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Post by Montezuma on Jul 29, 2024 23:41:03 GMT -5
This is a ceramic model of a granary barn or storehouse, made as a burial object (mingqi) during the Eastern Han dynasty. This particular house is tall and rectangular. One worker carries a sack of grain up the stairs while another awaits his approach. Two bears are positioned on the ground floor as guardian figures. Earthenware with molded decoration and uneven lead glaze Eastern Han dynasty, 25- 222 c.e. Hubei province Source: Ancient China From the Neolithic Period to the Han Dynasty (PDF)
Here is another picture of this where I highlighted the two guardian bear in the artefacts:
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Post by Montezuma on Jul 29, 2024 23:44:32 GMT -5
The connection between the Fuxi the Great Bear and Nuwa"From the perspective of mythological fantasy, Beidou and the divine bear share similar functions as nature’s indicators. Looking up at the sky, people will find Beidou. Looking down at the geography, people will spot the divine bear."
"In the sky, Beidou has a sacred function as seasonal and solar terms indicator; and on earth the divine bear has become an important phenological symbol. Therefore, Beidou and the divine bear are interconnected as the divine manifestations. That is why Beidou is also referred to as the Greater Bear. Due to the cultural connection of this mythical fantasy, the space position of Beidou in the celestial sphere also shifted to the illusive divine bear."
"Beidou’s mythical role as center of the sky and seasonal indicator is also directly projected upon the image of the divine bear. With regard to the movement of the four seasons, the divine bear completely coincides with the movement and qi of the four seasons and becomes a human spirit to imply the seasonal climates and festivals. In mythological fantasy, the divine bear inherits the mythological space position of Beidou in the celestial sphere, taking up the central position as its earth counterpart."
"In the expanded picture of clay Zun wine cup (Fig. 40) unearthed from Xiaoshan, Aohan Banner, Inner Mongolia, there is a bear (or pig), a deer and a bird. In the book Chinese Astronomical Archaeology, Feng Shi wrote: “If we place the wild pig (bear) in the center of the picture, then all the contents of the picture can be interpreted from an astronomical point of view… the bird and the deer represent the north and south respectively. What puzzles us most in the picture is not the bird and the deer, but the pig (bear). What is the exact implication of the pig (bear)? It’s always puzzling. Now we know that it is the incarnation of Beidou.”26 Given the mythical fantasy about Beidou and the Greater Bear, Feng Shi’s intuition is believed to be right. Imagery of the bear directly obtains from the imaginative space of Beidou as the center of the mythical illusion."
www.google.com.pk/books/edition/Big_Tradition_and_Chinese_Mythological_S/Xr_2DwAAQBAJ?hl=en
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Post by Montezuma on Jul 30, 2024 10:20:32 GMT -5
"Myths related to the bear god prevalent throughout the entire Eurasian continent (third type of evidence), and a batch of ten physical sacred emblems with bear insignia discovered at the Erlitou culture ruins (fourth type of evidence), serving as a vital breakthrough in the explorative study of Xia culture." (Introduction)
Jade bear and dragon fetus of Hongshan culture
"This coincidentally matches early forms of Loong shapes discovered in archaeology. Even more interesting is an overview of the snake-bodied and bear-headed emperor of the east Taihao, the human-faced and bird-bodied deity Goumang (p.72)
"The jade eagle is depicted with wings spread, with the heads of pig and bear on its wings, while two concentric circles were incised on its torso, and among these rings is an engraved motif of eight-pointed stars, which must be associated with ancient mythical emperor Shaohao (in his avian form), the sun, freedom, and power: “This jade eagle is meant to represent an eagle or bird with the power of a bear, with the ability to fly high into the sky in pursuit of the sun.” “Could this have been the origin of the term 英雄 (literally ‘hero,’ and has same pronunciation as ‘鹰熊’ or “eagle-bear”) or 雄鹰 (literally ‘male eagle,’ with the first character ‘雄’ or ‘male’ having the same pronunciation as ‘熊’ or ‘bear’)?”22 Perhaps, the eagle is “the god-form of Zhi (挚, or 鸷), the leader of the Shaohao clan that created the Dawenkou culture”. (p.175)
