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The origin of Xia culture, the Xia people who founded the first dynasty in Chinese history, originated in the southeast for five reasons:
First, the cymbal (including jade and bronze cymbals) as an important ceremonial vessel for three generations
This is the symbol of military power, command and control of the scepter of military power of the emperors of the Xia, Shang, and Zhou dynasties.
Judging from the literature, the ceremonial system with qi as the symbol of royal power was founded in the Xia Dynasty, and the main jade and stone qi in the Xia Dynasty were jade and stone, and after the Yin Zhou, there were bronze cymbals. Judging from the archaeological data, the jade and jade excavated from the Duyi site in the late Xia Dynasty of Erlitou and its shape are not found in the archaeological culture of the Xia Dynasty or pre-Xia era in the Central Plains, but they are the same as the jade and stone qi excavated from the Liangzhu culture site in the late Neolithic period in the lower Reaches of the Yangtze River. The earliest bronze cymbals found in China so far, that is, the bronze cymbals excavated from the sites of the early Shang Dynasty, as a symbol of royal power, the early Shang bronze cymbals are the continuation and development of jade and stone in the prehistoric culture of the southeast region from the perspective of the shape of the instrument and the cultural, religious and political functions it contains.
According to historical documents, the Ritual System of the Yin People using the Qi (jade and bronze cymbals) as a symbol of royal power was "due to the Xia Li", rather than the Yin people themselves. A series of jade qi excavated from the Duyi site in the late Xia Dynasty have no origin in the Central Plains, and the early Shang copper cymbal is the continuation and development of jade in the prehistoric culture of the southeast region, which shows that the Xia people who initially used the jade as a symbol of royal power in the three generations can only be the masters of the Liangzhu culture and Xuejiagang culture in the lower Reaches of the Yangtze River.
Second, Ding is the founding instrument of the Xia, Shang, and Wednesday dynasties
Since the casting of the "Jiuding" in the early Xia Dynasty, Ding has become a symbol of the gods, power, might and power of the rulers of the dynasty. "If the Xia Hou clan loses, the Yin people receive it; the Yin people lose it, and the Zhou people receive it." Three generations of a country must first win the ding, and the loss of the ding means the overthrow of the dynasty. Although the bronze Ding of the Xia Dynasty is still as confusing as the Problem of the Xia Culture itself, from the bronze Ding excavated from the sites of the early Shang Dynasty (it is not excluded that it was captured by the Yin people for the Xia Ding), its form cannot be found in the pre-Shang culture, and it is obvious that as recorded in the literature, it is "Xia Zao Yin Yin" and directly inherited from the Xia Dynasty.
In-depth investigation shows that the early Shang Qingding, which followed the Xia Dynasty, lacked intrinsic connection with the Tao Ding in the archaeological culture of the Central Plains equivalent to the Xia Dynasty and the Pre-Xia Era, but had many similarities with the Tao Ding in the prehistoric culture of the Eastern Region. At the same time, the popular food pattern (or "animal face pattern") on the Xia, Shang, Zhou bronze ding and other bronze ceremonial vessels is the embodiment of the majesty, sacredness, strength and will of the rulers of the Xia Shang Zhou Dynasty, and is the "Zhenxiang" symbol imagined and concocted by the witches or priests of the Xia clan for the interests and needs of the Xia Dynasty's rule, and has the religious and social functions of affirming itself, protecting society, "cooperating with the upper and lower levels" and "inheriting the heavens and resting" in three generations of society.
Archaeological data prove that this super-worldly artifact on the three generations of bronze dings was developed from the "divine emblem" (that is, the gluttonous pattern) of the Liangzhu culture of jade, jade, jade crown ornamentation and jade trident instrument table. The three generations of bronze ceremonial vessels and the Liangzhu culture jade grains are composed of two large eyes, a flat nose and a wide mouth trinity to form a beast face image, and the various parts of the face of the sacred beast and its composition pattern show amazing consistency.
What is even more surprising is that the layout of the early Shang bronze Ding Pattern and the Liangzhu Culture Jade Dumpling Pattern on the body of the instrument is also completely consistent: the jade Dragon body is square in the inner circle and outer square, and the three generations of bronze Ding also have Fang Ding and Yuanding; the layout of the Gluttonous Pattern on the Jade Dragon and the Fang Ding are all unfolded to both sides with the angle as the central axis, and each side is divided into several units, and each unit has a side contour centered on one eye of the divine beast, and the two sides are put together to form a complete image of the Feast (Divine Beast).
