Yuexiu District (part 3)

Day Three

Woke up early at about 8am for breakfast.

McDonalds Breakfast

The McDonalds restaurant is just located 5-mins walk from my hotel, so naturally it was the best choice for my breakfast (left photo below). Got myself a grilled chicken muffin and black coffee (right photo below). Total cost for this fast-food breakfast was CNY 16.50.
Museum of the Mausoleum of the Nanyue King (西汉南越王博物馆)

The Museum of the Mausoleum of the Nanyue King is a large archaeology museum which houses the 2,000-year-old tomb of Zhao Mo who was the second ruler of Nanyue Kingdom (photo below). Occupying a total area of 17,400 square meters, the museum comprises of three main sections: the reception building, the tomb protection zone, and the main exhibition building.

This museum is currently designated as 'National First-grade Museum' (国家一级博物馆) together with other 130 museums in China.

A Glimpse into History

The tomb of Nanyue King lies on the Elephant Hill (象岗) in the north-west corner of Ancient Panyu City. The hill was originally 49.71-meters above sea level, but was lowered by 17-meters between 1980 to 1983 to build apartments. When the foundations were dug, a tomb that was located approximately 20-meters deep in the core center of Elephant Hill was accidentally discovered in June 1983.

To preserve and showcase the tomb and its unearthed artifacts, the Guangzhou government decided to establish a museum on the original site. It was opened in 1988 but fully completely in 1993. On 08 Sep 2021, the "Museum of the Mausoleum of the Nanyue King" was then merged with the "Museum of the Nanyue Palace Site" to form the "Nanyue King Museum" that exhibits the archaeological discoveries and relics of ancient Nanyue Kingdom.

Original Site of the Tomb

The original tomb, designated as the tomb protection zone, is now covered by a funnel-shaped steel-framed glass canopy (left photo below). The tomb's layout forms a cross-shaped plan, combining vertical pit and horizontal tunnel designs oriented from north to south (right photo below).



The tomb measures 10.85-meters in length, up to 12.48-meters in width and highest point being 2.3-meters tall. The total floor area covered about 100-square meters (left photo below). Over 750 red sandstone blocks were used in its construction, and the Antechamber itself had a huge roof stone slab that weigh about 4-tonnes (right photo below).
More than 1,000 burial artifacts were found intact and scattered in various tomb chambers. The tomb, comprising of seven distinct chambers with different functions, was separated by a stone door where the front part has 3 chambers and its rear has 4 rooms:


Chambers	Function(s)	Examples of Relics Found
Antechamber (前室)	Symbolizing the king's reception hall.	Chariot and Horse fittings.
East Side Chamber (东耳房)	Storeroom for ritual objects, musical instruments and banquet utensils.	Percussion instruments, String instruments, bronze wine vessels, chess set.
West Side Chamber (西耳房)	Functioned as a royal treasury.	Gold, silver, bronze, iron, jade, glass, and textiles.
Main Coffin Room (主棺室)	Contained the coffin of the king.	Jade burial suit, jade seal and gold seal.
East Side Room (东侧室)	Burial site for the king's four concubines.	Jade jewelery, bronze mirrors and some funeral objects.
West Side Room (西侧室)	Quarters for sacrificial servants.	Bones of the two human sacrifices in the north are mixed with the bones of pigs, cattle and sheep.
Rear Storeroom (后藏室)	Storeroom for cooking utensils and food vessels.	More than 100 large bronze and iron cooking vessels.

Treasures from the Tomb of Nanyue King

For a better preservation of the treasures, the rare relics found in the tomb were carefully moved out from the tomb and displayed in the exhibition building next to the tomb (left photo below). "The Nanyue Treasures - Exhibition of Unearthed Relics from Nanyue King Tomb" is the principal exhibition of the museum (right photo below).

• Burial Customs of Nanyue King
  
  
  
  According to historical records, it was the tradition for royal members in Han Dynasty to be buried in ceremonial suit made of jade pieces. Such practice was believed to prevent the corpse from rotting away, ward off evil, and to secure immortality for the tomb occupant.
  
