In my previous lecture, I spoke about the struggle for royal power in Hongshan culture. After the Chi You clan lost control of royal authority, they fled south.
During this migration, one branch went to Sanxingdui in Bashu, and they left in great haste. The bronze-alloy weapons and royal ritual objects were brought to Sanxingdui and buried there quickly.
These Sanxingdui bronzes are a type of high-technology alloy from the Hongshan period. Because they were made with alloys mixed with nickel from meteorites, they display a vivid green patina and can even be magnetic. Today’s director of the Sanxingdui Museum and many cultural relic scholars do not understand this principle.
Later, because some people believed these objects belonged to an unknown ancient civilization, they were preserved. Since their age and origin could not be determined, and their strange forms were difficult to explain, many incorrect speculations arose. Some claimed they came from Egyptian civilization, others from the Middle East—complete nonsense.
At that time, Chinese “experts” could not find remains of the Xia dynasty and were influenced by Western theories, leading them to deny the existence of the Xia dynasty and recognize only the Shang dynasty. Because Shang sites had been discovered, they fell into this trap and wrongly identified Shang as China’s earliest dynasty, mistakenly classifying Sanxingdui as Shang civilization.
This error has continued to the present day through textbooks, causing Sanxingdui to be widely regarded as Shang culture. As for where Sanxingdui came from and what kind of civilization it represents, today’s experts can only label it as a “mystery.”
In fact, Sanxingdui originated from Huaxia’s native Hongshan culture. Through the unforgeable tool marks of Hongshan artifacts, we have identified more than 140 different materials used in Hongshan culture. Many Sanxingdui-shaped artifacts clearly share key totemic elements with Hongshan culture.
Across different materials and artifact forms, we can observe internal tool marks that cannot be replicated with modern technology. The Sanxingdui divine figures also display round eyes, representing first-generation humans. Some unqualified older scholars, pretending to understand what they do not, mistakenly identify these figures as belonging to the Qijia culture, revealing their incompetence.
We can definitively prove that Sanxingdui’s origin lies in Hongshan culture, not the Shang dynasty. Sanxingdui represents a high civilization of Hongshan royal authority.
One Sanxingdui jade human head bears a Liangzhu divine emblem, specifically an early form of it. This proves that Sanxingdui, Liangzhu, and Hongshan cultures are inseparably linked in a single lineage.
Using Hongshan prehistoric tool marks for identification and further analytical reasoning, we reach the conclusion that the divine figures of Sanxingdui represent Hongshan royal authority, while so-called Liangzhu culture is actually a special divine emblem system of Hongshan royal power. This explains why these three cultures appear together—they represent a prehistoric reorganization of civilization.
Thus, when we review this framework, we understand that during the great escape of Hongshan royal power under the Chi You clan, one group went to Liangzhu in Hangzhou, one to Sanxingdui in Sichuan, and one retreated into the deep mountains, becoming today’s largest ethnic minority—the Yi people.
Although Lingjiatan artifacts resemble Hongshan jade forms, none display Liangzhu divine emblems; instead, they feature star-shaped symbols. Therefore, Lingjiatan culture represents a commoner branch of Hongshan, unrelated to royal authority.
Just as in later history only royalty could use dragon totems, prehistoric Hongshan society also distinguished between royal and commoner classes. Commoners were not permitted to use Liangzhu divine emblems.
Later, Lingjiatan culture also migrated to Liangzhu, creating further cultural branches. This framework explains the diversification of Hongshan culture.
The chart also shows that one Hongshan branch crossed the ocean to New Zealand, where their descendants inherited Hongshan culture and mined jade from mountain ranges to carve pendants. One such artifact is a Liangzhu-style jade cong owned by a Māori chief. Jade cong culture exists only in Huaxia China.
They also carved jade Sun God figures as pendants. These Māori jade pieces show Hongshan-style internal tool marks.
The New Zealand government once highly valued Māori jade and sent delegations to China seeking ancestral connections. Unfortunately, no museum directors specializing in Hongshan, Liangzhu, Sanxingdui, or related cultures engaged with them. Only the Nanjing Museum participated, disappointing the Māori delegation and missing a crucial opportunity for cultural reconnection.
In the future, we must engage with the Māori people and invite them to reconnect with their ancestral origins.
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