Interpreting Southeast Asia's Past: Monument, Image and Text

Chapter 17: Horses in the Dian Culture of Yunnan

225 Chapter 17 Horses in the Dian Culture of Yunnan TzeHuey Chiou-Peng Abstract The role of the horse in Dian culture and society in eastern Yunnan Province of China is examined incorporating data gained through archaeological and ethnographic studies. It is argued that complex movements of distinct communities in central and western Yunnan in the first millennium BCE brought a horse-riding people of mixed origins into the Lake Dian region who, ruling over earlier settled agriculturalists, created what is known in archaeology as the Dian Culture. Introduction The Bronze Age culture of eastern Yunnan (circa fourth century BCE to first century CE) is known through burial sites in the environs of the Lake Dian (Figure 17.1). Since the first systematic excavation Fig 17.1 Map of China, locating Yunnan, Lake Dian, and main regions mentioned in the text. (Drawing by author) 17 ISEA.indd 225 6/6/08 10:25:00 AM 226 TZEHUEY CHIOU-PENG in the 1950s at the type site Shizhaishan (Anon. 1959), a series of archaeological activities conducted at the same locale and in nearby regions (Jiang Zhilong 2002; Yunnansheng Bowuguan 1975; Yunnansheng Wenwu Kaogu Yanjiusuo et al. 1998, 2001a) have produced a remarkable collection of grave goods, among which are rare bronze types seen for the first time in eastern Asia. Although data on habitation sites in the area are practically unknown, archaeologists have been able to interpret certain aspects of the culture on the basis of burial items and tomb contexts, because a great number of the excavated bronzes display vivid, detailed renditions of genre scenes on a wide spectrum of subjects. These artifacts have visually documented the life and history of a non-literate society that would not have been easily understood otherwise. The assemblage of mortuary materials taken from sites near Lake Dian consisted of an array of artifact types in lacquer, stone, and metal. Among the exceptional items are the bronze kettledrums typical of the wet rice-cultivating cultures in parts of southwest China and the Dong Son culture of Vietnam. These artifacts, called ‘Shizhaishan Drums’ in China, are better known in the West as Heger Type I drums. Of particular interest is that a few of these musical instruments were used in inverted position in the graves to store cowrie shells, which were imported marine species from southern oceans (Li Yunjin 1997; Pirazzoli-t’Serstevens 1992). A number of these drum-containers were placed alongside other cowrie receptacles, some of which may be lidded with realistic narrative scenes in threedimensional forms, for example, gilded figures of elite warriors (Figure 17.2) and women. Additional innovative items include intricate openwork plaques in high relief created with lost-wax casting process. A good number of these are embellished with lifelike animal and human forms in various activities (Figure 17.3) while others show interlocking figures of animated herbivorous and carnivorous animals in life-and-death struggle (Figure 17.4). These relief plaques remind one of the ‘animal style’ arts of the mounted nomads in the steppelands of Central Asia. However, the stylistic features and iconographic details of the figural elements suggest local manufacture. Fig 17.2 Gilded warrior in battle scene on top of cowrie container Shizhaishan M13:2. (From Yunnansheng Bowuguan 1981: 30) 17 ISEA.indd 226 6/6/08 10:25:04 AM 227 HORSES IN THE DIAN CULTURE OF YUNNAN Fig 17.3 Plaque showing stag hunt. (Reprinted with permission from Anon. 1995: 108) Fig 17.4 Plaque of felines attacking a boar. (From Anon. 2004: 175) 17 ISEA.indd 227 6/6/08 10:25:12 AM 228 TZEHUEY CHIOU-PENG These distinct openwork plaques have been subjects of speculation. Since all of them have a hook attached to the back, it is possible that they were used as decorative items or for display. The exact function of these items cannot be deciphered solely with reference to burial contexts. On the other hand, the iconographic details in the animal scenes are equally intriguing. It is observed that the victims in the animal fights frequently are images of herbivores, including cattle, deer, sheep, and goats, all of which have been identified as local species. However, the repertoire of the combating animals never includes horses, which instead are modeled as domestic animals and frequently as riding horses in different genre scenes. Of all the relief animal plaques, around one quarter show riding horses, which...