  The most striking piece of relic is definitely the Jade Burial Suit (photo below). It is the earliest complete jade suit discovered to date and only silk-threaded jade suit found nowhere in China. The suit is 1.73-meters long and composed of 2,291 jade pieces woven together with silk threads and affixed to a linen backing. The original silk and linen had decayed after two millennia. Archaeologists spent three years meticulously reconstructing the suit, with modern silk threads and linen added to restore its integrity.
  
  
  A total of 47 jade "bi" (玉璧), or discs, were ritually arranged around Zhao Mo's body in specific positions and layered configurations (photos below). This practice exemplifies the institutionalized Han Dynasty tradition of enveloping the deceased with jade objects.
  
  
  
  
  The king's burial coffin consisted of an inner coffin known as "guan" (棺) nested within by an outer coffin known as "guo" (椁). Both were crafted from lacquered wood and painted with auspicious patterns on the outside. After two millennia, the wood had completely decayed, leaving only archaeological traces. Based on these remains, the outer coffin measured approximately 3.3-meters long and 1-meter wide, while the inner coffin was about 2.2-meters long and 0.75-meters wide. The exhibition displays a scientifically reconstructed model of the coffin structure and ring-pulls which were meticulously recreated based on the archaeological evidences (left photo below).
  
  Besides jade, eight gold foil ornaments were also discovered. These foils were sewn onto a silk veil that was used to cover the face of the king. Also, there was a silk blanket with gold, silver and glass beads that covered the king's corpse (right photo below).
  
• Highlights on some of the Nanyue King's Treasures
  
  
  
  There were more than 1,000 artefacts excavated from the tomb, including 500 pieces of Chinese bronzes, 240 pieces of Chinese jade and 246 pieces of metals. Following are some of the selected treasures from the exhibition:
  