The "divine emblem" (i.e., gluttony) on the jade is the core or soul of the religious belief system of the ancestors of the Liangzhu culture in the southeast region, and the fact that it is a complete inheritance of the bronze ding of the Xia, Shang, and Wednesday dynasties shows that the rulers of the Xia Dynasty who originally cast the gluttonous pattern on the bronze table were undoubtedly the original residents of the southeast region.
3. The Summer Chamber Treasure Jade is composed of jade objects such as Gui, Qi, Huang, and Chun
These treasure jades were the main ceremonial vessels used by the Xia Dynasty in major ceremonies such as sacrifices, alliances, conquests, and marriages.
According to the literature, when the King of Xia held the heavenly sacrifice activities, he wore the jade juan, "Xia Hou Zhi Huang" in the Zhou Dynasty well-known in the sea, regarded as a national treasure comparable to the "Heshi Bi", the field excavation data of the Chinese prehistoric era culture shows that the jade huang was pioneered by the ancestors in the southeast region of the prehistoric era, and it is the main jade ornament that has been popular in the region since the Hemudu culture era; in the Liangzhu culture, the jade huang was transformed from an ornament into a ceremonial instrument with a religious nature, such as the large jade juan excavated from the anti-mountain, Yaoshan and other sites, shaped like a half-bi , decorated with a pair of round eyes, rectangular giant mouth and two pairs of fangs composed of a divine beast pattern, vicious and terrifying, giving people a sense of intimidation and mystery, this kind of jade huang, whether from its form or the cultural and religious implications it contains, is in line with the "Huang of the Xia Hou Clan" recorded in the classics;
The jade gui is also a famous jade ceremonial vessel of the Xia Dynasty. Ancient texts such as the Bamboo Book Chronicle record that at the beginning of the reign of King Xia, the ceremony of "taking Xuan Guibin to the river" was performed; the Shang Shu Yu Gong also said that the Xia people celebrated the victory of controlling the flood, "Yu Xi Xuan Gui, sued for success." "It is thought-provoking that the field archaeological findings and some of the Yugui that have been handed down today are not found in the prototype of the late Neolithic sites in the Central Plains, but are exactly the same as the Gui-shaped artifacts excavated in the prehistoric cultures of the southeast region, especially the Liangzhu culture sites;
The calendar invented by the Xia people is called "summer time" or "summer calendar" in the literature. The basic content of this calendar is preserved in the pre-Qin dynasty document "Xia Xiaozheng". In ancient times, there is also a legend that "the divine turtle negative book came out of Luoshui" when Dayu ruled the water; the so-called "Book of Luo", according to the history books, that is, the "Hong Fan Nine Domains" in the Book of Shang, which is related to the Five Elements or Bagua, is actually the calendar map of the Xia Dynasty or the Pre-Xia Era.
In previous studies, scholars have often regarded the legends of the Book of Luo, the Bagua, the Five Elements, and the Book of the Divine Turtle as absurdities fabricated by Han Confucianism. In recent years, archaeologists have excavated a jade plate calendar map in a prehistoric site dating back 4500 to 5000 years in Hanshan County, Anhui Province, in the lower reaches of the Yangtze River, and when the cultural relics were excavated, the jade plate calendar map was sandwiched between the belly and the shell of an elaborate jade turtle. According to the research of experts in the history of science and technology, the connotation of the jade plate calendar chart is consistent with the Xia Dynasty calendar contained in the "Xia Xiaozheng", reflecting the basic characteristics of the calendar system of the Xia Dynasty or the pre-Xia Era.
Like the above-mentioned yuyu, which characterizes the military command of the Xia Dynasty, the main ceremonial instruments of the Xia culture, such as Xuan Gui, the Huang of the Xia Hou clan, and the calendar map of the Xia people, have disappeared in the cultural sites in the Central Plains corresponding to the pre-Xia era, but their prototypes have been found in the pre-Xia culture in the lower Yangtze River region, which is extremely sufficient and reliable evidence of the emergence of the Xia culture in the southeast region.
4. Social worship
Or she-matsuri, is an important primitive religious ritual that was popular in the Xia, Shang, and Wednesday dynasties. The "Records of History" says that "from Yu Xing and the cultivation of the society", it can be seen that the ritual ceremony was created by the Xia people. According to the accounts of the classical texts, the shrine is to seal the earth to build an altar to worship the land god, and the basic shape and connotation of the altar recorded in the literature have nothing in common with the prehistoric sacrifice relics in the culture of the Central Plains and other regions, and in recent years, the altars found in the Liangzhu cultural sites in Yuhang Yaoshan, Huiguanshan and other places in the southeast region of Zhejiang are "sealed soil as an altar", the altar is square, built of red, gray and yellow-brown soil piles, from the perspective of shape characteristics and religious functions, three generations of "sealing soil for the community" The ritual ceremony of worshipping the god of the land was obviously developed from here.
