Sanxingdui

The Sanxingdui archaeological site is located about 4 km northeast of Nanxing Township, Guanghan, Deyang, Sichuan Province. Archaeological digs at the site showed evidence of a walled city founded c. 1,600 BCE. The trapezoidal city has an east wall 2,000 m, south wall 2,000 m, west wall 1,600 m enclosing 3.6 km²,[11] similar in scale to the inner city of the Zhengzhou Shang City.

The city was built on the banks of the Yazi River (Chinese: 涧河; pinyin: Jiān Hé), and enclosed part of its tributary, Mamu River, within the city walls. The city walls were 40 m at the base and 20 m at the top, varying in height from 8–10 m. There was a smaller set of inner walls.

The site of Sanxingdui is divided into the sacrificial area, palace, workshops, and the residential area

The walls were surrounded by canals 25–20 m wide and 2–3 m deep. These canals were used for irrigation, inland navigation, defense, and flood control. The city was divided into residential, industrial, and religious districts organized around a dominant central axis. It is along this axis that most of the pit burial have been found on four terraces. The structures were timber framed adobe rectangular halls. The largest was a meeting hall about 200 m² (2,200 sq ft).

Bronze weapon from Sanxingdui

Evidence of an ancient culture in this region was first found in 1927 [2] when a well-to-do farmer unearthed a large stash of jade relics while dredging an irrigation ditch, many of which through the years found their way into the hands of private collectors. In 1931, the discovery was brought to the attention of Vyvyan Donnithorne, an Anglican missionary stationed at the Gospel Church of Guanghan. He recognised the importance of the discovery and contacted a local magistrate as well as Daniel Sheets Dye, a professor of Geology at West China Union University (WCUU). The three of them then visited the location and photographed and measured the site. Through the magistrate, a few items were acquired and sent to the museum at WCUU. Then, in 1934, David Crockett Graham, the new director of the museum at WCUU, organised the first archaeological excavation of the site.[2][12]

In 1986, local workers accidentally found sacrificial pits containing thousands of gold, bronze, jade, and pottery artifacts that had been broken (perhaps ritually disfigured), burned, and carefully buried. The first sacrificial pit was found on the site of the Lanxing Second Brick Factory on July 18, 1986. Containing approximately 800 objects, the second sacrificial pit was found a little less than a month later, on August 14, 1986, only 20–30 meters from the first one.[13]

Bronze objects found in the second sacrificial pit included sculptures of humans, animal-faced sculptures, bells, decorative animals such as dragons, snakes, chicks, and birds, and axes. Tables, masks, and belts were some of the objects found that were made out of gold, while objects made out of jade included axes, tablets, rings, knives, and tubes. There was also a large number of ivory and clam shells. Researchers were astonished to find an artistic style that was completely unknown in the history of Chinese art. Previously the baseline of Chinese art had been determined by the history and artifacts of the Yellow River civilization(s).

A bronze head (height 27 cm) from the thirteenth or twelfth century BC that was excavated from Pit 1 in Sanxingdui [14]

An upright bronze figure representing a religious official

A sacrificial altar with several four-legged animals at the base to support a few bronze figures closely resembling the large face masks, each holding a ceremonial offering of some sort in outstretched hands.[15]

All the Sanxingdui discoveries aroused scholarly interest, but the bronzes were what excited the world. Task Rosen of the British Museum considered them to be more outstanding than the Terracotta Army in Xi'an. The first exhibits of Sanxingdui bronzes were held in Beijing (1987, 1990) and the Olympic Museum in Lausanne (1993).

Nevertheless, despite the interest in the excavated finds, the site suffered from flooding and pollution. For this reason the site was included in the 1996 World Monuments Watch by the World Monuments Fund.[16] For the preservation of the site, funding was offered by American Express to construct a protective dike. Also, in 1997, the Sanxingdui Museum [17] opened near the original site.

