Chengdu Sanxingdui Museum – #3/5 The Space Man and the Magic Tree

The second half of the Comprehensive Hall of the Sanxingdui Museum showcases the piece de resistance of artefacts from Sacrificial Pits No. 1 and 2, a giant bronze sculpture nicknamed the Spaceman and a hall of magical bronze trees.

Thousands of intricate relics of gold, bronze, jade and ivory have been found, all relating to sacrificial activities. Most of the bronze figure heads are exhibited in a separate hall, there are some major finds that are exhibited in this second part of the Comprehensive Hall 综合馆.

How did the miraculous bronze smelting technique and the culture symbolized by the Sanxingdui bronze ware come into being? Are they the results of ancient Shu people’s independent developing or affected by nearly countries, especially by the central plains’ culture? Or it is the results of adopting foreign cultures, such as those from Western Asia, East, and South Asia?

Smelting in Fire

Bronze smelting and casting technology at Sanxingdui originated in the Xia Dynasty over 4,000 years ago and became mature during the middle and late Shang Dynasty. The bronze metallurgy could be compared with those in the Central Plains, suggesting interactions between Sanxingdui culture and the Shang culture. However the Sanxingdui culture developed characteristics of their own.

铜六角形器 Hexagonal Object

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

铜罍盖 Cover of Lei (Wine Vessel) (Fragment)

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

铜人头像 Human Head (Fragment)

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

Both the bronze and gold wares integrate the smelting technology and aesthetics of the ancient Shu people. They are not only the symbol of the royal power in special sacrificial activities, but also excellent examples of the Bronze Age culture.

铜尊残件 Zun (Wine Vessel, Fragment)

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

The two pits were the places where ancient Shu people offered grand sacrifices. The aim of their worship was heaven, or earth, or the gods, or the ancestors. The zun 尊 is historically found in the Central Plains region, and interestingly it was found in the No.2 sacrificial pit.

铜挂饰 Hanging Ornaments

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

铜大立人像 Grand Statue of Human Figure

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

The bronze statue basically uses a realistic method to shape according to the height, proportion and movement of the real person. The total height is 2.62 metres, of which the human statue is 1.72 metres high, the base is 0.9 metres high, and the weight is 180 kilograms. At the same time, it makes a big exaggeration of the eyes, ears and hands to strengthen the authority of the statue. It seems to represent an authoritative man with power over nature.

The square platform where the statue stands can be understood as an altar or a sacred mountain. At present, the academic community tends to believe that the identity of the statue is the most authoritative leader of the ancient Shu Kingdom of Sanxingdui, which integrates the identities of gods, witches and kings, and is the symbol of the supreme power of theocracy and kingship.

No, it was not carrying a selfie stick. It was believed that the statue held the tusk of an Asian elephant in the activity of worship and sacrifice. The organic tusk has disintegrated over the long period of time.

It’s a tall sculpture with its height reaching 2.65 meters. The figure is standing on a elephant-head base and is wearing a gorgeous dress and beautiful crown. But its face is of no big difference with other figures. 

Ladders to Heaven

Tree worship is a common cultural phenomenon among the world ancient religions and popular beliefs . Various legends and images associated with trees are widely distributed throughout the world. In general, the cultural phenomenon of tree worship in ancient Chinese and Western mythology and images of divine trees is of great significance to study cosmology in ancient times

The divine trees had various characteristics and functions, one of which was that it stood in the centre of the earth and functioned as a ladder to heaven. Various tree images suggest differences in meaning and function served in special occasions. Used in temples as instruments for communication with heaven, the Sanxingdui bronze trees are material expressions of the myths and cosmology of the ancient Shu people

Many trees are featured in classical Chinese myths, the most representative ones including the Fusang 扶桑 in the east where the sun rises, the Jianmu 建木 in the centre which extends up into the heavens, the Ruomu 若木 in the west where the sun sets, and finally Xunmu 寻木 in the north with roots that extend to all over the world. These trees are similar in nature to the cosmic trees of foreign myths, illustrating similar conceptions and the way of thinking about nature by early human beings. The trees at Sanxingdui should be the Fusang and Jianmu in these traditional myths.

