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Chapter 361 Prophecy
According to the content on the mural, the resurrected prince returned to the shore in a non-human form, killed the rebels and the army with powerful force, and regained the throne.

He also promoted more advanced construction and bronze smelting techniques within the kingdom, and built magnificent ancestral temples and palace complexes.

In the last scene of the mural, the prince, or King Cangze, who is unusually tall, is wearing an airtight yellow robe and sitting on the throne. With his pearl-studded eyes, he looks down at his subjects who are as humble as ants below the palace.

Sikong Lan shuddered for no apparent reason. The painting technique of the rock paintings was primitive and wild. The subjects serving as the background below the palace were just a few lines like the Huashan rock paintings, but the depiction of King Cang Ze was extremely vivid.

His cold gaze seemed to travel through thousands of years as he stared at the three people in the oval hall.

"The Tanka people are descendants of the Baiyue people, and the Cangze Kingdom belongs to the Baiyue people."

Zhang Fuluan frowned, slowly piecing together the existing clues in his mind, "The Cangze Kingdom was not passed down for some reason, and the ancestors of the Tu family were 'pure Cangze people' hiding among the Tanka people.
Or they may have been ordinary boat people who accidentally obtained the inheritance of the Cang Ze Kingdom, such as the Divine Transformation, and thus became rich.

As for these rock paintings,

"Mythological theories can explain everything on the murals."

Li Sheng said: "Ethnic groups around the world are geographically isolated, with different languages ​​and customs, but because they have all experienced the development stages of living in caves, slash-and-burn farming, and feudal city-states, the mythological and religious stories they imagined are highly similar.

The palace coup in the first scene of the rock painting symbolizes the dramatic change in the hero’s peaceful life;
In the second act, the prince's entire family is killed and he himself is dismembered, symbolizing the suffering of the hero;

In the third act, the prince sees a frog-shaped rock, which symbolizes the hero meeting a prophet, an ally, and receiving help;

In the fourth act, the prince reshapes his body, symbolizing that the hero breaks away from the mortal body and becomes a mythical being that is higher than mortals - this is very common in mythology, where heroes often have to die once and obtain a new body before they can become extraordinary.

The fifth act is returning to shore and killing the enemy. The sixth act is ruling the country, being revered and worshipped by the people, and becoming a mythical figure. "

Tracing the roots of mythology is a kind of anthropology. From Shakespeare's plays to the four great classics and then to real-world movies, video games, comics and instant noodle animations, they all still follow the narrative framework of mythological heroes - the resurrected Optimus Prime and Nezha in lotus root flesh in "Transformers 2" are the same routine.

Sikong Lan didn't understand mythology, but he roughly understood that Li Sheng didn't agree with the content of the mural. He hesitated and said, "Then what about the inhuman appearance of this king?"

"It's just propaganda to maintain rule."

Li Sheng casually said: "Yu Shun had double pupils, Ji Chang had four nipples, Can Cong had vertical eyes, and Liu Bei had arms that went past his knees. The more exaggerated the natural appearance is, the more it proves that the person is not an ordinary person, and the more legitimate his rule is. Liu Bang also killed a white snake, but did he really kill it? Like killing.

Don't forget that history is written by the victors, so the murals naturally favor the new king who occupies a dominant position.

Did you notice that in the penultimate scene, the king promoted more advanced construction and bronze smelting technologies in Cangze Kingdom?
Historically, the early relationship between the ancient Yue people and the Central Plains people was based on trade. The Yue people exchanged ivory, rhino horns, and tortoise shells for silk and handicrafts from the Central Plains. The frequency was not high.

It was not until the Zhou and Spring and Autumn periods that exchanges between the two sides became increasingly close.

King Cang Ze should have been in the period when bronze technology from the Central Plains was spreading to Lingnan.

And from this point of view, the plot about resurrection from the dead in the mural is probably a glorification of the superior - he did not die in human sacrifice and be reborn.
Instead, they fled to the Central Plains and obtained advanced technology and military support from the people of the Central Plains.

As for the frog-shaped stone statue, I tend to think it is 20% real and 80% fake, mixed with a lot of exaggeration and beautification. "

There are so many bizarre things in the universe that even the academicians who serve as think tanks in the Special Affairs Bureau exclaimed, "I used to be superstitious about science." However, it is still too outrageous to revive a corpse that has been corroded by sea water and eaten by marine life.

