Weird Three Kingdoms

Chapter 3944 The Story of Da Qiao and Xiao Qiao: An Unintentional Path

In order to get rid of the entanglement of the absurd "voyeurism" case in Yokooka, Professor Tang had to go to the embassy and issue an official letter proving his identity and the purpose of his academic visit.

Although official letters from China are not as useful as those from the US base, the case Professor Tang was involved in was simply too minor. If it weren't for the Metropolitan Police Department deliberately making things difficult...

Indeed, since the Ming Dynasty, the attitude of this neighboring country, separated only by a narrow strip of water, toward China has been declining. The reasons for this are multifaceted, and this trend continues to this day.

Professor Tang, preoccupied with his discovery, didn't think much of it and immediately boarded the Shinkansen to travel to the Kyushu region.

His goal was clear: head straight for the Hyuga City Museum.

Hyuga City is a bay city that has historically prospered as the gateway to Kyushu's seas and was an important port of entry and exit for trading ships between Japan and China during the medieval period.

The Hyuga Museum houses a collection of precious artifacts discovered at the Gotsukahara Kofun.

In addition to a large number of earthenware artifacts, there are also some ornaments, swords, and bronze mirrors.

Hoji ware, also known as ancient Japanese pottery, was fired using methods such as piling pottery on flat ground or firing it in small pits dug in the ground. Therefore, it was not airtight and was fired in an oxidizing flame with ample oxygen. Consequently, the firing temperature was lower than that of Sue ware, approximately 800-900 degrees Celsius.

These artifacts prove that the ancient tomb dates back to around the 3rd century and is said to be the tomb of Queen Himiko of Yamatai. However, some argue that it is not the tomb of a king, but rather the tomb of an important figure who held a significant position in the royal power.

It's like the King of Zhou and the Duke of Zhou—they can't tell them apart.

Within the Hyuga Museum, the "Double-Edged Pot," a landmark of ancient tomb burial and the subject of extensive discussion, is a prominent example. This vessel is roughly circular, with its largest diameter at the top. Its most striking feature is its straight and very thick rim, exhibiting a double-layered structure. It is typically made of fine, soft, gray clay. The bottom and lower part have parallel embossed patterns, while the upper part is decorated with fine rope-like patterns and intricately carved spiral lines. Both the inner and outer rims have been finished with a rotating, water-repellent treatment.

However, this thing has been unearthed in both South Korea and Japan, so the academic communities on both sides are still arguing, each claiming that they had it first and the other came later...

However, Professor Tang's target was not these earthenware tools, but other cultural relics unearthed from the ancient tomb complex.

Unfortunately, only a small portion of the artifacts are on display. The most precious items, such as ornaments, swords, and bronze mirrors, are mostly kept in the museum and are not open to the public.

However, Professor Tang still found some new clues...

On a mysterious "phoenix hairpin unearthed from an ancient tomb" whose age and origin are questionable, Professor Tang saw patterns resembling seal script!
This was not the first time he had seen pictures and brief descriptions of the hairpin in academic materials, but he had never seen the actual object before.

In academic materials, this phoenix hairpin is not particularly noteworthy. The clarity and shooting angle of the images are also very limited, and many details cannot be observed from just one or two pictures...

Previously, many Japanese scholars tended to date it to the "middle and late Kofun period" and generally classified it as a "product influenced by continental culture". However, the specific origin is subject to various interpretations, with some saying it was Baekje and others saying it was the Central Plains.

Few people directly associate it with the Eastern Wu, which is further south.

However, based on Professor Tang's previous research on both sides of the Taiwan Strait, a hypothesis emerged in his mind, which aroused his unprecedented interest in this hairpin. He vaguely felt that this hairpin might be a crucial link in unraveling the thick veil of history.

The Saga Prefectural Museum has a modern building, soft interior lighting, and well-organized exhibits.

Inside the glass case, the phoenix hairpin lay quietly on a dark velvet cushion, bathed in just the right spotlight.

The hairpin head is carved into the shape of a phoenix looking back with its head held high. The hairpin body is about ten centimeters long and has a dark metallic color throughout.

