Sanxingdui: Untold Myth of an Ancient Civilisation

Immerse yourself in the enigmatic world of Sanxingdui at the Hong Kong Palace Museum, where millennia-old bronze masks, intricate sculptures, and rich cultural relics will reshape your understanding of an ancient civilisation.

Sense of Wander: ★★★★★

Veiled in mystery, the domed-crown head statue is adorned with a wide band tied at the back, as if the figure is donning a mask, intensifying the enigma surrounding its identity. Image courtesy of Hong Kong Palace Museum.

HONG KONG — For centuries, the Central Plains in the middle reaches of the Yellow River was deemed the cradle of Chinese civilisation, encapsulated in the notion “the Chinese in the inner area, the barbarians in the outer regions.” However, this belief underwent a seismic shift with the archaeological discoveries at Sanxingdui in Sichuan, southwestern China, challenging the established narrative.

Though first discovered in 1929, it was only in the latter half of the 20th century that the findings at the Sanxingdui site gained global attention. The term Sanxingdui, often translated as “Three-Star Piles” or “Three-Star Mound”, refers to the three large earth mounds covering the relics of this mysterious ancient civilisation. To the surprise of many, the excavation brings to light the Shu kingdom — a once obscure ancient realm only known through ancient texts until the discovery of Sanxingdui.

Clearly, artefacts from Sanxingdui display styles distinct from those found in other parts of ancient China, offering invaluable insights into the formation and development of the broader Chinese civilisation. Another noteworthy site, Jinsha, located just 50 kilometres from Sanxingdui, was discovered in 2001, providing additional perspectives on the evolution of the Sanxingdui culture.

More than two decades have passed since the last exhibition on Sanxingdui was held in Hong Kong. The Hong Kong Palace Museum’s latest exhibition, Gazing at Sanxingdui: New Archaeological Discoveries in Sichuan, beckons visitors to delve into the advanced civilisation of ancient Shu, as evident from the groundbreaking findings from Sanxingdui.

The exhibition presents 120 artefacts, including bronze, jade, gold, and pottery, dating back as far as 4,000 years. Nearly half of these exhibits were recently unearthed in excavations conducted between 2020 and 2022, many making their debut outside of Sichuan province.

Upon entering the first room of the exhibition, Gazing at Sanxingdui: New Archaeological Discoveries, viewers are immediately transported into the realm of this enigmatic kingdom of Shu. Image courtesy of Hong Kong Palace Museum.

The Enigmatic Identities of Sanxingdui Bronze Figures

The moment you step into Gazing at Sanxingdui, you instantly feel transported into a liminal realm that lies somewhere between the terrestrial and the extraterrestrial.

Upon entering, you are greeted by a group of bronze head statues, each appearing to be suspended in their display cases, as if a magician was at work. Despite their unique characteristics, these statues — crafted with pronounced symmetry — share common features. They emanate an air of solemnity while carrying a sense of foreignness. The question arises: Who could these people possibly be?

An ancient text, The Records of the States South of Mount Hua, published during the Jin dynasty (266–420), describes a ruler of Shu named Cancong, whose eyes protruded, declaring himself the first king. While it's plausible that only individuals of high status or divine significance would be cast in a precious material such as bronze, one can't help but wonder: why do they look so different from the rest of the Han ancestors in ancient China? Where did they come from?

Among these masks, one stands out with remnants of gold leaves clinging to its bronze surface. Approximately the size of a human head, the mask is characterised by a flat top, a rectangular face, slanted eyebrows, almond-shaped eyes, a prominent nose, and a wide mouth; his hair is styled in braids at the back.

Although it may not strike us as strange now, we must remember that the bronze mask, before oxidising, would have originally gleamed like gold. This prompts the millennia-old question: What was the purpose or intention behind applying a layer of gold leaf onto a surface that already possessed a similar colour and luster? This query has perplexed scholars and archaeologists for decades, particularly when observing intricate gold inlays on bronze artefacts.

As you venture further, a commanding bronze figure, towering at a height of 1.72 metres and perched atop a 0.9-metre pedestal, captures the viewers’ attention. Considered the largest bronze human sculpture from Bronze Age China, this imposing figure shares facial characteristics with the bronze head statues. However, its peculiar proportions become evident as the slender body contrasts starkly with its oversized hands, possibly once grasping something like a curved sword or an elephant tusk, as some scholars suggested.

Measuring 31cm in width and 17.5cm in height, this glittering gold mask exhibits facial features reminiscent of Sanxingdui bronze masks—characterised by thick eyebrows, almond-shaped eyes, a prominent nose, and distinctive ears, among other defining features. Image courtesy of Hong Kong Palace Museum.