  Administrative Seal of Emperor Wen (文帝行璽)	Jade Seal of Zhao Mo (赵眛玉印)	Horn-Shaped Jade Cup (角形玉杯)
  Period: Nanyue Kingdom (203 – 111 BC) Material: 98% pure gold Dimensions: 3.1-cm wide x 148.5 grams Significance: Largest gold seal with dragon knob found from Western Han period. The inscription in the seal testifies that the tomb master is the Emperor Wen of Nanyue Kingdom.	Period: Nanyue Kingdom (203 – 111 BC) Material: Jade Dimensions: 2.3-cm wide Significance: This personal name seal inscribed with "Zhao Mo" was found on the king's body. This testifies that the king, who was known as "Zhao Hu" in the historical records, might have had two names.	Period: Nanyue Kingdom (203 – 111 BC) Material: Jade Dimensions: 18.4-cm x 5.8–6.7 cm wide Significance: The only known surviving angular jade cup from high antiquity, this artifact synthesizes every major jade-working technique of its era. ⛔ Forbidden to be Exhibited Abroad
  Jade Openwork Disk with Dragon and Phoenix (透雕龙凤纹重环玉佩)	Jade Ornament with Monster Mask (兽首衔璧玉佩)	Tiger-shaped Tally (虎符)
  Period: Nanyue Kingdom (203 – 111 BC) Material: Yellowish-white Nephrite Dimensions: 10.6-cm wide x 0.5-cm thick Significance: The intricate openwork carving, harmonious balancing mythical creatures within rigid geometry, and emotive interplay between the dragon and phoenix showcase unparalleled craftsmanship. This design was selected to be the emblem of this museum.	Period: Nanyue Kingdom (203 – 111 BC) Material: Pale green Nephrite Dimensions: 8.9-cm wide x 0.4-cm thick Significance: Carved from a single block of pale green nephrite with a rectangular animal head in the center and a disc handing from its nostrils. The design breaks the traditional symmetrical rules.	Period: Nanyue Kingdom (203 – 111 BC) Material: Bronze Dimensions: 19-cm long x 11.6-cm high Significance: This crouching tiger-shaped tally features 60 gold-leaf inlays meticulously pressed into crescent-shaped grooves to replicate fur patterns, while its obverse bears a five-character gold-inlaid inscription "王命命车驲" meaning "the King's Orders to Muster the Troops".
  Dancing Figure (圆雕长袖玉舞人)	Silver Box with embossed petal motif (凸瓣纹银盒)	Han-style Bronze Tripod with Inscription of "Pan Yu" ("番禺"汉式铜鼎)
  Period: Nanyue Kingdom (203 – 111 BC) Material: Sapphire Dimensions: 3.5-cm tall Significance: The figurine's suspended motion and intricate drapery folds transcend ritual symbolism, offering a rare glimpse into the performative arts of the Western Han court.	Period: Nanyue Kingdom (203 – 111 BC) Material: Silver Dimensions: 14.8-cm wide x 12.1-cm tall Significance: Technical and stylistic alignment confirms its origin as an overseas import, likely from the Persian or Hellenistic world. It stands as crucial material evidence of cultural exchange between China and the Western regions.	Period: Nanyue Kingdom (203 – 111 BC) Material: Bronze Dimensions: 18-cm wide x 21-cm tall Significance: Inscribed with the characters "Pan Yu Shao Nei" (番禺少內). "Pan Yu" (番禺), was the ancient name of Guangzhou City. "Shao Nei" was the name of a Qin official in charge of finance.
  Chu-style Tripod (楚式鼎)	Bronze and Jade Cup (鎏金铜框玉卮)	Jade Drinking Cup for Collecting Sweet Dew (铜承盘高足玉杯)
  Period: Nanyue Kingdom (203 – 111 BC) Material: Bronze Dimensions: 42-cm tall Significance: Only Chu style tripod found in the Mausoleum. It has a big round body and 3 long hoofed-legs that are engraved with sheep head patterns.	Period: Nanyue Kingdom (203 – 111 BC) Material: Bronze Dimensions: 8.6-cm wide x 12.6-cm tall Significance: This artifact features a gilded bronze frame embedded with nine pale green jade panels. Its base consists of a single circular jade disk, while the accompanying lacquered wooden lid is adorned with three crescent-shaped jade inlays.	Period: Nanyue Kingdom (203 – 111 BC) Material: Jade, Gold, Silver, Bronze & Wood Dimensions: 23.6-cm wide x 17-cm tall Significance: The cup rests upon a separately carved jade base, which in turn is supported by a wooden spacer. A perforated petal-shaped jade mount encircles the cup's midsection, connected to the bronze tray below by three dragons featuring gold heads and silver bodies.
  Bronze Bucket with Boating Paintings (船纹铜提筒)	Top Rose Finch (朱雀鎏金铜顶饰)	Top Ornament with Double-faced Monster (双面兽首鎏金铜顶饰)
  Period: Nanyue Kingdom (203 – 111 BC) Material: Bronze Dimensions: 35.5-cm wide x 40.7-cm tall Significance: This is the most delicate one of the 9 bronze buckets of different sizes unearthed. There are four paintings reflecting a fleet returning in triumph with the most complete draft of a ship among archaeological findings.	Period: Nanyue Kingdom (203 – 111 BC) Material: Glided Bronze Dimensions: 24.5-cm wide x 26.4-cm tall Significance: Part of the five bronze types from the decayed folding screen. Decorated on top crossbeam of the screen, the rose finch was believed to be a god of Southern China. The erected socket on the bird head was to hold pheasant feathers. ⛔ Forbidden to be Exhibited Abroad	Period: Nanyue Kingdom (203 – 111 BC) Material: Glided Bronze Dimensions: 56.3-cm wide x 16.7-cm tall Significance: Part of the five bronze types from the decayed folding screen. The ornament was inserted in the wood beam on top of the screen. The image is the face of a monster with two horns on its head. ⛔ Forbidden to be Exhibited Abroad
  Bronze Screen Support with Snakes (蛇纹鎏金铜托座)	Screen Support with a Yue Warrior (人操蛇鎏金铜托座)	Screen Support with Dragon and Frog (蟠龙鎏金铜托座)
  Period: Nanyue Kingdom (203 – 111 BC) Material: Glided Bronze Dimensions: 16.2-cm tall Significance: Part of the five bronze types from the decayed folding screen. This support was used to hold the lacquered screen under the screen door. It is a typical example of local culture since snakes are one of the totems of the Yue people. ⛔ Forbidden to be Exhibited Abroad	Period: Nanyue Kingdom (203 – 111 BC) Material: Glided Bronze Dimensions: 15.8-cm wide x 31.5-cm tall Significance: Part of the five bronze types from the decayed folding screen. Its upper part is a right-angled triangle that fits the screen corner, and the lower part is the figure of Yue man with bulging eyes, holding five snakes in his hands and mouth. ⛔ Forbidden to be Exhibited Abroad	Period: Nanyue Kingdom (203 – 111 BC) Material: Glided Bronze Dimensions: 27.8-cm wide x 33.5-cm tall Significance: Part of the five bronze types from the decayed folding screen. It is composed of the images of a dragon, two snakes and three frogs. The combination of these three images in one piece of craft signifies the unification of cultures in the Nanyue Kingdom. ⛔ Forbidden to be Exhibited Abroad