铜神树 Divine Tree No. 1

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

Eight bronze trees, all broken, burned, and incomplete -were found in sacrificial pit No. 2 at Sanxingdui. The largest and the most complicated is Tree No. 1, which has been restored, is most likely the representation of a Fusang tree, where the legend said that ten suns rose from it. It serves as the best representative of the bronze trees.

There is one bronze bird standing on the top of each branch. In Chines legends, birds carry the sun on their backs, rising from a tree in the East and resting in a tree in the West. Therefore trees and birds are both symbols of the sun. Sanxingdui’s tall bronze tress sculpture is a reflection of their sun worshiping. 

A closer look reveals a dragon at the base of the trunk that appears to be taking flight. This tree doesn’t seem to belong to this world. It certainly doesn’t represent the pragmatic understanding of nature evident in other bronzeware produced in the State of Shu 3,000 years ago. Perhaps it had religious significance, serving as a link between the mortal world and the heavens.

铜神树 Divine Tree (Replicated)

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

In addition, the structures of another two trees, smaller in size, can be roughly identified, and there are many fragments of tree pedestals, branches, flowers, fruits, and birds.

The divine trees connected heaven and earth, gods and humans. The gods descended to the earth by such trees, whereby the shamans ascended to the heaven. The dragon climbing in the tree was perhaps the mount that the shaman rode.

The Sanxingdui divine trees are splendid examples of cosmic trees in China which can be regarded as a vividly portrayal of the mythological understanding of the ancient people and heaven and the communication between gods and mortals that never ends.

摇钱树 Pagoda Tree

东汉 公元25-220年 1990年广汉市三水镇出土 Bronze Tree and Pottery Base, Eastern Han Dynasty 25 – 220 A.D., Excavated at Sanshui Town of Guang-han County in 1990

This bronze money tree 摇钱树 is not a relic from Sanxingdui, but from a nearby village and it’s 2,000 years younger than the divine tree.

A bronze tree with a base was a common burial item in Han Dynasty’s Sichuan, and often depicted the myth and legend of the Western Queen Mother of Mount Kunlun 昆仑山西王母. Because it was full of bronze coins, it is commonly known as the “money tree”. The imagery was similar to the symbolism of the Sanxingdui divine trees which came 2,000 years earlier during the Shang Dynasty.

The base is made of red pottery and green glaze 红陶绿釉 with a moulded mythical beast, and six layers of four branches and leaves are inserted on the trunk..

The Vermillion Bird 朱雀, represented the south and fire, is cast on the top of the tree. The leaves are cast on the figures such as the Queen Mother of the West, the auspicious beast, singing and dancing acrobatics, pig hunting, etc., and more than 400 copper coins are skilfully decorated. It embodies people’s idea of becoming immortals and their yearning for wealth.

铜神树残件 Fragments of Divine Tree

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

Different parts of the divine trees were discovered in the pits. It is not understood why they would spend so much time and resources to smelt one of these trees, only to break it up before they were burnt in the one of these sacrificial pits.

铜铃 Bell

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

兽面纹铜铃 Bell with Beast Face Design

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

Animals of Sanxingdui

A variety of figurative and abstract animal images have been unearthed at the Sanxingdui site, depicting real, legendary, local, and exotic creatures. Of all the figurines found, birds were the most common.

铜神树枝头立鸟 Bird Decoration of Divine Tree

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

Legends states that two of the first kings of the Shu state were named after birds. The mouth and area around the eyes on the large bird head are coated in vermillion. There are three small holes at the bottom of the neck, suggesting that this was initially attached to something else.

鹰形铜铃 Eagle Shaped Bell

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

Just like eagles, a typical Sanxingdui bronze bird has big eyes, curved beak and small crest. This is a brid-shaped bronze ring which is made with delicacy and creativity.

铜公鸡 Cock

商代晚期 公元前1250-前1100年 1986年三星堆二号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.2 Sacrificial Pit of Sanxingdui in 1986

This chicken is cast realistically with smooth outlines.  According to the size, look and friction, it might used to be the top of a walking stick. 

铜虎形器 Tiger-Shaped Object

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

This animal is considered as a tiger. With his circle-shaped body, it’s standing on a circline base. The object should be a base.