"This is very similar to the “gourd” incarnation theory propounded by Wen Yiduo. In addition, this also agrees with Fuxi’s association with the winter hibernation and spring awakening of the Loong, snake, and bear, and her reputation as the goddess in charge of life, reproduction, death, and rebirth.39 Evidently, from the gourd and tao pao gourd-shaped ceramic pot to flower, bird, Loong, snake, bear, wind, and other elements are all avatars of the goddess of life." (p.252)
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Post by Montezuma on Jul 30, 2024 10:23:37 GMT -5
"Interpretations by comparative mythology scholars on archaeological cultural relics (bear, bear-Loong, bear-eagle, and others), beliefs in the bear totem and its mythological narratives trace the Yellow Emperor narratives to even older prehistoric times. The seminal Xiong (family name but also literally “bear”) clan of the Yellow Emperor not only brought about bear totem mythologies in the epoch of Yushun, as yuThe figure on the left is a schematic of the time and space cycles in the Taihao system. In the origin myth featuring Fuxi as seen in the Chu Silk Manuscript, the Yellow Bear as the god of creation is clearly akin to a sun god and creation. (p.270)
Interpretations by comparative mythology scholars on archaeological cultural relics (bear, bear-Loong, bear-eagle, and others), beliefs in the bear totem and its mythological narratives trace the Yellow Emperor narratives to even older prehistoric times. The seminal Xiong (family name but also literally “bear”) clan of the Yellow Emperor not only brought about bear totem mythologies in the epoch of Yushun, as well as those in Xia Dynasty under the reigns of Gun, Yu the Great and Qi, but also used Zhuanxu as conduit to relay the belief of bear ancestry over a vast area including the states of Qin, Zhao, and Chu, among others, and even took advantage of the transmission capacity between clans and generations of the Tungusic people, resulting in the implantation of the bear totem mythology in the prehistoric memory of the Korean people, which is crystallized in the best-preserved “bear mother, human offspring” mythology in the East Asia region today.83 It can be seen that “the Yellow Emperor,” a extremely symbolic mythological character, is not only a sun god that embodies the godly power of rebirth after death and determination of time and space, but could also have been the central figure in beliefs of the bear god and prehistoric Chinese religions among people of Hongshan culture, which dates to more than 8,000 years ago. The bear flag of Yu the Great, the “bear” indicators in archaeological culture, and bear mythological narratives became links that helped Hongshan culture of the northeast, Qijia culture of the northwest, Yangshao culture of Shaanxi, culture of the Central Plain, and even culture of the Koreans relay and connect with each other, a phenomenon that indicates: the grand unification narrative featuring the Yellow Emperor positioned as the head of the Five Deities might have appeared much earlier than the Warring States period as imagined by people today. (p.2778l8iollwell as those in Xia Dynasty under the reigns of Gun, Yu the Great and Qi, but also used Zhuanxu as conduit to relay the belief of bear ancestry over a vast area including the states of Qin, Zhao, and Chu, among others, and even took advantage of the transmission capacity between clans and generations of the Tungusic people, resulting in the implantation of the bear totem mythology in the prehistoric memory of the Korean people, which is crystallized in the best-preserved “bear mother, human offspring” mythology in the East Asia region today." (p.277)
"According to the Rites of Zhou-the Chapter of Offices of Summer on The Army-Fangxiangshi, Fangxiangshi is the position of a government official which will be assumed by a warrior. The warrior is responsible for exorcising evils, plagues, ghosts, and mountain goblins and spirits, and he is specially dressed when performing the ritual: “Hands gloved in bear hide, (Fang Xiangshi) wearing a gold-cast mask with four eyes, with a black cloak and red long shirt inside; he holds a spear and a shield, leading a pack of followers to perform seasonal exorcising ceremonies, to search the rooms for evils and ghosts to be expelled. At the time of the grand funeral, the coffin is put into the tomb pit, and after the landfill is completed, the four corners of the tomb are struck with an iron stick to expel the evil spirits of wood and stone.” Bearskin, the spear, and shield are the objects must be with special magic power." (p.286-87)