Even the necromancy black magic of the Demon Scientists' Union, if they want to resurrect the dead, requires the corpse to be as fresh and complete as possible.

"If I'm not mistaken, this should be a religious building such as a sanctuary or ancestral temple of the ancient Cang Ze Kingdom. If we continue walking forward, we will find more clues."

Li Sheng strode forward. Sikong Lan and Zhang Fuluan looked at each other and had to follow him.

There is a corridor at the end of the oval hall, which is wider and straighter than the tunnel leading out of the stone chamber.

There are murals on the walls and ceilings on both sides of the corridor. The content continues the paintings in the oval hall, telling the story of the ancient country of Cangze striding from the Neolithic Age to the Bronze Age. Seeing Li Sheng silent, Sikong Lan asked in confusion, "Is there something wrong?"

"The ritual vessels are missing."

In the late primitive society, clan aristocrats emerged, ritual vessels came into being, and developed rapidly during the Shang and Zhou dynasties.

There are ding, yan, and fu for food, jiao, jue, and dou for wine, and bells and chimes for playing music, etc.

However, the Cangze Kingdom, which had just entered the Bronze Age and should have fanatically believed in ghosts and gods, did not even have a single bronze ritual vessel on the murals.

The whole kingdom is like a cold-running arsenal.
Slaves dug ore in the mines, and craftsmen used the split casting method and the lost wax method to cast bronze objects.

Soldiers armed with bronze weapons attacked other Baiyue kingdoms and less civilized tribes, captured large numbers of slaves and threw them into mines to mine.

It's not that no one opposed the king, but whether it was a war launched by the enemy army, an assassination plotted by the nobles of his own country, or a riot started by slaves,

The king, with pearly eyes and a yellow robe covering his body, can always foresee the threat in advance and strangle it in the cradle.

The dim light of the night pearl illuminated the murals. The entire ancient country of Cangze exhausted its national strength and used the accumulated bronze to smelt a large number of extremely precise parts in the cave, including but not limited to gears, cranks, connecting rods, and bearings.

The processing precision is so high that it surpasses the gap of two thousand years and is comparable to the underground black workshops in Peshawar in the real world.

One can't help but wonder where King Cang Ze got these technologies and what he is going to use them to make.

The painter of the mural quite cleverly depicted the king's gradual aging and the passage of time by having the hair color change from black to white.

It was not until the end of the king's life that the project finally took shape - a huge bronze ship of incomparable grandeur and far ahead of its time.

Sikong Lan and Zhang Fuluan were stunned as they looked at the bronze ship that occupied an entire wall and was parked in the cave without any sails.

Li Sheng strode forward and scanned the murals on both sides.

Until the end of his life, King Cang Ze never saw the completion of the giant ship. His body was placed in the deepest part of the ship, and the kingdom was inherited by his five sons. Each son inherited an inhuman organ from their father, such as fish gills and frog tongue.

Among them, the prince with pearl eyes was extremely special. He left the city-state with his wife, children, loyal soldiers and a large number of slaves, hid in a cave, and left murals in the oval hall deep in the cave.

When the earthquake came, the entire Cang Ze Kingdom sank to the bottom of the sea, and the giant bronze ship disappeared, only this prince and the people around him survived.

In the corridor further ahead, large areas of the wall have peeled off and many murals are unrecognizable.

Only the last two murals are relatively clear.

'Precognitive ability.'

Li Sheng slowly exhaled a breath. The king escaped countless assassinations, the prince avoided earthquakes, and the man in straw raincoat sent the prophetic painting to Longhu Mountain. All of these were derived from the powerful predictive ability brought by the pearl eyes.

Tap tap tap tap.

Sikong Lan and Zhang Fuluan hurriedly followed, and when they saw the last two murals, they stopped at the same time, their faces as pale as paper.

The mural on the left depicts two men in black standing in the corridor, one of them thin and holding a night-shining pearl, and the other with a short sword on his waist. It perfectly matches the postures of the two at this moment.

The mural on the right depicts a bloody murder that occurred at a birthday banquet in a magnificent mansion.

(End of this chapter)