This mask, with its distinctive protruding pupils, towers at approximately 70cm in height. On its forehead, intricate swirls of cloud-like motifs gracefully extend towards the sky. Image courtesy of Hong Kong Palace Museum.

While wandering in the exhibition, I overheard a guide explaining how the spiraling antenna extending from the forehead of a bronze mask was utilised to communicate with the divine. In ancient China, kings were revered as earthly representations of the divine, serving as a conduit between heaven and earth. Is it possible that this mask was intended to depict a Shu king?

The intricate swirls of cloud-like antenna growing from the forehead bring the bronze mask to a height of approximately 70 centimetres. While it’s possible that this mask with protruding eyes could be a depiction of Cancong, the man who claimed himself the first king, some scholars have suggested that it may represent Zhulong, a divine being believed by ancient Chinese to usher in day and night by the opening and closing of its eyes.

Though not mentioned in the museum label or the exhibition catalog, it’s crucial to highlight that this mask forms part of a triad of eye-protruding masks. Alongside another mask with similar-looking features, it flanks a central, larger mask. It's also noteworthy that archaeological reports and restoration endeavours indicate that the mask on display is an integral part of a sculpture portraying a “human-head and bird-body” figure, complete with a feather crown on top.

According to the Classic of Mountains and Seas, an ancient text and compilation of mythic geography and fantastical creatures: “In the midst of the East Sea, there is a deity with a human face and a bird’s body.” In ancient Chinese mythology, birds were revered as celestial messengers, bridging the realms of heaven and earth. This fusion of human and bird was probably seen as a potent symbol of divinity by the people of Sanxingdui.

Looking back now, I couldn't help but be struck by the limitations of human understanding — our grasp of the world around us is often confined to past experiences and the knowledge that we've accumulated over time. Yet, deep down, I sense that a vast realm beyond our understanding is waiting to be explored.

As I gazed at the array of masks in the exhibition, a peculiar sense of conflict washed over me. It occurred to me that these so-called “cultural relics” might not truly belong in a museum setting. Perhaps, I thought, it wouldn't be a bad thing for these treasures to remain buried in the soil, hidden from the light of day and the scrutiny of viewers who may never fully grasp the thoughts and intentions of the creators behind these marvels.

A must-see highlight in the Gazing at Sanxingdui exhibition, this colossal bronze mask — the world's largest of its kind — weighs an impressive 65.5 kilograms. Image courtesy of Hong Kong Palace Museum.

Bronze Marvels at their Pinnacle

The exhibition's centrepiece is a technological wonder: a colossal bronze mask that weighs 65.5 kilograms. Designated as a first-grade cultural relic, this mask stands as the world's largest of its kind, offering a glimpse into the advanced bronze metallurgy of ancient China. Much like the bronze masks seen earlier, this one boasts distinct and concise contours that online thick eyebrows, large eyes, a prominent nose, and smoothly contoured lips, creating an enigmatic smile that nonetheless imparts a dignified look.

The display is strategically designed, enabling visitors not just to view this first-grade relic from the front but also to examine its sides and back. This offers insight into the construction of this technological marvel, revealing that it was cast in several parts — the face, sides of the cheeks, eyes, and ears — joined with rivets.

Unlike its Eurasian counterpart, Bronze Age cultures in China were characterised more by utilitarian objects than weapons and tools. The anthropomorphic bronze artefacts discovered in Sanxingdui, in particular, exhibit a pronounced presence of divine and shamanistic elements, marking a distinct departure from its neighbouring Shang cultures (1600-1050 BC) in the Central Plains.

The current consensus among scholars is that Sanxingdui’s bronze technology was not developed locally but was likely imported into the Chengdu Plain, possibly from northwest China as early as 1700-1600 BC. However, bronze objects remained rare in Sanxingdui culture until around 1200 BC, and the reason for slow adoption remains unclear.

The quintessential bronze artefacts of Sanxingdui encompass masks, human sculptures, altars, and items associated with sacred trees. The prevailing technique utilised was piece-mould casting, exemplified by the monumental bronze mask, a method clearly derived from the Central Plains.

The idea of “cultural exchange” is partly based on the contrast of the fine-quality cast bronze visage with the noticeably poor riveting work used to piece the mask together, suggesting that the casting was done elsewhere, while the riveting work was carried out locally.

Some of you may be asking: why did people of Sanxingdui need such a large mask? Based on the square-shaped perforations found on the mask's forehead and sides, some have come to suggest that these masks could have been fitted onto wooden pillars and displayed in ancestral temples or rituals as a demonstration of power.

Listed as first-grade cultural relic, this kneeling figure — notable for its extremely tall hair bun —is dressed in three layers of clothing depicted with meticulously-detailed patterns. Image courtesy of Hong Kong Palace Museum.