铜怪兽 Monster

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

This animal cannot be found in reality and should be a combination of tiger and another unknown animal. Its original placement and usage is still uncertain. 

金箔虎形饰 Tiger-Shaped Foil

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

This tiger is made of golden foil and is covered with markings in 目 (a Chinese character) shape. The tiger is looking up with its mouth widely open, legs holding back,  tail curved and pointed up, suggesting that it is faced with danger and trying to frighten its enemy. 

Goldfingers

Quality gold mines are discovered by geological survey in the northwest, the surrounding areas of the Sichuan Basin and the areas of Minjiang River, Dadu River and Yalong River in the Western Sichuan Plateau.

金箔鱼形饰 Fish-Shaped Foil

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

Gold artefacts were first manufactured in quantity during the Shang Dynasty. The making of gold wares could be categorised into two major styles with Qinling Mountains and the Huai River as the boundary.

金箔璋形饰 Zhang -Shaped Foil

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

In the north, gold artefacts were. mainly small ornaments and were limited in designs and quantity. The artefacts unearthed at Sanxingdui were the best representatives of gold wares in the south. They were the most out outstanding of their time.

金箔 Gold Foils

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

Gold wares played a very important role in the ancient Shu culture. Most of the gold artefacts unearthed at Sanxingdui are made of an alloy of 90% gold and 10% silver, equivalent of 22K gold by today’s standard.

Goldsmiths employed such techniques as hammering, molding, pasting, chiseling, hollowing, etc. Being exquisitely crafted, these objects were large in quantities and came in different forms. They were used to symbolise power in worships and sacrificial rituals.

金面罩 Gold Mask

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

The gold mask is made of gold foil, its eyes are hollowed out, the nose is raised, the edges are sharp, and the method of production is excellent. Its size basically matches the proportion of the face of the bronze figure head unearthed in the same pit. Copper rust can be found in the back of gold masks and other gold pieces. It is speculated that it may have been attached to the face of a bronze mask. Why we would never know, as fresh bronze is also glistening gold colour. But gold has always been featured as an important metal for ancient Shu culture as well, and samples of these gold emblems can be found in another Sichuan museum.

金杖 Gold Sceptre

商代晚期 公元前1250-前1100年 1986年三星堆一号祭祀坑出土 Bronze, The Late Shang Dynasty 1250 B.C. – 1100 B.C., Excavated from No.1 Sacrificial Pit of Sanxingdui in 1986

The golden sceptre unearthed in the Sanxingdui sacrificial pit is the largest gold sceptre unearthed in China at the same time. The golden staff was beaten into a wafer thin skin from gold bars, and then rolled on the wooden staff. When it was unearthed, the wooden part of the staff was carbonised (most likely from the burning), and only the gold skin remained, and there was carbonised wood residue left in the gold skin.

At one end of the sceptre, there is a pattern about 46 cm long. The pattern is divided into three groups: one group of symmetrical fish-bird symbols near one end; second group repeated the first group; the third group are some witches or shamans with pointed crowns and triangular earrings, smiling.

What exactly does this pattern represent? At present, there is a view in the academic community that the two tribal alliances with fish and birds as the ancestor gods have formed the fish dynasty; the “fish” and “bird” in the pattern are the emblems and symbols of the Yufu Kingdom 鱼凫王朝.

Another theory is that the fish and bird patterns on the golden stick symbolises the function of heaven and earth, which is the magic weapon of the king of Shu to communicate with God. Of course, this is still inconclusive, and its connotation needs to be further explored.

According to ancient documents, the Xia, Shang and Zhou dynasties in Central Plains used Ding 鼎 (bronze cauldrons) as the highest symbol of state power. However Sanxingdui culture used sceptres to symbolise power, an example of one of the cultural differences between the ancient Shu and the Central Plains.

In the ancient Greek civilisation, ancient Egyptian civilisation, ancient Babylonian civilisation and other Western Asian civilisations along the Mediterranean coast, sceptres were symbols of the supreme power, e.g. Moses’ rod. Therefore, some experts and scholars speculate that the cultural factor of the golden sceptre came through cultural exchanges or migrants from these regions.

Categorically, artefacts like the gold sceptre and masks cannot be found elsewhere in China. Their cultural implications are worthy of further study.

Visited Dec 2021

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