www.google.com.pk/books/edition/Ritual_Civilization_and_Mythological_Cod/iVBqzQEACAAJ?hl=en
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Post by Montezuma on Jul 30, 2024 10:27:04 GMT -5
"However, things have been different since the entrance of patriarchic civilization, when zoomorphic goddess symbols split up into two groups, some maintaining their feminine or maternal identities of the prehistoric era such as the frog and the hop toad, while others transformed into masculine or paternal ones with the snake and the bear as the most typical examples. (p.67)
Eagle with two pig (or bear) heads as wings, jade, Lingjiatan culture, c. 3300 BC, Anhui province. EWENKI ORIGIN Bear"In ancient times, a hunter was hunting in the mountain, and was suddenly captured by a she-bear he met on his way. The she-bear coerced him into marrying her in her cave. He had no alternative but to live with her until the birth of a baby bear several years later, when he finally took the opportunity to flee from the cave. As soon as she discovered her husband’s escape, the she-bear chased after him with the cub in her arms. She hurried to the river, only to discover that he had already escaped on a raft. Flying into a rage, she tore the poor cub in two halves right on the spot. One half she threw to the hunter, and the other half she kept. From the former half the Ewenki descended, and from the latter the bear."www.google.com.pk/books/edition/Ritual_Civilization_and_Mythological_Cod/iVBqzQEACAAJ?hl=en
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Post by Montezuma on Sept 12, 2024 2:20:29 GMT -5
After some search, I have found some ancient Bear artefacts from Shang, Chu and Han dynasty which are very beautiful and important as both jade and bears were sacred for the Chinese. These are authentic artefacts as present in archeological collections and museums given with details of size, material and era of carving. Starting with some texts about bear in ancient Chinese artefacts first.
"In Shang times the bear was one of the favourite themes of Chinese artists and craftsman."books.google.com.pk/books?id=5m_rAAAAMAAJ&q=shang%20jade%20bear&dq=shang%20jade%20bear&hl=en&newbks=1&newbks_redir=0&source=gb_mobile_search&sa=X&ved=2ahUKEwj1w_-g2o6IAxWiZ_EDHXy_AYk4KBDoAXoECAcQAw#shang%20jade%20bear"Some stand on stilts and others on feet in animal form, often bear. The bear motif plays a prominent part in Han artefacts. Probably because of the strength of the bear, the form was fashioned as support for various structures. There are comparable examples to the bear motif. Men also appear in Han pottery granaries, shaped in different postures."books.google.com.pk/books?id=foUaEQAAQBAJ&pg=PA100&dq=The%20bear%20motif%20plays%20a%20prominent%20part%20in%20Han%20artefacts%20.%20Probably%20because%20of%20the%20strength%20of%20the%20bear&hl=en&newbks=1&newbks_redir=0&source=gb_mobile_search&sa=X&ved=2ahUKEwix6aHT8qaIAxVzR_EDHVnkMjAQ6AF6BAgLEAM#v=onepage&q=The%20bear%20motif%20plays%20a%20prominent%20part%20in%20Han%20artefacts%20.%20Probably%20because%20of%20the%20strength%20of%20the%20bear&f=false"Sometimes, models from the emperor's possessions were provided to the imperial workshops in a less direct manner. For example, in 1760, the emperor commissioned a white jade bear to be made after a bronze bear, which was recorded in the Xiqing gujian as a work of the Tang dynasty (618-907) but today generally believed to be a Han dynasty (202 BC-AD 220) piece." A preparatory drawing and a wooden prototype after the bronze bear were produced, and they were approved by the emperor before being sent to Suzhou as production guides for the white jade bear. Although the original model, the bronze bear, did not leave the Forbidden City, the final product came out as a very close copy of the original model. Details, such as the curves that form of flesh of the two bears, show great resemblance."books.google.com.pk/books?id=6BHIDwAAQBAJ&pg=PA88&dq=bear%20to%20be%20made%20after%20a%20bronze%20bear#v=onepage&q=bear%20to%20be%20made%20after%20a%20bronze%20bear&f=falseSome reliefs from Han people depicting dancing bears etc as written in details.
