai Di ethnic group and the profound influence of the ceremonial system of the Central Chinese ethnic group.

The second chapter examines the origin of the artistic image Gongmingniao in the Mogao Cave murals. In ancient Indian Buddhism, two different concepts (the real birds in South Asia and the two-headed bird in the fables) were blended and given a new image (the two-headed bird with a human head and a bird's body) by the people of the East after Buddhism was introduced to the East.

The third chapter examines the circulation of Kublai's drinking vessel, the Dushandayuhai. It is a traditional Mongolian wine vessel, but it was made of Han Chinese jade (Nanyang Dushan jade) and craftsmanship, and it was placed in the Han Chinese capital, Yuandu.

The fourth chapter examines the prototype of the literary image Jinxiyangzixingchuan in Dream of the Red Chamber. Its idea and technology originated in Europe, but after it was imported to China, it was Chineseized by Qing Palace craftsmen.

Through these four cases of cultural intermingling, we will discuss the basic methods and dimensions of cultural intermingling.