On April 29, the "Peach Blossom Stone Below at Helan Mountain ——Treasures of Cultural Relics from the Xixia Imperial Exhibition" officially opened at the Shanghai History Museum. The event was guided by the Shanghai Municipal Bureau of Culture and Tourism and the Ningxia Hui Autonomous Region Bureau of Culture and Tourism, organized by the Shanghai History Museum, Ningxia Hui Autonomous Region Museum, and Yinchuan Xixia Mausoleum Area Management Office, and co-organized by the Guyuan Museum, Haiyuan County Cultural Relics Management Office, Wuwei City Museum, and Alashan Museum.
Attending the opening ceremony were Xiang Yihai, Deputy Director of the Shanghai Municipal Bureau of Culture and Tourism; Zhang Yujin, Deputy Director of the Ningxia Hui Autonomous Region Bureau of Culture and Tourism; Zhou Zhiming, Deputy Director of the Ningxia Hui Autonomous Region Government Office in Shanghai; Guo JianGuang, Director of the Revolutionary Cultural Relics and Museums Department of the Ningxia Hui Autonomous Region Bureau of Culture and Tourism; Hu Lixin, Director of the Business Department of the Ningxia Hui Autonomous Region Government Office in Shanghai; Zhou Qunhua, Secretary of the Party Branch and Director of the Shanghai History Museum; Wang Xiaojun, Deputy Secretary of the Party Branch and Director of the Ningxia Hui Autonomous Region Museum; Na Shan, Deputy Director of the Xixia Mausoleum Museum; and Zhang Qiang, Director of the Guyuan Museum. The opening ceremony was presided over by Qiu Zhengping, Deputy Director of the Shanghai History Museum.
At the opening ceremony, a unique "Encounter in the Jiangnan of the Frontier" flash mob attracted many spectators to stop and watch. This flash mob featured a dynamic dance performance of "Ningxia Hu Xuan Dance" and "Floral Ladies," the harmonious blend of old Shanghai songs with Ningxia folk tunes, and the collaborative skills of "A Chinese Odyssey" 's Zhu Zhibao and "Havoc in Heaven"' s Monkey King, presenting a mysterious yet vibrant Ningxia. It offered an alternative possibility beyond urban life and also linked cultural and tourism resources between Shanghai and Ningxia.
The exhibition "Peach Blossom Stone at Helan Mountain —— Treasures of Cultural Relics from the Xixia Imperial " kicked off in Shanghai, featuring over 120 artifacts from the northwest, nearly one-third of which are first-class relics. In today's era of cultural and museum fever, the Shanghai Museum hopes to offer visitors a grand feast of cultural treasures without leaving the city through this exchange event.
"Peach Blossom Stone" is the ancient Central Asian term for China —— In the eyes of others, Liao, Song, Xia, and Jin formed a complete community. This exhibition focuses on the concept of "China," showcasing through numerous artifacts the historical and cultural recognition of Chinese civilization by various ethnic groups in the northwest during the Liao, Song, Xia, and Jin periods. It brings visitors up close to experience the significant contributions of Western Xia to the formation and development of the multi-ethnic unity and integrated pattern of the Chinese nation.
Unit 1 "Chasing the Unity of China"
This unit, through relevant historical records, demonstrates the Western Xia's political recognition of "China" and the concept of the Tangut people and the Han people as "common ancestors of Huaxia and Yi." Visitors can see from the exhibits how the Western Xia inherited and developed traditional Chinese political systems from the Sui and Tang dynasties in areas such as officialdom, military organization, rites, and law.
Xixia copper plaque "Stay in the inner room and wait for orders"
Ningxia Museum collection
The Western Xia equipped its elite troops to defend the capital and royal family, known as the "Six Classes of Imperial Guard," with tight rotation schedules. Most were identified by tokens, which featured intaglio inscriptions in Western Xia script reading "Awaiting Duty Inside" or "On Patrol for Defense." This token has a spade-shaped face, with a hole at the top for suspension. The front is intaglio inscribed with the Western Xia script "料胡残蚏” (Awaiting Duty Inside)."
Unit 2 "Sharing the benefits of China"
This unit starts from the perspective of economic industry and livelihood mode, explaining the recognition of Chinese culture reflected in the agriculture, animal husbandry, commerce, printing, porcelain making and metal casting industries of Xixia. Through a large number of physical objects, the audience can intuitively feel the profound cultural integration behind the artifacts of Xixia.
