From Sacred Rituals to Silver Screens: The Enduring Allure of the Boshan Censer

Today, we’ll talk about a 2,000-year-old gilt-bronze incense burner known as the Boshan Censer from the Western Han Dynasty, which is currently bridging ancient history with contemporary storytelling due to its connection to the recent blockbuster film Nezha 2.

Transcript

From Sacred Rituals to Silver Screens: The Enduring Allure of the Boshan Censer

Today, we’ll talk about a 2,000-year-old gilt-bronze incense burner known as the Boshan Censer from the Western Han Dynasty, which is currently bridging ancient history with contemporary storytelling due to its connection to the recent blockbuster film Nezha 2.

Amidst the wave of excitement surrounding the hit movie Nezha 2, the Boshan Censer has unexpectedly captured the public’s attention due to its striking resemblance to a key item in the film, the “Seven-Colored Treasure Lotus.” After the catastrophe at the end of Nezha 1, although Nezha and his friend Aobing's souls were preserved, their bodies were on the verge of disintegration. To restore them, Taiyi Zhenren, Nezha’s master, devised a plan to reconstruct their bodies using the seven-colored lotus. So, in the beginning of Nezha 2, the seven-colored lotus appears. 

Since the film is such a hot topic, having become the top grossing animated film of all time, it’s no surprise that the Hebei Museum, where the incense burner is on display, is unusually crowded with curious visitors. So, let’s learn about the background of this ancient artifact that, more than 2,000 years after its creation, still sparks such widespread interest. 

In 1968, a small engineering unit of the People’s Liberation Army was conducting construction work near Mancheng, not far from Baoding in Hebei Province. After a mountain blasting operation, the unit discovered that one soldier had gone missing. Eventually, they found that the soldier had fallen into a cave. The engineering unit quickly reported the incident to their superiors, and this strange cave quickly garnered a great deal of attention from higher leadership.

The cave was exceptionally large and contained many treasures, including bronze ware, jade artifacts, pottery, and other ancient valuables, resembling a “treasure trove” that had remained unopened for thousands of years. Experts from the Hebei Provincial Bureau of Cultural Relics secretly came to inspect the site. Through inscriptions on the bronze ware, they discovered that this was a burial site of a king from the Zhongshan Kingdom over 2,000 years ago.

Historically, there were two Zhongshan Kingdoms. One was established by northern ethnic minorities during the Warring States period, during which the script used was either large seal script or bronze inscription script. However, the inscriptions on the bronze ware discovered this time were in Han clerical script, confirming that this was not from the Warring States period but rather a Han Dynasty tomb of the Zhongshan Kingdom.

Because the Han Dynasty was known for its lavish burial customs, tombs from that era were often filled with abundant burial goods. As a result, many Han tombs were looted long ago. Back in 1968, no intact pristine Han tomb had been discovered by archaeologists nationwide. Moreover, the owner of this particular tomb was a person of very high status, so how had it remained untouched?

The reason lies in its unique construction. Unlike other Han tombs, it was built into a mountain, making it a cliff tomb – a natural cave repurposed for burial. Among Han emperors, only Emperor Wen of Han had used a similar burial site.

As mentioned earlier, the soldier who fell into the cave was difficult to locate because the cave measured 6.8 meters from floor to ceiling, with an interior space resembling that of a grand ballroom. It held thousands of burial items, complete with a main chamber, passageways, and side rooms to the north and south, resembling multiple rooms within a vast space.

The discovery of such a high-status Han tomb was undoubtedly major news. However, 1968 was a special time in modern Chinese history, and the question arose: should such a high-profile Han tomb be excavated or not? Could it lead to more upheaval? This highly sensitive dilemma landed on the desk of Premier Zhou Enlai of the central government.

Zhou Enlai consulted Guo Moruo, then president of the Chinese Academy of Sciences. Upon learning of the discovery, Guo Moruo recognized it as a significant archaeological opportunity. He decided to assemble a joint excavation team consisting of the Institute of Archaeology of the Chinese Academy of Sciences, the Hebei Provincial archaeological team, and the People’s Liberation Army. This tripartite team conducted a secret excavation of the tomb.

Once the formal archaeological excavation began, progress advanced rapidly. A large number of bronze artifacts were unearthed, and one piece in particular bore an inscription marking the “34th year” without any era name. The question arose: which king of Zhongshan’s 34th year was this? Based on historical records of the Han Dynasty’s Zhongshan Kingdom, there were a total of ten successive kings of Zhongshan. However, only the first king, Liu Sheng, the Jing King of Zhongshan, had a reign that exceeded 30 years, lasting 40 years. This led to the conclusion that the tomb’s occupant was Liu Sheng, the Jing King of Zhongshan.

Liu Sheng is a familiar figure to many because one of his descendants was the famous Liu Bei, who claimed to be a descendant of Liu Sheng and became the ruler of the Shu Kingdom during the Three Kingdoms period. Liu Sheng was the half-brother of Emperor Wu of Han and was enfeoffed as the King of Zhongshan by Emperor Jing of Han. Historical records about him are sparse, but he’s described as being “fond of wine and women”.

He is said to have had over 120 sons, an astonishing number that is specifically noted in historian Ban Gu’s Book of Han. While this may seem unbelievable, it is understandable given that Liu Sheng had little to do in his role as king, spending his time drinking, indulging in pleasure, and fathering children. With so many sons, Liu Bei’s claim to be a descendant of Liu Sheng becomes even harder to verify or disprove.

Politically, Liu Sheng was well aware of delicacy of imperial power. To avoid being drawn into the power struggles of the court, he adopted a strategy of self-preservation, focusing his energy on enjoying life. Whenever officials tried to discuss court affairs with him, he would deflect the conversation with various excuses, unwilling to involve himself too deeply.