An archaeologist is working in a pit

In March 2021, more than 500 cultural relics, including a 3,000-year-old gold mask, were discovered at Sanxingdui at a 4.6-square-mile area outside the provincial capital of Chengdu.[18][19] The mask is estimated to be made from 84% gold and weighs 280 grams (0.6 pounds). According to the National Cultural Heritage Administration, the items were recovered from six newly discovered “sacrificial pits”.[20] Additional masks, jade tools, and ivory relics were also discovered in the pit.[21] The six pits were discovered at the Sanxingdui site between 2020 and 2022 during a renewed slate of excavations. The artifacts found in these excavations include fragments of a gold mask, traces of silk, bronze ware depicting animals, ivory carvings, and more. A round of excavations is scheduled to conclude in October 2022.[22][23][24][25]

This ancient culture had a well developed bronze casting industry that permitted the manufacture of many impressive articles, such as the world's oldest life-size standing human statue (260 cm high, 180 kg), and a bronze tree with birds, flowers, and ornaments (396 cm), which some have identified as renderings of the fusang tree of Chinese mythology. The Dawn Redwood also may be found relatively near on the eastern fringe of the Sichuan Basin.

Large jade zhang blade, length 54 cm (21 in), Sanxingdui Museum

The most striking finds were dozens of large bronze masks and heads (at least six heads with gold foil masks originally attached) represented with angular human features, exaggerated almond-shaped eyes, some with protruding pupils, and large upper ears. Many Sanxingdui bronze faces had traces of paint smears: black on the disproportionately large eyes and eyebrows, and vermillion on the lips, nostrils, and ear holes.[30] According to the French sinologist Corinne Debaine-Francfort, these colours provide evidence for ritual practices that were very different from those of the Shang dynasty.[31] Vermillion is interpreted "not be coloring but something ritually offered for the head to taste, smell, and hear (or something that gave it the power to breathe, hear, and speak)". Based upon the design of these heads, archaeologists believe they were mounted on wooden supports or totems, perhaps dressed in clothing.[32] Liu Yang concludes "masked ritual played a vital role in community life of the ancient Sanxingdui inhabitants", and he characterizes these bronze ritual masks as something that may have been worn by a shi (尸; 'corpse') "personator, impersonator; ceremonial representative of a dead relative".[33]

The shi was generally a close, young relative who wore a costume (possibly including a mask) reproducing the features of the dead person. The shi was an impersonator, that is, a person serving as a reminder of the ancestor to whom sacrifice was being offered. During such a ceremony, the impersonator was much more than an actor in a drama. Although the exact meaning may have been different, the group of Sanxingdui masked figures in bronze all have the character of an impersonator. It is likely the masks were used to impersonate and identify with certain supernatural beings in order to effect some communal good.[32]

Another scholar[34] compares these "bulging-eyed, big-eared, bronze heads and masks" with "eye-idols" (effigies with large eyes and open mouths designed to induce hallucinations) in Julian Jaynes's bicameral mentality hypothesis; and [35] proposes, "[i]t is possible that southern Chinese personators wore these hypnotic bronze masks, recursively representing the spirit of a dead ancestor with a mask that represents a face disguised by a mask".

Other bronze artifacts include birds with eagle-like bills, tigers, a large snake, zoomorphic masks, bells, and what appears to be a bronze spoked wheel but is more likely to be decoration from an ancient shield. Apart from bronze, Sanxingdui finds included jade artifacts consistent with earlier neolithic cultures in China, such as cong and zhang.

As far back as Neolithic times, East Asians identified the four quadrants of the sky with animals: Azure Dragon of the East, Vermillion Bird of the South, White Tiger of the West, and Black Tortoise of the North. Each of these Four Symbols (Chinese constellation) was associated with a constellation that was visible in the relevant season: the dragon in the spring, the bird in the summer, etc.

Since these four animals—birds, dragons, snakes, and tigers—predominate the finds at Sanxingdui, the bronzes might represent the universe. It is unclear whether they formed part of ritual events designed to communicate with the spirits of the universe (or ancestral spirits). As no written records remain it is difficult to determine the intended uses of objects found. Some believe that the continued prevalence of depictions of these animals, especially in the later Han period, was an attempt by humans to "fit into" their understanding of their world, their cosmology. (The jades that were found at Sanxingdui also seem to correlate with the six known types of ritual jades of ancient China, again each might be associated with a compass point (N, S, E, W) plus the heavens and earth.)