The museum's information plaque reads: "An ornament from the Kofun period, presumably a headdress worn by a shrine maiden or noblewoman with ritualistic functions."

Previous academic materials indicated that this hairpin originally had a gilded layer, but it's clear that this gilding has now peeled off, which is one piece of evidence suggesting the hairpin may have originated from China. However, later scholars from East Japan (Japan) argued that East Japan also possessed gilding techniques, and this hairpin could prove that gilding existed in East Japan during the Kofun period, only slightly later than in China…

Professor Tang pressed his face almost against the glass, scrutinizing the glass closely. His heart pounded heavily in his chest.

The design of this phoenix hairpin, especially its slightly exaggerated crest feathers, curved and powerful beak, and neck poised for flight...

What a beautiful arc!
Mysterious beyond mystery, wondrous beyond wonder!
When Professor Tang saw the hairpin with his own eyes, the lines seemed to come alive in his mind, gradually overlapping with the phoenix images on the gold and silver ornaments, bronze belt hooks, and lacquerware patterns unearthed from the Eastern Wu period tombs that he had stored in his memory!
Highly similar!

This is a pattern that is different from the phoenix pattern of the Central Plains during the Han Dynasty!
These are more dynamic and decorative patterns, and one could even say they have some of the Jingchu style and the elegant charm of the Wu region!

Furthermore, this is different from the 'continental style' produced in Japan during the late Kofun period or introduced via Baekje!
Due to the changing times, in later decorative patterns, after the Three Kingdoms period was incorporated into the Eastern Jin Dynasty, the style mostly became the simple and unadorned style of the North. Or, in the later Northern and Southern Dynasties, due to the impact of war, the loss of craftsmen and the loss of skills, the decorative lines of many ornaments became simple again.

But the phoenix on this hairpin seems to have captured the exquisite beauty and dynamism of the Eastern Wu period during the Three Kingdoms era!

Without a doubt, this is a creation of China.

Especially the details!
Professor Tang tried to adjust his viewing angle to see the transition area where the hairpin head connects to the hairpin body.

There are usually reinforced structures or decorative patterns there, and different craftsmen or different styles often use different linking methods.

Under the illumination of the display case lights at certain angles, Professor Tang seemed to see some extremely subtle, engraved lines that differed from the patterns on phoenix feathers...

Due to the erosion caused by burial over a long period of time, those lines have almost blended into the metal base, becoming blurred and difficult to discern.

Professor Tang couldn't resist taking out his phone, snapping a photo, and then zooming in again and again. Even when the pixels became somewhat blurry, his years of experience made him increasingly convinced that the patterns vaguely formed a seal script...

No, it's more like bronze script, which predates seal script!
The raised lines are like the raised head feathers of a phoenix!

This is the Chinese character "乔" (Qiao).

This discovery left Professor Tang speechless.

Joe?!

Is it a coincidence, or...?

The "Qiao" in "The Two Qiaos of Jiangdong"?!

The thought shot through Professor Tang's spine like an electric current!
……

Double-edged teapot
……

After more than a month at sea, the Qiao sisters and their party finally arrived at Dongwo Island.

There were some incidents along the way. For example, when they were in Yizhou, they encountered an attack by the local natives, but thanks to Luji and the guards on the ship, they managed to escape unharmed.

In any era, whenever resources are scarce, humanity will degenerate into bestiality.

This is something that can never be avoided...

The two Qiao sisters understood this as well, so when they arrived in Dongwo, their first priority was to seek supplies.

This is a secluded bay in the Kyushu region of Japan, with lush forests and a winding coastline.

Rugi directed the crew to tow the ship to shallow waters to prevent the tides from carrying it away.

The two Qiao sisters disembarked and stood on the shore, feeling somewhat unsteady on their feet.

The long hours spent at sea had taken their toll on the appearance of both Da Qiao and Xiao Qiao.

Facing this completely unfamiliar land, Da Qiao remained remarkably calm. Her only thought now was to stay with Xiao Qiao and help her…

This may have become Da Qiao's only source of spiritual sustenance to keep her alive.