Black glaze carved four-sided flat pot
Ningxia Museum collection
After the establishment of Western Xia, it actively learned the porcelain-making technology from Central China and developed the porcelain industry. It was deeply influenced by the Ding kiln system, Cizhou kiln system and Yaozhou kiln system of the Northern Song Dynasty, and gradually formed a ceramic system with its own characteristics.
The flat pot is a common vessel in Western Xia porcelain and also one of the most distinctive ethnic artifacts, known for its exquisite craftsmanship and large production volume. The flat pot has two or four handles on either side, allowing it to be carried or lifted with a rope. Its shape may have evolved from the leather pouch pots used by nomadic tribes for holding water. The ring foot at the bottom of the flat pot serves to stabilize it. The Tangut people lived on horseback for long periods, and the light and graceful form of the flat pot makes it very suitable for carrying on horse or camel backs, making it a beloved household item among the Tangut people.
Unit 3: Creating the Beauty of China
Cultural identity is the core element and deep driving force of "China" identity. The exhibition analyzes the language, culture of Confucianism, Buddhism and Taoism, diverse art and costume culture in Xixia society with cultural relics and graphic panels, showing the process of continuous enrichment of Chinese cultural connotation from multiple aspects.
Painted clay Buddha head
Ningxia Museum collection
This clay Buddha head sculpture is hollow, with spiral hair on top and a white flesh bun in the middle. The face has a square jaw, prominent eyebrows, and a white tuft between them. The eyes are black and glossy, specially made from black glaze material. There are black "tear marks" on the lower eyelids. The Buddha's nose bridge is high and straight, his lips closed, and thick lips are outlined with ink to form a mustache. The chin is adorned with patterns resembling suns, moons, and clouds. The face was once twice painted with white powder. A total of six such clay Buddha head sculptures have been unearthed from the Hongfo Pagoda. Judging from the style of the Buddha heads, they largely inherit the characteristics of Gandhara period Buddhist statues, with full and round faces, grand lines, and a Tang Dynasty artistic influence, serving as typical evidence of the Western Xia's absorption and inheritance of Tang culture. The black glaze inside the Buddha's eyes, due to high temperatures, seems like tears shed by the Buddha out of compassion for the world's suffering, adding a sense of mercy to the statue.
Unit 4 "Together to honor the Tomb of China"
Xixia Tombs is a cluster of mausoleum sites with unique architectural forms and significant cultural connotations. It is also the first World Heritage Site nominated by Ningxia. A large number of exquisite architectural components unearthed invite visitors to approach the Xixia Tombs, contemplating "What makes China" through the continuous interaction, exchange, and integration among multiple ethnic groups in Northwest China from the 11th to the 13th centuries, as recorded in these tombs.
Red pottery kalimpong
Western Xia Mausoleums Museum collection
This artifact features a human head and bird body, with a serene and tranquil expression. It has full breasts and a slender waist, and its hands are clasped in front of the chest. "Kalavinka" is a transliteration from Sanskrit, also known as "Pinnaka," which can be interpreted as "beautiful bird" or "good-sounding bird." It is said to provide beautiful sounds and graceful dances to please the Buddhas. The earliest known Chinese Kalavinka patterns appear on Northern Wei stone carvings. As Buddhism flourished in China during the Tang Dynasty, the use of Kalavinka patterns became increasingly widespread, mostly found on murals and gold and silver artifacts. The image of the Kalavinka from the Western Xia period continued the tradition of the Tang Dynasty, and its appearance as a building element in archaeological discoveries is a first.
In addition, VR+ market will provide diversified cultural and tourism services for visitors with supporting exhibitions.
The Mysterious Xia Imperial Tombs, a large space with high immersion experience, is open to the public on the third floor of the Western Building of the SHM until August 31. With virtual reality devices and human motion capture technology, visitors can "travel" to the Western Xia and start an exploration journey.
From April 29 to May 5, the "2025 Touring Ningxia with Exhibitions" market was held in the atrium of Shanghai History Museum, with a total of 40 stalls, bringing rich Ningxia characteristic products, cultural and creative products and cultural tourism introduction content, connecting Shanghai and Ningxia, providing novel services for visitors
Peach Blossom Stone Below at Helan Mountain ——Treasures of Cultural Relics from the Xixia Imperial Exhibition
Shanghai History Museum, West Building, Floor 2
April 29,2025--September 14,2025
No reservation required, free admission