  Note:
  
  The tag " ⛔ Forbidden to be Exhibited Abroad " is a list tabulated by "State Administration of Cultural Heritage" of China since 2003 that prohibited cultural relics from being taken abroad for exhibition. These items are among the most important excavated treasures in China, and have a particular historical, cultural or artistic significance.
  
  Wondered what the wooden folding screen would look before its deterioration? There were replications in the museum that showcased the former glory of its glided parts (left photo below) and a replica of the lacquered folding screen measuring 3-meters wide and 1.8-meters tall (right photo below).
  
• Some of my Favorite Relics
  
  
  
  Many ancient artifacts still adore us in modern times through their innovative and ingenious design. Among the many relics, three of them left me with the deepest impression, i.e. the BBQ pit, ginger shredder and the meat hook.

  Bronze Oven (铜烤炉)
  It features a frying pan on the upper layer and a compartment for coal on the lower layer. The four corners of the oven are tilted upwards to prevent rolling of tongs and other cooking tools. Four wheels are installed under the bottom for convenience of movement. Interestingly there are air vents on all four sides just like a modern BBQ pit (left photo below). Evidence of soot on the oven indicated its use for cooking, possibly for a final meal before the king's burial. The barbecue set and other food-related artifacts provided valuable insights into the social and cultural life of the Lingnan region during the Western Han Dynasty (right photo below).
  Bronze Ginger Shredder (铜姜礤)
  This was a tool for making ginger slices and ginger juice some 2,000 years ago (left photo below). Its upper part is a rectangular groove with small spikes to rub the ginger while the lower part is hemispherical with holes in the middle for ginger juice to leak out (right photo below). The upper part has a hanging loop for easy hanging and storage and four short feet on the back of the groove to facilitate the easy grinding of ginger when it is placed flat. Isn't this the same as the one we are using now?
  Bell-shaped Bronze Meat Hook (铜挂钩)
  The bronze hooks are composed of a chain, with an upside-down bell-shaped holder for keeping water against ants, and a hook for hanging fish and meat (left photo below). It can be tied with a string and hang on a hook. The cup was filled with water and secured the top to a high place. This will prevent ants from stealing the food. If the ants try to wade through the water, they will be drowned. This not only deters ants, but also other reptiles from stealing the food (right photo below).

