Both the king and his consort were interred with outstanding offerings. They lay with their heads directed to the south, resting on lacquered wooden pillows ornamented with gold. A large bronze mirror and a gold hairpin in the form of a bird lay under the upper part of the king’s body, and he also wore golden earrings and a gold crown that would have been attached to a silk cap. A lacquered wooden footrest was decorated with strips of gold adorned with golden flowers. The coffins were of lacquered wood ornamented with gilt bronze rivets. Other grave goods included a lute, bronze wine cup, and sword of Chinese type almost a meter in length. A silver wine cup on a bronze stand had been decorated with scenes of mountains, flowers, and dragons.
The queen’s pillow was painted with animal designs and lotuses. Two carved phoenixes found lying adjacent to the pillow were probably once positioned at each side of the head, looking inward. Her clothes were evidently covered in tiny gold beads and flowers, and she wore silver and gold bracelets. A glass pendant of a young boy hung from her waist. The royal shoes were made of gilt bronze over soles bearing spikes, thought to have been designed to trample demons on their way to paradise.
Muye, Battle of The Battle of Muye, “shepherd’s field,” was the decisive trial of strength between the emergent Zhou of the Wei Valley and the shang state, the dominant dynasty of northern China that controlled the central Huang (Yellow) River Valley The Battle of Muye has been described as one of the major events in East Asian history, for it ushered in the longest dynastic rule in the history of China. The battle was fought in 1045 B. C.E., and a poem incorporated in the Classic of Odes (early Western Zhou dynasty) described the battle in dramatic fashion, giving a graphic account of the massive shang army with its battle standards thick as a forest and the gleaming power of the Zhou chariots as they put the shang to the sword. It was a seminal victory, leading to the establishment of the western zhou dynasty, although the leader, king wu, survived only two years. In 1976, the LI GUI, a ceremonial bronze vessel, was excavated. It contains an important text describing the battle and confirming descriptions contained in other documentary sources.
My Son My Son is a great ceremonial center in the CHAM CIVILIZATION kingdom in Vietnam, known as Amar-avati. It is located in a small valley and has a series of brick shrines set out in seven walled groups with many outliers. It was founded at least as early as the fifth century C. E. under a ruler known by the SANSKRIT title of Bhadravarman. An inscription in sanskrit records the gift of land to a temple dedicated to siva by this king. King Vikrantavarman initiated a major building program at My Son in the seventh century C. E. As do most temples of Champa and angkor, it has an exterior wall enclosing a single-chambered sanctuary. The temples were built of brick, and the exterior surfaces bore strip pilasters, false doors, and window niches. Further temples were erected at least until the reign of Jayaindravarman toward the end of the 11th century Temple E1 is particularly notable for the presence of fine Cham relief sculptures that belong to the early seventh century. Freestanding sculptures were also recovered from My Son, the earliest from Temple E5 and dating to the late seventh century. It portrays gane-SHA, the elephant god of wisdom. Indian inspiration is apparent in this fine statue, which stands almost a meter high. Ganesha is portrayed with four arms, and he holds a rosary, an ax, a bowl of sweets, and the root of a plant elephants are known to appreciate. He wears a complex decorated belt and a tiger skin.
INDIAN AND CAMBODIAN INFLUENCE
It was during this period that influence from the court of ISHANAVARMAN (r. c. 615-28 C. E.) in Cambodia at ishana-PURA was evident. The inspiration of Indian art and religion is also seen, for example, in a carved sandstone pediment more than two meters wide, illustrating Vishnu recumbent on the ocean of eternity, represented by a seven-headed serpent. A bearded ascetic watches the god from his side, and two figures grasp snakes in birds’ talons beyond his head and feet. The temple within was dominated by a large lingam representing Siva, which stood on a richly ornamented pedestal. Access to the top of this platform, which represents Mount Kailasa, the home of Siva, was by three steps. The outer walls of the pedestal incorporate a series of carved reliefs. One of these is regarded by Emmanuel Guillon as a masterpiece of Cham civilization art, showing three dancers wearing rich ornaments and holding scarves. Their jewelry includes multiple necklaces, belts, armlets, and heavy ear disks. Another scene shows an ascetic, seated between two columns, and playing a flute. In a third panel, an ascetic lies down while a novice massages his right leg.
Perhaps the same pair are seen elsewhere on the pediment, but this time the ascetic is lecturing while holding a fly whisk, and the pupil kneels in front of him, listening attentively Another ascetic has a different audience: He is out in the countryside, talking to animals. On the one hand, he turns and talks to a parrot, while a squirrel leans against a tree in front of him. A second statue of ganesha from Temple B3 again stresses the local attachment to this god. In this case, the elephant is portrayed seated. The complex was severely damaged during the Vietnam War by bombing, but many of the sculptures survive in the Da Nang Museum, formerly the Musee Henri Parmentier.
World History