However, Liu Sheng was not entirely without accomplishments. During his 42-year reign over the Zhongshan Kingdom, he devoted himself to developing the economy of his fiefdom, ensuring a relatively stable life for the local populace. The numerous exquisite artifacts unearthed from the Mancheng Han tomb reflect the luxurious lifestyle Liu Sheng led and his pursuit of culture and the arts.

During the excavation process, the archaeological team meticulously cleaned every corner, careful not to overlook any important clues. As the excavation progressed, a wealth of precious artifacts gradually came to light, offering a more vivid understanding of the history and culture of the Western Han Dynasty.

Among these treasures, the Gilt Bronze Boshan Censer lay quietly in one of the burial chambers. As a prized artifact unearthed from the Mancheng Han tombs, the Boshan Censer vividly reflects the lifestyle and cultural tastes of Liu Sheng.

The Mancheng Han tombs consist of two separate tombs belonging to Liu Sheng, the King of Zhongshan, and his wife, Dou Wan. Together, they yielded a total of 10,633 artifacts, including over 4,000 exquisite pieces. The Gilt Bronze Boshan Censer, a heavyweight among these relics, stands alongside the Jade Burial Suit Sewn with Gold Thread and the Changxin Palace Lantern as the highlights of the Mancheng Han tombs. These artifacts are not only numerous and diverse but also exquisitely crafted, showcasing the highly materialistic civilization of the Western Han Dynasty’s golden age and the wisdom and creativity of the laboring people of that time.

The Gilt Bronze Boshan Censer holds a significant place among the many artifacts unearthed from the Mancheng Han tombs. Its craftsmanship is nothing short of extraordinary, leaving one in awe of the ancient artisans’ exceptional skills. The censer stands 26 centimeters tall and is entirely cast in bronze. Its body is shaped like a dou, a type of ancient vessel, with a tall, pointed lid that mimics the legendary mythical mountain of Boshan – a sacred mountain in the sea, which gives the censer its name.

The lid of the censer is adorned with undulating mountain peaks and swirling clouds, with various wild animals running and playing among them. Upon closer inspection, the details are strikingly lifelike: a small deer turns its head warily, as if sensing danger; a tiger bares its claws, seemingly ready to pounce on its prey. These animal figures are rendered in both relief and full-round sculpture, creating a rich sense of depth and dimension.

What makes it even more remarkable is the intricate gold inlay on the body of the censer. The gold threads are smooth and flowing, adding a mysterious and luxurious aura to the entire Boshan Censer. The gold-inlaying technique was highly complex at the time. Artisans had to carve grooves into the surface of the object, embed gold threads into them, and then polish the surface to ensure the gold threads adhered perfectly, achieving this exquisite and unparalleled effect.

In ancient times, the Boshan Censer was not merely a decorative item; it held profound cultural significance and was closely tied to the beliefs and daily lives of people. During the Han Dynasty, people sought immortality and yearned for the realm of the immortals. The Boshan Censer, modeled after the mythical mountain in the sea where immortals resided, symbolized this sacred place. When incense was burned in the censer, the curling smoke rising through the mountain peaks seemed to carry people’s prayers to the celestial realm, embodying the ancient longing for eternal life and a better existence.

At the same time, it was also an essential object in the lives of the nobility. In that era, burning incense was considered a refined and elegant practice. Since ancient times, Chinese literati have spoken of the “Four Arts of Life” or “Four Gentlemen’s Pastimes”: burning incense, tasting tea, hanging paintings, and arranging flowers. Among these, burning incense ranked first. Whether in the imperial court or the mansions of the nobility, people enjoyed burning incense during other activities such as reading, playing the guqin, or hosting a banquet. As an exquisite incense burner, the Boshan Censer not only released fragrant smoke to purify the air but also created an atmosphere of elegance and tranquility, showcasing the owner’s status and taste.

From the moment it was unearthed, the Gilt Bronze Boshan Censer received meticulous care from archaeologists and cultural heritage conservators. To ensure its long-term preservation, experts employed various advanced conservation techniques. After restoration and protective treatment, its surface was carefully maintained, and the intricate gold-inlaid patterns remain clear to this day.

Today, the Gilt Bronze Boshan Censer is housed in the Hebei Museum, where it stands as one of the museum’s most treasured artifacts. In the exhibition hall, it is displayed in a specially designed case with controlled temperature, humidity, and lighting conditions. Every day, visitors from across the country come to admire its beauty and craftsmanship. The museum also regularly hosts exhibitions and events to introduce the history and cultural significance of the Boshan Censer, allowing more people to learn about the stories behind this precious artifact.

The Gilt Bronze Boshan Censer, an artistic treasure that has traveled through time from the Western Han Dynasty, is not only an exquisite piece of craftsmanship but also a vivid historical textbook. It bears witness to the great civilization of ancient China and carries the wisdom and emotions of its people. With the renewed interest sparked by Nezha 2, it has re-entered the public eye, inspiring a deeper fascination with cultural relics. Hopefully, in the future, it will continue to help more people appreciate the profound depth of traditional Chinese culture. 

If you ever have the opportunity to visit the Hebei Museum, don’t miss the chance to see it in person and experience its unique charm. Standing before it, gazing at its intricate designs, you might feel as though you have traveled through time, returning to the legendary era of the Western Han Dynasty.

Well, that’s the end of our podcast. Our theme music is by the famous film score composer Roc Chen. We want to thank our writer Song Yimin, translator Wang Yuyan, and copy editor Pu Ren. And thank you for listening. We hope you enjoyed it, and if you did, please tell a friend so they, too, can understand The Context.