As I wandered further, a sculpture caught my attention — a kneeled figurine portrayed with towering hair bun. Also designated as a first-grade cultural relic, this intriguing figurine reaches a height of 48 centimetres.

In my view, this little guy, alongside some of the other figurines on display, showcases a distinct stylistic preference compared to artefacts from the same period — the bronze masks seen earlier exhibit more angular and geometric features, whereas the body of this kneeling figurine appears more rounded, as if fashioned from flesh and fat, giving him a distinctly human look. This prompts me to question whether they were crafted by local artisans. If not, by whom?

Could this “hair” actually be a type of headgear rather than human hair, as most scholars tend to believe? The intriguing possibility raises questions about the grooming practices of people at Sanxingdui – what kind of hair gel might they have used to defy gravity and maintain such a unique style? And why?

Adding to the mystery, the statue was excavated alongside two others of similar sizes and postures, leading scholars to speculate on their potential use as supports for a larger object. Could the 'hair' then be a deliberate artistic choice with a functional purpose?

While we might never know the true answer to this question, archaeologists have used this enigmatic figurine to gain valuable insights into the attire and costumes of the people at Sanxingdui. The surface is intricately adorned with three layers of clothing, engraved with cloud-and-thunder patterns, and even swallow-tail patterns on the lower legs – some suggesting it might be a tattoo.

Before leaving the exhibition, visitors are left with a lasting impression as they encounter a curious bronze wheel, reminiscent of a modern car wheel, on display. This artefact sparks the curiosity of many, myself included. Was it once part of a cart's wheels? Or does it stand as an out-of-place artefact, buried alongside other items in Sanxingdui?

Catalogued as the “sun-shaped object”, it features five spokes connecting the raised central roundel and outer rim. Found in a damaged and burnt state, the function and symbolic meanings of this item remain shrouded in mystery, yet many scholars associate it with the worship of the sun.

Some believe that this beastly sculpture is linked to luduan, a mythical creature characterised by the head of a lion, the horn of a rhinoceros, the body of a dragon, the paws of a bear, the scales of fish, and the tail of an ox. According to ancient beliefs, luduan possessed the ability to traverse vast distances, covering thousands of miles in a single day. Image courtesy of Hong Kong Palace Museum.

This wheel-shaped bronze object, dating to 1300-1100 BCE and measuring 85cm in diameter, seems like an out-of-place artefact in Sanxingdui site. Image courtesy of Hong Kong Palace Museum.

In my view, it’s not an exaggeration to say that Gazing at Sanxingdui stands out as one of the finest archaeological exhibitions I’ve seen in years, and undoubtedly the best exhibition in Hong Kong this year. The visitor path is thoughtfully designed, making it super easy to find your way around. The number of items on display is just about right, and the information provided caters to visitors from all walks of life. Most importantly, the exhibition design gives you a 360-degree view of many cultural relics on display.

For those unfamiliar with Sanxingdui, the exhibition offers a comprehensive understanding of this ancient Shu kingdom, spanning its art, urban life, and spiritual world, before delving into its origin and archaeological development over the past decades. Given that the Sanxingdui city site took its final form around 3200 years ago, it can be hard to imagine how these artefacts exhibit highly complex structures achievable only through advanced metallurgical techniques and exceptional artistry.

Despite mainstream archaeology and history providing conventional explanations for the accomplishments of these civilisations, we must admit that the universe is full of the unknown. As we unravel the artistic narratives of ancient civilisations, we must not forget to explore the possibility that a higher force was perhaps at play in shaping the early chapters of human history.

In the rich tapestry of ancient civilisations worldwide, Sanxingdui is not alone. Many statues of Sanxingdui display distinctive features reminiscent of humanoid beings in Sumerian art and composite deities in Egyptian murals, sparking widespread curiosity about their origin and the possibly of foreign or extraterrestrial influences.

While we’ll never know who the people at Sanxingdui were, where they were from, why they made these bronze sculptures, and what was on their minds, a glimpse into their material culture serves as living proof of their existence throughout the long course of history. Whoever they were, wherever they were from, the things they’ve left behind rekindle our curiosity — an enduring trait of mankind that can sometimes be lost as we navigate the twists and turns of life.

Reference:
Jiao, T., & Wang, S. (Eds.). (2023). Gazing at Sanxingdui: New Archaeological Discoveries in Sichuan. Hong Kong Palace Museum.
Sun, H. (2018, October). New Understanding of the Sanxingdui Site in Sichuan [Video]. Youtube. https://www.youtube.com/watch?v=8yLhrzFkFFY

Gazing at Sanxingdui: New Archaeological Discoveries, which runs through January 8, 2024, is jointly organised by the Hong Kong Palace Museum, the Sanxingdui Museum, and the Jinsha Site Museum.