Xiao Qiao's spiritual sustenance was Zhou Yu's "last wish".

Similarly, Lu Ji, who was busy in the surrounding area, and the guards and crew members of the Lu and Zhou families also came together under the same framework of "last wishes".

During the Three Kingdoms period, keeping promises and honoring commitments was a major cornerstone of Chinese ethics and morality.

The brief period of calm after landing was quickly shattered.

While Ruji's team was scouting nearby freshwater sources, they were attacked. Subsequently, the natives followed Ruji's team's trail and targeted the two Joes and their companions who had come ashore.

The attackers were less an army and more a group of natives who resembled wild monkeys.

At one point, Lugi and others even suspected that they had encountered a monkey version of the mountain bandits.

Due to their low standard of living, these indigenous people, like the Southern Vietnamese, suffered from pain, disease, and parasites, making it difficult for them to have a healthy body, let alone longevity.

Among the Yue people, anyone over fifty years old can be called an elder. They are wise people who have survived too much suffering and disaster and can guide the people to avoid calamities.

This was clearly also the case in the lands of eastern Japan.

The torment of various diseases and pains has made these indigenous people resemble wild monkeys, with hunched and emaciated bodies. As they age, various diseases and parasitic diseases can drive these indigenous people insane, leading them to self-harm, seek death, or even go deep into the mountains to end their lives. This has become a habit for these indigenous tribes.

When these natives rushed out of the mountains and forests, the Qiao brothers and their group were quite startled.

However, the two Qiaos soon discovered that these natives were not as strong as the Shan Yue.

The Shanyue people at least had more weapons and armor, while the majority of the natives before them were wrapped in simple animal hides and coarse hemp, carrying sharpened wooden sticks or bamboo spears. Only a dozen or so people wore simple armor and carried weapons. Moreover, although the Shanyue had long been at odds with the Eastern Wu, they had also obtained some animal husbandry and farming techniques from the Eastern Wu, and thus possessed some human-like features. In contrast, these Eastern Wo natives were shorter and less human-like. Long-term malnutrition had resulted in them being generally short and thin, with dark skin, disheveled hair and beards, and one could even see insects and lice crawling and wriggling within them.

Despite their different appearances, the cruelty and greed in the eyes of these Japanese natives were enough to make the Qiao brothers and sisters understand that they were up to no good, without needing any words. They charged out of the woods with howls, their movements swift yet chaotic, like a group of wild monkeys or a herd of wild boars.

Are these the "Japanese"?

Xiao Qiao felt a chill run down her spine.

This was far from the so-called "country" she had originally imagined.

This place is more like a wild, uncivilized wasteland where people live like wild monkeys and struggle to make a living.

Despite the attack by the indigenous people of the East Japan, Ruji remained calm.

Frankly speaking, this rabble is like a village brawl with bandits and mountain brigands; it hardly qualifies as a large-scale event.

Luji selected more than ten guards, all fully armed, with the front row carrying ring-pommel swords and shields, and the rear row carrying spears. In addition, there were seven or eight archers providing support from the rear, thus forming a standard three-row formation of front, middle and rear.

The gleaming metal armor and sharp weapons appeared to the indigenous people, who still used wooden sticks and bamboo spears, as if they were divine armor.

In a brief exchange, the leading native chieftains were easily killed, their blood splattering everywhere. The rest, seeing this, screamed in terror and scattered like birds, disappearing into the depths of the dense forest.

However, the initial victory did not bring complete peace.

In the following days, the large-scale attacks ceased, but various small-scale, sporadic attacks continued to harass us like mosquito bites.

Not only were there lurking eyes and rustling sounds in the woods at night, but the crew also had to travel in groups to fetch water or relieve themselves, otherwise lone crew members would easily be attacked.

What's even more troubling is that Ruggie, along with some others, followed the traces of these natives to their village, only to discover a problem that is causing Ruggie a great deal of trouble...

These natives are so poor...

Low shacks, weak residents.

Apart from some rotten and smelly dried fish and shrimp, there wasn't even a single edible grain of food to be found.