Balimiao (Yanggu, Shandong) M1, ca. AD 175 " The reverse (north) side of the central post has a space for captions which was never filled. The accompanying scenes depict Confucius meeting Laozi with Xiang Tuo, depicted as a child with a wheel toy, between them; Jing Ke’s attempted assassination of Qin Shihuangdi; a banquet (the excavation report identifies the scene as Confucius with Yan Hui, however the scene includes men on horseback carrying dead birds presumably for a banquet, drummers, dancing bears, musicians, a carriage with horses); a man beside a horse and carriage beneath a tree with entwined branches. The eastern (?) side of the central post also has a caption block that was never filled and panels depicting three men looking at a flame-like object (is this meant to be the story of “Killing Three Men with Two Peaches”?)." (p. 36)
Chulan (Suxian, Anhui) M2, AD171 "On the north wall of the shrine (from top to bottom) appear a geometric border; a procession with horses and a homage scene (?); several pavilions and towers surrounding a two-storied pavilion with birds and animals on the roof; servants (?); games being played inside the pavilion; a scene of homage inside the pavilion; a kitchen scene; banquet with groups playing games, etc.; musicians, acrobats, drummers with a drum stand in the form of a bear; procession, homage scene." (p.37)
Tomb of (the Consort of) Lord Feng (Tanghe, Nanyang Municipality, Henan), AD 18 "The south wall of the south long chamber (from left to right) depicts a kneeling man receiving the homage of bowing, kneeling, and prostrate men; musicians, acrobats; a guard, men meeting, drummers, a dancing bear, a man with a crossbow, wild animals. The north wall of the south long chamber shows a guard, men bowing, a pavilion flanked by towers, people seated at a table, servants or supplicants, an armed guard. The west wall of the west side chamber shows a man with a crossbow and another man with an axe." (p.42)
www.google.com.pk/books/edition/Han_Material_Culture/BAJEBgAAQBAJ?hl=en
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Post by Montezuma on Sept 12, 2024 2:24:20 GMT -5
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Post by Montezuma on Sept 12, 2024 2:28:56 GMT -5
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Post by Montezuma on Sept 12, 2024 2:33:14 GMT -5
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Post by Montezuma on Sept 12, 2024 2:40:57 GMT -5
Bear Western Han dynasty (206 Bc—aD 9)
Jade Height 4.8 cm; length 8 cm; weight 135.2 g Excavated 1975, Xinzhuang village, Zhouling commune, Xianyang city, Shaanxi province Xianyang Museum yang This bear was found in the same area as the two bixie, the bird and the immortal riding a celestial horse (cat. nos 19—21, 23). The jade is pure white and translucent. The bear is quite small with a large head, tightly closed mouth, ears flat against its head and round, expressive eyes, somewhat quizzical, staring directly ahead. Its four legs are postured as if it were walking. A few lines sketchily carved into the cheeks and legs indicate the pelt, in contrast to the sleek smooth carving. The sculptor has laid stress on the characteristics of the round head, robust body and clumsy stature, with the rather short limbs and fat front paws with sharp nails. It is carved with great naturalism and sensitivity. Bears were commonly depicted in the Han dynasty (though rarely in other periods) by both Chinese and nomadic tribes such as the Xiongnu on the borders of China! Bears inhabited the forests of northern China and ornaments with bears have been found as far north as Buryatia in Transbaikalia and as far south as the tomb of the King of Nanyue of 122 Bc in Canton. Bears were kept in imperial game parks, used in bear baiting and had an exorcistic role. A demon impersonator or exorcist ‘in his official function, wears over his head a bearskin having four eyes of gold and is clad in a black upper garment and a red lower garment. Grasping his lance and brandishing his shield, he leads the many officials to perform the seasonal Exorcism (No), searching through houses and driving out pestilences’.* The bear-like Chiyou, a god of war, performed exorcist ceremonies in times of drought.
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