5. Burial customs of the Xia people
The burial customs of the Xia people are very different from those of the Central Plains surname groups, such as the Yu, Yin and Zhou people, and have their own unique ethnic customs. The burial customs of the Xia, Yin, Zhou, and Youyu clans, according to the ZhanDai Rites, "There are Yu's tile coffins: Xia Hou's coffins, Yin people's coffins, Zhou people's walls." "Xia Hou Clan Circle Zhou" means that when the Xia people buried their people, they attached bricks or brick-shaped red-boiled earth blocks to the four sides of the coffin. Judging from the data excavated in the fields of various parts of China in this century, there are "urn coffin burials" of yu clans with tile coffins, funeral customs of yin people using coffins and Zhou people "wall-mounted", which have been confirmed in the excavations of Yangshao culture, Houyangshao culture and Yin Ruins and Zhou Ruins in the Central Plains, but only the "Zhou Zhou" burial customs of the Xia people have found their origins in the Liangzhu culture in the southeast region.
For example, in the Liangzhu Cultural Cemetery in Fuquan Mountain, Shanghai, the custom of "Cun Zhou" burial with brick-shaped braised clay blocks attached to the four sides of the coffin is prevalent. Three generations of pottery ceremonial vessel colors, according to the literature, "Xia Hou Clan Shang Black", "Yin Ren Shang Bai", "Zhou Ren Shang Chi". In archaeological cultures, pottery in the central plains in the prehistoric period is characterized by faience pottery. Popular faience pottery, red pottery and white pottery: while the Liangzhu culture in the southeast region is characterized by black pottery, which coincides with the historical fact that the Xia culture originated in the southeast, the first Shang and the pre-Zhou culture sprouted in the Central Plains, and then look at the ceremonial vessels and sacrificial vessels, which were popular in the country during the three generations, the combination of "Ding, bean, pot" originated in the southeast region.
This is a fact that archaeologists have long revealed; the rituals and sacrificial vessels of the Xia Dynasty, such as duck-shaped pots, have also originated from the prehistoric culture of the Southeast Taihu Lake Basin.
Sixth, the history books record that the Xia people were a people who were good at growing rice
Rice agriculture dominated the social economy of the Xia Dynasty, especially the early Xia Dynasty. Literature and field archaeological data show that in the Neolithic period of China, the Yellow River Basin in the Central Plains was dominated by millet and millet, while rice was the basic crop in the Yangtze River Basin. As a crop in the Central Plains, rice spread to the middle and lower reaches of the Yellow River with the rise of the Xia Dynasty.
The Xia people are also a marine people who are accustomed to water and are good at boating, and the water habit and control of boats are obviously not the specialties of the inland ethnic groups in the Central Plains or the northwest region, but the nature of the ancestors in the southeast coastal areas.
The texts say that the silk weaving industry in the Xia Dynasty was developed. However, archaeological data and the research of modern scholars show that the silk industry in the Central Plains began in the Yin Shang era and showed a fairly developed scene from the beginning. As the archaeologist Xia Nai pointed out, "in terms of the maturity of yin dynasty silk weaving technology, there should be a process of development before it." In the development process of silkworm weaving technology before the Shang Dynasty, no physical evidence has been found in the Central Plains, but this kind of physical evidence has been found again in the Liangzhu culture in the Taihu Lake Basin area.
According to a comprehensive investigation of the remains of silk and linen fabrics excavated from prehistoric sites in the southeast region and the combination of spore powder in prehistoric sites in the region, it is confirmed that the delta area in the lower reaches of the Yangtze River is the birthplace of the silkworm mulberry weaving industry on the mainland, and the silk weaving technology of silkworm farming was transmitted from the north of the Jiangnan region to the Yellow River Basin before and after the rise of the Xia Dynasty. The time and route of the spread of silkworm mulberry silk weaving technology and rice cultivation culture from the lower reaches of the Southeast Yangtze River to the north also convey to us the historical information that the first dynasty in Chinese history, the Xia Dynasty, was founded by the ancestors of the southeast region and then moved north to the Central Plains.
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