While many cultural elements coming from the nomadic peoples who invaded ancient China from the west and north have enriched Chinese culture, it is the Han Chinese of central China who have written Chinese history.
An exhibition currently running at the National Palace Museum in Taipei—Gold and Glory: The Wonders of Khitan from the Inner Mongolia Museum Collection—provides a chance to see history from another angle.
Lin Tien-jen, curator of the NPM’s Department of Rare Books and Documents, brought the exhibition to fruition after much hard work. “We once put on an exhibition about all the nomadic cultures on the northern frontier of China; however, the show tried to include too much and thus failed to get much media coverage,” Lin said.
“This time we learned our lesson. After visiting the Inner Mongolia Museum in mainland China, we decided to focus solely on the collections of gold artifacts of Khitan and the Liao dynasty (907-1125),” Lin added.
The Khitan first appear in recorded history in the late 4th century as a nomadic clan society living by hunting and fishing. Their name means “hard, fine iron,” symbolizing an indomitable spirit.
In 907 Yelu Abaoji united the Khitan in one group, founding the Khitan state and becoming Great Khan. Under his grandson the Shizong Emperor the state came to be known as the Liao dynasty, which lasted 210 years through the reigns of nine emperors, ruling over an area including present-day Manchuria, Mongolia and parts of northern China.
According to Wang Ming-sun, professor of history at Chinese Culture University, the nomadic Khitan and the Han people of the time differed very much in their natural environments, means of food production, lifestyles and social structures.
“A trip to the exhibition will take you back to the past, and help you appreciate the nomadic way of life and respect cultural diversity,” Wang said.
The artifacts in the Gold and Glory show originated from the three major Liao tombs in Inner Mongolia—the Tomb of the Liao Princess of Chen, the Tomb of Yelu Yuzhi and the Liao Tomb on Tuerji Mountain. The more than 100 items on display include funerary objects, crowns, human and animal figurines, gear for horses, jewelry such as rings, necklaces and bracelets, and utensils like bowls, plates and cups, as well as Buddhist statues and sutra panels. Many of the artifacts are made of gold.
“What makes the collection so precious is not only the value of the gold relics themselves, but the fact that the tombs suffered only minimal damage from looters,” Wang said.
The Khitan placed great emphasis on the world after death. Their tombs thus reflect their belief in the immortality of the soul, with personal belongings and funerary items indicating the social rank of the person buried within. One very special feature is the gold funerary masks for people of noble status.
Wang pointed out that gold masks, symbolizing the nobility and wealth of the dead, have also been found in Egypt, Greece, Kazakhstan and western borderlands of China such as Xinjiang and Ningxia. “The tradition for the Khitan nobility to use gold funerary masks was very likely influenced by Central Asia and Eastern Europe rather than by the Han people,” Wang said.
Likewise, the gold goblets in the exhibition show workmanship of a level beyond what is believed to have been possessed by the Khitan. Historical data indicate the goblets were also introduced from Central Asia, Western Asia or Eastern Europe through trade, Wang explained.
Lin especially recommended the gold masks of the Liao Princess of Chen, the gold goblets and a gold saddle as must-sees for exhibition-goers.
According to Lin, approximately one million people went to see the gold masks when they were displayed in Japan. “They were an enormous hit,” he said.
As for the gold goblets, Lin said if he did not know they were ancient artifacts, he would assume they had come from a modern boutique shop.
Since there are so many gold ornaments and saddles for horses, it is not difficult to imagine how important the animals were to the Khitan. Wang explained that noble family members would use gold ornaments for their horses in everyday life. After they passed away, the gold saddles placed in their tombs indicated their high socioeconomic status.
The Gold and Glory exhibition is a successful example of a cross-strait museum partnership. However, although cooperative projects among academic institutions and museums are increasing almost daily, differences in regulations and ideology cannot be overlooked.
In this case, “Sixty out of the 115 artifacts borrowed from the Inner Mongolia Museum were classified as first-rate artworks and artifacts by the government,” Lin said.
“In mainland China, regulations stipulate that within a single exhibition, fewer than 20 percent of the pieces on loan can be first-rate artworks and artifacts,” Lin explained. “Therefore, it took us a long time to negotiate with the authorities and settle the terms of the exhibition,” he added.
“We are still working on the problems [caused by cross-strait differences], but we look forward to more opportunities for collaboration,” Lin concluded.
Gold and Glory: The Wonders of Khitan from the Inner Mongolia Museum Collection began in February and runs through May 16. (THN)
Write to Michelle Lu at kaiping@mail.gio.gov.tw