Lushun Museum to see the thousand-year-old dry corpse in Xinjiang 187

There are many museums in Dalian, but only two at the national level, one of which is the Lushun Museum. Why are the museums in Dalian not as famous as the museums in its subordinate districts? Why is it that in the Lushun Museum you can see a thousand-year-old Xinjiang dry corpse more than 4,000 kilometres away? What is the relationship between the Lushun Museum and the Russians and the Japanese? Follow me through the history of the Lushun Museum and you will understand clearly.
The Lushun Museum is a famous historical and artistic museum in China. In 1905, Japan defeated Tsarist Russia and invaded Lushun and Dalian, and in 1917, began building the main museum building on the basis of the unfinished Tsarist Senior Officers' Club, which was completed in 1918, to which the Museum of the Guandong Governorate was moved, renamed the Guandong Hall Museum in 1919 and the Lushun Museum in 1934 when the Soviet Red Army defeated the Japanese The museum was taken over by the Soviet Red Army after the victory over the Japanese and was handed over to the Chinese government in 1951. So the Lushun Museum is a historical building in its own right, the prototype of which was built by the Russians, while the museum was built by the Japanese. As to why there are ten Xinjiang bodies in the museum in Lushun, far away in the northeast, we have to start with the Japanese. In 1912, the Japanese Dharma master of Sai Hongwanji Temple, Kouri Otani, organised an 'expedition to Central Asia' and acquired them in a cemetery in the southeast of Turpan during his third expedition to the west. Later, when he left Japan and moved to Lushun, he sold these bodies and Xinjiang artefacts to the then Kanto Hall Museum, so the Lushun Museum has a collection of Western artefacts and ten-thousand-year-old Xinjiang bodies from 4,000 kilometres away.
Two of the Xinjiang 1,000-year-old corpses are on display in the museum, so please use caution as the photographs may cause discomfort to some people.

There are two buildings in the Lushun Museum, and regardless of the beauty of the exhibits in the collection, the building itself is well worth seeing. Although built by the Japanese, it is a typical European-style building, designed by the famous architect Maeda Matsuyun, a pioneer of Japanese-colonial Dalian architecture.

In addition to being a national museum, the museum is also a national key cultural relics protection unit, a historical building that is almost 100 years old.

The Lushun Museum is a national museum, and the collection is very rich, so it takes about half a day to see it in detail.

The museum has a distinctive style, with a strong period imprint, and you can admire the architecture while looking at the exhibits.

Even the cabinets in which the collection is displayed are distinctive, with individual wooden and glass-encased stands.

To date, the Lushun Museum has over 60,000 cultural relics in its collection, including more than 200 first-class relics.

Like all museums, there are both basic and temporary displays, and the content is all-encompassing and rich.

Although the collection is vast, I'm afraid the most eye-catching items are these two Xinjiang dry corpses from around 1500 years ago, one male and one female, belonging to the Koji Gaochang (499-640 AD) and Tang Xizhou (640-791 AD) periods, around 1200-1500 years ago.

Had it not been for this textual introduction, it would have been difficult to understand why the Lushun Museum in the northeast had a collection of ten dried corpses from northwest Xinjiang, all of which were acquired by the Japanese from Xinjiang back in the day and then sold to the museum.

The male corpses are even more horrific, so I won't put them up here. They are the identities of upper-middle-class Han Chinese people who lived in and around the city of Gaochang (Tulufan, Xinjiang).

In addition to the eye-catching mummies, there are many other exhibitions in the museum that are worth seeing.

The exhibit of Buddhist statues is solemn and serene.

If you knew the process used to make the gabara bowl, you would probably be a little scared too. It is a skull bowl made of a human skull, crystal, gold and a human head, also known as a human head vessel. It must be made from the skull of a practising lama, in accordance with his last wishes.

The male body represents the Dharma and the female body represents wisdom. The male body and female body embrace each other, signifying the duality of the Dharma and wisdom, merging into one person and signifying the infinite wisdom of the Dharma world, generally, the male body is multi-headed and even eccentric and vicious, while the female body is small and plump, with four arms embracing each other and breasts clinging to each other, naked in the form of intercourse.

I have seen many ancient bronze coins, but this is the first time I have seen one in the shape of a money tree, which is said to be an ancient version of money, broken off one by one and polished into bronze coins.

A hundred metres away is the Lushun Museum branch, officially opened to the public in May 2001, still in a very fine European style building.

The beautiful centuries-old European-style building, with its majestic Chinese bronze lions, is a harmonious blend of East and West.

On the ground floor of the branch museum are the three exhibition rooms of Ancient Civilisations of Dalian, divided into the Palaeolithic period, the Bronze to Wei-Jin period and the Sui-Tang to Ming-Qing period.

A huge fossilised mammoth incisor from the Stone Age.

A wall painting of a tomb from the Eastern Han Dynasty.

On the first floor is the Russo-Japanese War and the Fate of China, an exhibition of selected paintings from French journals from 1904-1905. Although the Russo-Japanese War was a war between two imperialists over territory in China, the interests of the European powers were involved, so the European and Japanese press took it very seriously and left much more complete information than in China.

The Russo-Japanese War was fought for almost a year and a half, with naval and land battles, the outcome of which directly determined the sphere of influence of the two imperialists in China.

Before the Russo-Japanese War, the Europeans believed that Russia was certain to win, the Russians were the tall ones wearing the golden belt of "European Champions", the Japanese were the small ones and the European powers were the ones sitting on the stage watching the battle. The sad outcome of a weakened nation.

The Chinese, who were not even qualified to watch the war, were the most direct victims, both Russian and Japanese, who burned and looted their way through the war.

The poor Chinese had to face not only the burning, killing and looting of the defeated Russians but also the harsh rule of the Japanese troops who entered Liaoyang. All of them, including Chen Liangjie, were executed on suspicion of financing the Russian army.

The Lushun Museum has a really rich collection, and it is amazing that an exhibition of Silk Road relics can be held in a place that has nothing to do with the Silk Road.

During the reign of Emperor Xuanzong of the Tang Dynasty, a group of sweat-blooded horses were trained to dance to music, and these horses are the only dancing horses in Chinese history.

The exhibition is not very memorable, but I learnt the word 'spread', which means to spread.

The exhibition includes ancient Indian Buddhist statues, Xinjiang Buddhist statues, Central Plains Buddhist statues, Buddhist texts, and Buddhist architectural components, etc. Religion is really the source of history and art.

There is also an exhibition on Chinese chopsticks culture. I have seen all the exhibitions on pillows and shoes, but this is the first time I have visited an exhibition on chopsticks.

Chopsticks of all kinds, from all periods of history, in different sizes, materials and shapes.

Chopsticks are an everyday object that has been around for thousands of years, so you can learn a lot about Chinese culture by looking at them in detail.
After looking at the photos, I'm sure you'll already know the history of the Lushun Museum and have no problem with it being a national museum. 130 national museums exist in China, all of which have their own fine pieces of art, each with their own highlights, and all of which are a part of history and a part of the culture. The Lushun Museum is not very big, but it has a unique history and an extensive collection, and the museum itself is a national key cultural relic protection unit. There is also the free Museum of the former headquarters of the Kwantung Army, the Sino-Soviet Friendship Memorial Pagoda, the Lushun Snake Museum, which charges a fee, and the Dalian Old Motor Museum, which is only open to tour groups. If you are going to visit a museum in Lushun, remember to get there before 3.30 pm, especially for the free public museums, which often stop entering at 3.30 pm and close before 4 pm. Lushun is a place that, because it carries so much of China's modern history, the entire city is actually one big open-air museum, with all kinds of historical relics everywhere.