When these natives saw Ruji and his group, besides their fear, the greed and longing in their eyes made Ruji feel as if he had entered a den of beasts, rather than walking in a human village.

They couldn't understand each other's language at all, and gestures were also insufficient to convey their meaning.

These villages are extremely impoverished, unable to provide any decent supplies, and may even covet the limited resources on their ship.

"Destroying these villages would be as easy as turning one's hand," Lugi reported to the two Qiaos, his brow furrowed. "But it would be utterly pointless, a burden. If we kill them all, we'll have no one left to use; if we burn down the shacks, we won't get a single grain of food. This isn't Jiangdong; there are no cities to hold, no granaries to seize. Slaughter will only sow hatred, making it impossible for us to move an inch in this unfamiliar land, let alone find a foothold to fulfill… the Governor's last wish."

The reality is clear: brute force alone has limited effectiveness here, and may even backfire. They need an authority that transcends swords, a power that can both instill fear and dependence in these uncivilized tribes.

Food is simply consumed; it cannot be magically transferred from one pocket to another and magically created out of thin air.

However, Rugi quickly found a way to break the deadlock.

One day, near the outskirts of a slightly larger village, Rugi discovered a simple altar made of rough stones, on which were placed fish bones, shells and some withered plants, clearly a primitive site of worship related to the sea.

Rugi captured some natives and, after difficult communication, finally understood the significance of this simple altar in their hearts.

Ruji stared at the altar, recalling the "miracle" Xiao Qiao had performed earlier, and a bold plan began to take shape. He returned to the camp and explained in detail to the two Qiaos, "My ladies, you are wise. The natives here are ignorant, revering ghosts and gods, especially the sea god. We are newcomers, unable to communicate, and although we are strong militarily, we cannot win their hearts. We cannot obtain supplies through killing alone… Why not use the sea god's name to establish a foothold here!"

Rugi further explained: "Madam can continue to appear as a shaman, while we will disguise ourselves as guards under the sea god... supplemented by some... Jiangdong Nuo opera illusion techniques, using fireworks, bronze mirror reflections, and specially made sounds to create the image of the sea god manifesting and the shaman communicating with the divine... first intimidate the natives, then show them some divine favor... such as distributing some refined salt, or displaying the superiority of our weapons and armor, so that they are both fearful and respectful, and will no longer bother us, willingly serving us. Firstly, this will eliminate our worries about establishing a foothold, and secondly, we can use them to gather intelligence on the surrounding area and inquire about matters concerning neighboring Japan..."

"..." Upon hearing this, Xiao Qiao's eyes flashed with a thoughtful light.

Having weathered the storms at sea and the crisis in Dong'an, she has come to personally experience the impact of her identity as a 'shrine maiden'.

For her, the sea god might be Zhou Yu.

Perhaps this situation is a result of Zhou Yu's unseen guidance, leading them to establish themselves in this desolate land in this way.

Xiao Qiao looked at her sister, Da Qiao, who nodded gently and whispered, "Sister, make the decision... Things have come to this point, perhaps we can give it a try."

Xiao Qiao immediately made a decision: "Good! Let's proceed with this plan! If it works, it will save us from having to be on guard all day long, lest we run out of supplies!"

With the plan decided, preparations began.

Rugi selected clever crew members who mixed the sulfur and saltpeter originally carried on the ship into the vegetation. Then they set up bronze mirrors, splashed oil, and installed whistles and other items.

Xiao Qiao then had her servants repair and mend the red dance costume, and mixed some rouge and powder with minerals to create pigments that could be used to temporarily change skin tone or draw patterns, in order to make her makeup more closely resemble that of the so-called goddess, the chosen one of the gods.

A few days later, Lu Ji led dozens of brightly armored "divine guards" in several teams to the indigenous villages to drive the Japanese natives to come and "observe the ceremony".

The natives of the Eastern Japanese were terrified, screaming and shouting all the way. But when they arrived at the simple altar and saw Xiao Qiao, dressed in a red dance costume, her face not only veiled but also with crimson 'divine marks' outlined beneath the veil, they involuntarily knelt down in worship...