Special Exhibition: Fragrance of Liquor — The Song Dynasty Official Liquor Cellar in Guangzhou and Chinese Liquor Culture《酒香飘四海—宋代广州公使酒库与中国酒文化》

This special exhibition, on display from 14 Sep to 22 Dec 2024, centred on the discovery and research of the Song Dynasty official liquor cellar in Guangzhou and featured 306 items, including archaeological finds related to liquor brewing, storage, distribution, and drinking (photos below).
Wine jars from Tang Dynasty (left photo below) and Yuan Dynasty (right photo below) were on loan from various museums in China.


Besides wine jars, drinking bowls (left photo below) and wine jar sealing mud (right photo below) were displayed.
At one corner of the exhibition hall, visitors were greeted by an ancient wine shop (left photo below). What caught my attention was the large map showing the ship routes traveling between the East and West from Guangzhou during the Northern Song Dynasty (right photo below). Included in the map were the locations of archaeological evidences, such as Hong Kong's Kowloon Hill site, the Java Sea shipwreck in Indonesia, and Singapore's Fort Canning site.

Exhibition of Ceramic Pillows Donated by Yeung Wing Tak Couple (杨永德伉俪捐赠藏枕专题陈列)

More than 200 ceramic pillows were donated by Mr and Mrs Yeung Wing Tak to the museum in 1992. This extraordinary gift, remarkable for its quantity, diversity, and representation of kilns across China, formed the cornerstone of China's largest and most refined collection of historical ceramic pillows. Since the donation, the museum began the long trip to enlarge its collection of ceramic pillows.

The ceramic pillow first appeared during Sui Dynasty, and became popular in Tang, then was on the wane after its period of prosperity in Song, Jin and Yuan Dynasties. Following are some of the relics displayed in the exhibition:


Tang Dynasty
Although the very earliest ceramic pillow was found in a tomb of Sui Dynasty, many more ceramic pillows appeared in Tang Dynasty, which may indicate the fact that ceramic pillow had become popular at that time. Cloud-shaped pillow with marbled flower-heads design under yellow glaze Squarish pillow with florets design stamped under sancai glaze
Song Dynasty
Owing to the prosperous culture, Song Dynasty was the heyday of ceramics. The ceramic pillows were mainly from the folk kilns, and also used by ordinary people. Cloud-shaped pillow with kylin design in black on white background Ingot-shaped pillow with florets design stamped on white slip coating Ru ware cloud-shaped pillow with pale blue glaze
Liao Dynasty
Sancai-glazed ceramic pillow in Liao Dynasty was extremely characteristic and no doubt with a higher artistic quality than those made during Tang Dynasty. Cloud-shaped pillow with incised peony design under sancai glaze
Jin Dynasty
With the development of calligraphy and painting, the folk craftsmen tried combining these two arts into the ceramic pillow's decoration. Though couldn't reach far what the literati called "moral standard" and "artistic conception", these ceramic pillows got a brand new aesthetic attribute. Pillow in shaped of child holding lotus leaf with sgraffiato peony scroll glaze on iron brown coating Lion-shaped pillow with green glaze Tiger-shaped pillow with flying goose and walking tiger design under black and brown glaze
Yuan Dynasty
Landscape painting usually appeared on the ceramic pillows as a story's background conveying people's different emotions. Lotus leaf-shaped pillow with incised floral design under greenish white glaze Rectangular pillow with iron brown figures in landscape scene on white slip coating
Ming and Qing Dynasties
After the Ming and Qing Dynasties, the production of ceramic pillows had decreased sharply because of recession in demand. Squarish pillow with bird-flower design in famille rose

Museum Admission

Admission at CNY 10 can be purchased at the counter besides the museum entrance (left photo below). Physical ticket was then provided with a QR code printed on its back (right photo below).

Left this museum after spending about three hours.

🎫 Museum of the Mausoleum of the Nanyue King (西汉南越王博物馆)
Website:	https://www.nywmuseum.org.cn/Home/Index
Access:	Yuexiu Park (越秀公园) Station Exit E and walk about 290-meters
Opening Hours:	0900 hours to 1730 hours; closed on Mondays
Admission:	CNY 10 (Adult)