Bronze mythical beast

Bronze mythical beast, bronze ware, cultural relic from the late Spring and Autumn Period, 48 cm in height, 46 cm in length, 24.6 cm in width, unearthed from Tomb No. 9, Xujialing, Xichuan County, Henan Province in 1990, and now stored in Henan Museum.

In the early 1970s, during the construction of the Danjiangkou Reservoir large-scale water conservancy project, the excavation of the Xiasi Chu Tombs in Xichuan was unveiled. In October 1989, the ancient tombs were found to have been stolen in Heshangling, only 400 meters north of the Xiasi Tomb Group. The following year, archaeologists conducted rescue excavations at the Heshangling Cemetery and the Xujialing Cemetery 3 kilometers to its north. From 1990 to 1991, archaeologists numbered the tombs from No. 1 to No. 10 in the order of excavation of these tombs. Tomb No. 9 (Figure 1) is located in the middle of the cemetery and is the largest. Judging from the remaining burial objects and the attached chariot pit, this tomb is of the highest level and should be the main tomb of the cemetery group. [1] Although Tomb No. 9 in Xujialing was robbed, 2,072 cultural relics were still unearthed. The bronze mythical beast was found in Tomb No. 9. A pair of such bronze mythical beasts were unearthed and are now stored in the Henan Museum and the Henan Provincial Institute of Cultural Relics and Archaeology respectively. The two mythical beasts are basically the same in size, shape, and decoration, but the directions of the dragon heads twisting outward are opposite, and the mythical beast in the Henan Museum has a square socket on the upper part of the hind legs.

Figure 1 Excavation site of Tomb No. 9 in Xujialing, Xichuan County, Henan Province

The bronze mythical beast (Figures 2 and 3) has a dragon head and a body. The dragon opens its mouth and sticks out its tongue, its fangs are intertwined, its eyes are wide open, and each jaw is decorated with a persimmon-shaped flower. The dragon head is composed of six winding and entangled small dragons forming the horns. There is a square hole on its back, into which is inserted a L-shaped bracket with a square base. On the bracket stands a running beast with a dragon head, two horns, a long neck, and a curled tail. In its mouth is the tail of a small dragon with a curved body and sticking out its tongue, and its two hind paws are kicking back on the upper part of the beast's neck. A hollow square socket stands on the upper part of the beast's hind legs. There is a hole on the uppermost dragon horn, and a semicircular button on the lower part of the abdomen. The whole body is inlaid with turquoise, and the patterns include dragons, phoenixes, cloud patterns, vortex patterns, etc., which are exquisite and luxurious. (Figure 4)

Figure 2 Line drawing of bronze mythical beasts in the collection of Henan Museum

Figure 3 Head of bronze mythical beasts in the collection of Henan Museum

Figure 4 Bronze mythical beasts and line drawings in the collection of Henan Provincial Institute of Cultural Relics and Archaeology

This bronze mythical beast is composed of multiple parts, which can be disassembled and assembled, and the parts are tightly connected. (Figure 5) Its high level of casting technology can be said to be a culmination of the traditional casting technology of the pre-Qin period, and it is unique. In addition to some of the casting techniques of the mythical beasts being influenced by the bronze casting techniques of the Central Plains, some are new inventions and creations, showing that Chu culture absorbed, transformed, and sublimated the Central Plains culture during its formation, and has a broad and profound style. The body of the vessel adopts the excellent tradition of the method of casting into a complete shape at one time after the outer mold and the inner mold of the Central Plains Bronze Culture of my country since the Shang and Zhou Dynasties - the whole casting method (molding method). The turquoise inlay technique used on the surface of the vessel is also a continuation and development of the Central Plains culture. The colorful decorative effect formed by the bronze mythical beasts inlaid with turquoise patterns such as dragons and phoenixes is pleasing to the eye. The small dragons coiled on the heads of the mythical beasts are the innovation and application of the lost wax method, an advanced bronze casting technique of the Chu State in the middle and late Spring and Autumn Period, which makes the modeling style of the mythical beasts gorgeous and agile, with a completely different aesthetic feeling from the Central Plains artifacts of the same period, showing incomparable and unique characteristics, and becoming an outstanding representative of bronze ware in a historical era.

Figure 5: The bronze mythical beasts in the Henan Museum

The bronze mythical beasts are finely crafted and innovative, not only conveying a vibrant force, but also giving people a gorgeous and abstract aesthetic feeling. They are the best among bronze wares, showing the romantic and rich imagination and lifelike vitality of the Chu people. They have a high aesthetic taste and aesthetic appreciation value, reflecting the amazing achievements of the bronze casting handicraft industry and the extraordinary artistic talent of ancient craftsmen.