The true form of the Nine-Story Demon Tower appears in a special exhibition at the Sichuan Museum.
The long-awaited special exhibition at the Sichuan Provincial Museum, "Atop the Snow-capped Mountains, Source of the Great River: The Rise of Civilization and Ethnic Integration on the Qinghai-Tibet Plateau," was finally scheduled after my child's final exams. Having heard that the exhibition brought together over 400 precious artifacts from nearly 30 cultural institutions across the country, and even contained the prototype of the Nine-Story Demon Tower from the novel *The Grave Robbers' Chronicles*, I specifically timed my visit for the 2 PM volunteer guided tour. Thus began my journey through millennia of snow-covered civilization.
The exhibition, located on the basement level, clearly unfolds the historical panorama of the Qinghai-Tibet Plateau, from its prehistoric origins to its prosperity during the Tang and Song dynasties, and its deep integration during the Yuan, Ming, and Qing dynasties. The volunteer guide's gentle voice and meticulous explanations brought to life the stories behind each artifact and the trajectory of its evolution, instantly imbuing the previously silent relics with warmth and vitality.
What first struck me most were the remains in the prehistoric civilization section. A volunteer teacher pointed to a well-shaped hand axe and explained that it was an Acheulean hand axe from the Piluo site in Daocheng, Sichuan, dating back approximately 220,000 to 170,000 years. It is currently the highest-altitude artifact in the world showcasing the Acheulean technology system, shattering the prejudice of the "Movis Line" regarding the technology of ancient East Asian humans. It confirms that ancient humans had already set foot on this snowy plateau, known as the "Third Pole of the Earth," tens of thousands of years ago, and, through wisdom and resilience, established themselves and thrived in this extreme environment.
In the Tang and Song Dynasty exhibition area, I was most looking forward to seeing the exhibits showcasing the prototypes of the artifacts from the "Nine-Story Demon Tower." The prototype of the "Nine-Story Demon Tower" is actually the Xuewei No. 1 Tomb in the Reshui Cemetery in Dulan County, Qinghai Province. This is the most complete and structurally clear high-level tomb discovered in the Qinghai-Tibet Plateau region, and the exhibition features many precious artifacts unearthed from this tomb. Following her pointing finger, the gold artifacts in the display case gleamed, the most eye-catching being the double-lion and sun-and-moon gold plaque and the gold bottle.
The double-lion and sun-and-moon gold plaque is entirely gilded, with exquisite patterns. The lions are depicted in a vigorous posture, and the sun and moon patterns are arranged symmetrically, reflecting both the unrestrained spirit of the nomadic peoples of the grasslands and the subtle influence of Central Plains culture. This gold ornament was an accessory of the Tuyuhun royal family, witnessing the fusion of cultures among various ethnic groups during the Tang-Tibet period. Next to it is a uniquely shaped gold bottle, its body engraved with intricate patterns, flowing lines, and exquisite craftsmanship, serving as tangible evidence of cultural exchange between East and West at that time. In addition, a seal reading "Seal of Nephew King Achai" is quietly displayed, the inscription clearly legible. According to research, the tomb owner was Mohe Tuhun Khan, the king of Tuyuhun under the rule of the Tubo Kingdom, and his mother was Princess Chibang of Tubo. This seal not only confirms the identity of the tomb's occupant but also testifies to the complex and profound relationship between the Tang and Tubo dynasties. Looking at these gold artifacts from a thousand years ago, the mysterious scene of the nine-story demon tower from the novel *The Grave Robbers' Chronicles* instantly came to mind. Those legendary treasures, now right before my eyes, had shed their fantastical elements and gained a weighty, real historical significance. The purple backdrop further accentuated the glittering brilliance and preciousness of the golden artifacts.
The artifacts related to the Tusi (chieftain) system exhibited in this exhibition are a true reflection of the Tusi family life depicted in the novel *Dust Settles*. They primarily come from the Ming Dynasty Tusi family tombs in Pingwu, Sichuan, and the remains of the Zhuokeji Tusi, showcasing the central government's jurisdiction over the southwestern minority areas during the Yuan, Ming, and Qing dynasties, as well as the prestige and lifestyle of the Tusi families.
Inside the display case, a "Seal of the Chief of Zhuokeji" stands out prominently. This official seal, issued during the Qianlong era of the Qing Dynasty, is engraved with both Manchu and Chinese characters, the writing neat and the craftsmanship exquisite. Zhuokeji Tusi was one of the eighteen Tusi of Jiarong, the prototype of the Tusi family in the novel. His jurisdiction was located in present-day Ma'erkang County, Aba Prefecture. This official seal was a symbol of the Tusi's power, witnessing the rise and fall and development of the Tusi system. Not far away, a magnificent silver ornament is quietly displayed, with intricate patterns and inlaid with exquisite jade. It was a personal item of the Tusi family nobles, and its delicate craftsmanship and luxurious materials all demonstrate the wealth and nobility of the Tusi family. In addition to these artifacts, several ceramic and gold/silver items used by the Tusi family are displayed, including warm jade hairpins, exquisite porcelain bowls, and sacrificial objects. Each piece is meticulously crafted and full of detail, as if one can see through these artifacts the daily life of the Tusi family in "Dust Settles": luxurious clothing and food, elaborate rituals, possessing both the boldness of the nomadic people and the elegance of Central Plains culture. The characters and stories in the novel now have concrete forms, becoming vivid and tangible.
Besides these artifacts that impressed me, the exhibition also contained many surprises: several artifacts scattered from the Dunhuang Mogao Caves were exhibited collectively in Sichuan for the first time, with clear inscriptions and excellent preservation, showcasing the cultural prosperity of the Tang and Song dynasties; the Gesar Thangka paintings were shown to the public again after 5 years, with vibrant colors and lifelike images, showcasing the charm of Tibetan folk culture; and there was also a frog-patterned double-eared painted pottery pot from the Majiayao culture, dating back approximately 5,000 years, with exquisite patterns and a unique shape, witnessing the migration and integration of early cultures. The volunteer teachers explained the origins and stories of each artifact to us, from the survival wisdom of prehistoric humans to the cultural exchanges during the Tang and Song dynasties, and the ethnic integration during the Yuan, Ming, and Qing dynasties. Each piece of history and each artifact made me deeply feel the brilliance and resilience of the Qinghai-Tibet Plateau civilization, and the profound heritage of the diverse yet unified Chinese nation.
Before I knew it, the hour-long explanation had ended, but I was still reluctant to leave. I slowly walked around the exhibition hall again, re-examining each artifact. Sunlight streamed through the glass windows of the exhibition hall, casting a warm glow on the artifacts, giving these millennia-old relics a warm glow. They remained silent, yet in their own way, they told the echoes of a thousand-year-old civilization between snow-capped mountains and great rivers, and the moving stories of interaction, exchange, and integration among various ethnic groups.
It turns out that the best journey is never just about mountains, rivers, lakes, and seas, but also about encountering civilizations across millennia. In this special exhibition at the Sichuan Provincial Museum, every artifact is a witness to history, and every story is an echo of civilization. Embarking on a journey through snow-capped mountains and mighty rivers, witnessing a thousand-year-old civilization's legend—this is perhaps the meaning of visiting an exhibition: to understand the past, revere history, and inherit civilization through silent cultural relics.