My system is not decent

Chapter 1451
In the myth of "Shan Hai Jing", Kunlun appears as the pillar of heaven and earth, and Jianmu is the sacred tree growing on Kunlun.

The emperor in the world is to accept the will of the emperor of heaven to rule the world by climbing up to Ruomu to go to heaven.

The branches of the sacred tree are divided into three layers from top to bottom.

It may also mean the triple realm of God's Domain, Human World and Region in Chinese mythology.

The top of each branch is decorated with flowers, fruits and divine birds, expressing the fairyland scene of the fragrance of fairy fruits in the heaven and the sudden disappearance of divine birds.

Almost every relic found in Sanxingdui was placed in an extremely orderly manner, exuding a strong religious atmosphere.

From these details, it can also be seen that all of these reflect the unique mysterious state of the ancient Shu Kingdom recorded in some documents as a divine kingdom.

Especially in the No. 2 sacrificial pit, an altar with bronze figures of two different sizes was also unearthed.

The big one holds an auspicious branch of auspicious grass in his hand, and the small one holds a jade Zhang with a bud-shaped front end.

The tallest one, together with the base, is 2.62 meters high and weighs 180 kilograms.

The standing figure is slender and wears a crown with animal face patterns on its head. There is a round decoration symbolizing the sun between the brows of the animal face.

The sun is often referred to as the eye of the sky by the ancients, and the animal face with both eyes and the image of the sun can be called the "crown of the sky".

The legs have anklets and stand barefoot on a square base supported by four dragon heads.

The tallest bronze figure unearthed from Sacrifice Pit No. 2 is also very special.

The standing figure is dressed in a dragon-patterned left lapel and a long lapel, with his arms wrapped around his chest, and his hands are hollow, in the shape of holding objects.

He was dressed in a gown, and he was completely like a king and a religious leader.

There are many small statues, all sitting on their knees.

A typical one is only 13.3 centimeters high.

The portrait "wears a flat-topped double-horned crown, with a bent left leg and a right leg kneeling on one knee, pressing its abdomen with its hands, as if kneeling respectfully to the bronze Talisman."

These bronze figures of different sizes and postures faintly reveal a trace of information about the ancient Shu Kingdom.

This is a theocratic society with a strict hierarchy.

The King of Ancient Shu held a preeminent position in the ancient Shu Kingdom.

He is a "superman" who combines theocratic power, royal power and military power.

He stands tall, while others can only crawl beside him and serve his servants.

In Pit No. 1 and No. 2 of Sanxingdui, hundreds of gold artifacts, including golden rods, golden masks, golden tigers, golden leaves, golden Zhangs, and golden belts, were also unearthed.

These gold wares are large in number, large in shape and exquisitely crafted.

It can be seen from this that the ancient Shu people's smelting, production and processing technology of gold mines has reached a very high level, forming a special "gold culture".

Among all the gold products, the most distinctive one is the gold rod unearthed from Pit No. 1.

This golden rod is 143 centimeters long, 2.3 centimeters in diameter and weighs about 500 grams.

It is made by beating pure gold into a golden skin and wrapping it with wooden poles.

However, after more than 3000 years of washing, the wooden rod in the inner core has decayed and carbonized, leaving only the flattened and deformed gold skin, telling people the vicissitudes of the years.

But what is surprising is that there are three sets of clearly identifiable patterns engraved on the top of the scepter with only the outer gold skin about 46 cm away.

The upper two groups are two feathered arrows passing through birds and fish, and the lower group are two symmetrical human heads wearing crowns.

When Chen Wenzhe checked the two Shu Ge before, he saw birds and fish.

So he knew very well that this was the totem of the two tribes or kingdoms of the ancient Shu Kingdom at that time.

The stork is the totem of the Baiguan people, so the implication of this pattern is obviously the meaning of the stork shooting fish.

When the regimes of the Baiguan and Yufu tribes alternated, the Baiguan tribe defeated the Yufu tribe in a certain war.

In other words, in order to defeat the invading Yufu tribe, the Baiguan tribe specially engraved the image of a stork shooting a fish on this golden stick, which symbolizes supreme divine power, to boost morale.

In addition, "Huainanzi Shi Ze Xun" said: "The moon of Jidong... ordered the fisherman to manage fishing, and the emperor went to shoot the fish himself, so as to recommend him to sleep in the temple."

Fish shooting by the monarch is generally used as a sacrifice in the ancestral temple, and the fish shooting should be carried out on the Yuliang.

This golden scepter is actually a scepter that symbolizes royal power, theocracy, and the monopoly of economic and social wealth. It is the highest symbol of the regime of the ancient Shu Kingdom.

From the observation of the age of the artifacts in Pit No. 1, it is equivalent to Pan Geng to the early Wuding period.

Therefore, the No. 1 sacrificial pit is likely to be the sacrificial relics and utensils pit during the period of King Boguan.

No. 2 sacrificial pit, from the observation of the age of the utensils in the pit, corresponds to the late Wuding period to the early Western Zhou Dynasty.

It belongs to the same era as the newly excavated No. 4 pit.

This period should be the sacrificial relics and utensil pits of the Yufu King period.

Unearthed in the pit, three bronze human faces of Cancong, king of Shu, "Mu Zong".

The so-called eye vertical refers to the eyes protruding from the eye sockets like cylinders.

The slightly smaller one is 77.4 cm wide.

The eye pillars protrude from the eye sockets by 9 centimeters, and there is a 1-centimeter-high ornament above the bridge of the nose, which is 68.1 centimeters high as a whole.

The reason why Cancong "eyes vertically" may have something to do with his original residence in Wenshan County in the upper reaches of Minshan Mountain.

The water and soil here are seriously deficient in iodine, which can easily cause people to suffer from hyperthyroidism with protruding eyeballs.

Therefore, some experts speculate that Cancong, King of Shu, may be a patient with severe hyperthyroidism, so he has the image of "Mu Zong".

Of course, these are all speculations, and now, there are more speculations.

After all, the ancient Shu Kingdom has disappeared in the long river of history, so their descendants also disappeared?
This is obviously impossible, because from various signs, we are their descendants, and we have not disappeared.

In fact, many modern studies have shown that our culture is passed down in one continuous line.

However, there was a blank period between the ancient Shu and the later Shu.

This is the so-called "deification" period in "The Book of the King of Shu".

That is to say, the secular society becomes religious, and the secular government hides in the mountains.

In this way, it will be completely transformed into a religious kingdom, and all citizens will be "turned" into religious people.

As mentioned before, Cancong, Baiguan, and Yufu, the three kings of ancient Shu, were all "deified".

After the "deification" of the first two generations, there were new Shu kings who continued to rule the Shu people who had not "followed the king".

However, the scale of "deification" of the last generation of Yufu kings was unprecedented.

He transformed so many people that he failed to produce a new king of Shu for hundreds of years.

"Deification" means that the Yufu people's life in the world is over, and it means that there must be a break with the past.

It is speculated that the relics from the above-mentioned sacrificial pits, except for a few of the original daily necessities, most of them, such as statues, bronze and jade ritual vessels, were originally enshrined in the ancestral temple of Sanxingdui ancient city.

From the observation of the utensils in Pit No. 1, the earliest ones are Yuzhang, Yuge, etc., which can be as early as the Erlitou Xia Culture Period;
Bronze wares can be as early as the Early Shang period, and as late as the Late Shang period, which means that these utensils are ritual utensils stored in the ancestral temple for a long time.

Now that the ancestral temple sacrifices have come to an end, in order to prevent the secular desecration and destruction of the gods, it is necessary to bury the ancestral temple sacrificial vessels.

(End of this chapter)