The eastern Japanese islands are located by the sea, and are damp and foggy. After the sun sets, the surrounding area becomes shrouded in mist.

Beneath the altar, the divine guards' armor and weapons gleamed brightly, shining brilliantly in the torchlight.

Xiao Qiao stepped out from the crowd and walked to the simple altar. Facing the setting sun, she danced gracefully.

The assistants, who had been arranged in advance in the woods on the side, immediately used multiple bronze mirrors to reflect and focus the firelight onto Xiao Qiao. At the same time, according to the pre-arranged sequence, they created a "grand scene" where Xiao Qiao could wave her hand and immediately there would be light, fire, smoke, and sound.

The indigenous people of East Japan, who had never seen a specular reflection or a chemical reaction in their entire lives, were clearly stunned by what they were seeing.

Humans can never describe things they have never seen.

The Qiao sisters, Lu Ji, and others presented the natives of Dongwo with scenes that these natives had never seen before in their lives. To these natives, this was naturally a kind of "miracle"!

Xiao Qiao incorporated some movements of Jiangdong shamans into her dance, making it mysterious and rhythmic.

She chanted prayers in Wu dialect, her voice clear and melodious, like celestial music.

All of this made the natives feel as if they were seeing immortals. They dared not look directly at them, kneeling on the ground, yet unable to resist secretly glancing at them...

The pre-placed saltpeter and sulfur were ignited, and a large amount of smoke and flames shot out.

Amidst a vast expanse of rising, billowing smoke, Xiao Qiao quietly retreated.

The natives had never seen such a sight before.
Many of the natives let out terrified whimpers and quickly fell to the ground, kowtowing loudly.

Rugi immediately ordered his guards to step forward and give some of the elderly natives a copper coin or two, along with a small packet of refined salt, as a "divine gift." He then pointed to the altar and instructed them to come forward to offer their thanks and blessings...

Just like the Five Directions God Cult, as long as you participate in the worship, whether you are a true believer or a fake believer, you can get a piece of bread.

Humans, regardless of their place or language, share some fundamental logic.

Smoke, strange noises, bizarre costumes, strange dances, and those unheard-of and unseen "divine gifts"...

This series of visual and auditory shocks completely shattered the primitive understanding of these indigenous people.

They began to transform fear into awe, which then evolved into worship.

By impersonating the chosen ones, the two Qiao sisters subtly grasped the core essence of these uncivilized natives. Living in a barren and harsh environment, these natives instinctively chose to attach themselves to the "strong." This was taught to them by the laws of survival, requiring no special language or writing.

Whether by chance or by chance, the Qiao sisters and others chose a path that happened to suit the needs of the indigenous people of Dongwo.

For these indigenous people, there are countless things they simply cannot understand or explain. Living under extremely impoverished conditions, in order to lessen their suffering, they are more inclined to believe in a so-called "God," believing that everything is "God's will," "God's arrangement"...

The oldest man in the village emerged shakily, and with the most solemn prostration and kneeling ceremony, welcomed the appearance of the "Sea Goddess".

Although verbal communication remains difficult, through simple gestures and, most importantly, the "divine gift" amidst the sharpness of swords and spears, the two sides gradually began to establish a basic bridge of communication.

In the days that followed, the two sisters, posing as priestesses and protected by Ruji and others, found several more simple altars nearby and repeated similar miracle rituals, distributing small amounts of salt, copper coins, cloth, and so on as appropriate.

News of the sea god's descent spread like wildfire along the coast and rivers eastward into the Japanese interior, eventually reaching the center of a large tribal alliance in this region...

The Yamatai Kingdom.

Although Yamatai was called a kingdom at this time, it was actually still an alliance of many tribes and villages, with a loose ruling structure.

The Yamatai Kingdom highly valued the "Sea God's Priestess" who could communicate with the gods and brought divine artifacts. They dispatched a high-ranking envoy to the coastal village to respectfully invite the two Qiao sisters and their entourage to the capital of the Yamatai Kingdom, Mount Miwa.