WEBVTT - Meteoric Metal and Alien Iron, Part 2

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Stuff to Blow Your Mind. My name

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<v Speaker 2>is Robert Lamb.

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<v Speaker 3>And I'm Joe McCormick, and we're back with part two

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<v Speaker 3>in our series on human uses of metal from the Sky.

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<v Speaker 3>If you haven't heard the first episode yet, you should

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<v Speaker 3>go back and check that one out before you listen

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<v Speaker 3>to this. But in that episode brief recap, we focused

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<v Speaker 3>mostly on a specific artifact from the New Kingdom of Egypt,

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<v Speaker 3>which was a dagger found wrapped up with the mummy

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<v Speaker 3>of the pharaohtutan Common, which had a blade made of iron.

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<v Speaker 3>Now that might not sound remarkable, but this was a

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<v Speaker 3>blade made of iron from an era before the large

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<v Speaker 3>scale smelting of iron in Egypt. And the really cool

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<v Speaker 3>thing about this knife and many other iron artifacts from

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<v Speaker 3>before the regional iron age in Egypt is that they

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<v Speaker 3>were probably created out of iron that came from a

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<v Speaker 3>meteorite space metal. So we also discuss the history of

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<v Speaker 3>knowledge that meteorites come from space, including the story of

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<v Speaker 3>how European scientists came to generally agree on the cosmic

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<v Speaker 3>origin of meteorite rocks only around the beginning of the

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<v Speaker 3>nineteenth century or so. And then also some interesting evidence

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<v Speaker 3>that the ancient Egyptians did actually know that iron meteorites

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<v Speaker 3>came from space, for example, the way they referred to

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<v Speaker 3>iron as the iron of the sky or the metal

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<v Speaker 3>of the sky, and some other linguistices clues in the

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<v Speaker 3>way the glyphs of the Hieroglyphic language are put together.

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<v Speaker 3>And then there are also some other languages like Sumerian,

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<v Speaker 3>which have long had similar associations between iron or certain

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<v Speaker 3>types of iron, and the sky. And so today we're

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<v Speaker 3>back to talk about more examples of the use of

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<v Speaker 3>metal from space inhuman artifacts, in human technological history.

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<v Speaker 2>That's right, And where we're going to go next, We're

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<v Speaker 2>going to get back into the use of iron and

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<v Speaker 2>meteoric iron in meteorites in Chinese tradition, Chinese history, and

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<v Speaker 2>maybe just a little dash of Chinese mythology. I want

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<v Speaker 2>to refer back to a write up on iron that

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<v Speaker 2>appears in the seventy Great Inventions of the Ancient World

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<v Speaker 2>by Brian and Fagan. With this particular bit by Paul T. Kratick,

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<v Speaker 2>cratic sums up Chinese iron usage by pointing out that

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<v Speaker 2>iron production in China began around the ninth century BCE,

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<v Speaker 2>perhaps introduced from the West, but also just as likely

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<v Speaker 2>an independent invention, and that by the Han period to

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<v Speaker 2>go to BCE, the Chinese quote incontestably led the world

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<v Speaker 2>in iron technology and production. But of course, as with

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<v Speaker 2>these other examples we've been looking at, we do have

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<v Speaker 2>evidence of artifacts created with meteoric iron prior to this.

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<v Speaker 2>Specifically it takes us back to the Sheng dynasty. This

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<v Speaker 2>would have been around fourteen hundred BCE. Now, as we

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<v Speaker 2>previously mentioned, there of course has been some back and

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<v Speaker 2>forth on the testing of various pre Iron age iron artifacts,

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<v Speaker 2>and ultimately a lot of that is still going on,

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<v Speaker 2>and these blades are often mentioned in some of those documents.

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<v Speaker 2>Now in that paper that I credited in the last

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<v Speaker 2>episode from Albert Jambond twenty seventeensh Bronze age iron meteoretic

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<v Speaker 2>or not a chemical strategy, at least according to this source,

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<v Speaker 2>the nickel count is low in these examples, but not

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<v Speaker 2>low enough to assign terrestrial origin, and that this is

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<v Speaker 2>definitely a case it seems like where the lower nickel

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<v Speaker 2>content is likely due to weathering effects. The blades themselves

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<v Speaker 2>have long been discussed as probable examples of meteoric iron,

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<v Speaker 2>going back at least as far as the book two

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<v Speaker 2>Early Chinese bronz Weapons with Meteoritic iron Blades by gettens

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<v Speaker 2>at All in nineteen seventy one, which details that these

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<v Speaker 2>blades were found in nineteen thirty one in Anyang Hanan

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<v Speaker 2>within a single tomb, which is also cited in Metals

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<v Speaker 2>in Antiquity by young at All nineteen ninety nine. Now

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<v Speaker 2>I have a picture here of these artifacts here for

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<v Speaker 2>you to look at, Joe and everyone else. You can

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<v Speaker 2>look these up as well online. Just look for meteoric

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<v Speaker 2>iron Chinese axes or Chinese broad axes and you can

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<v Speaker 2>likely find images of this. You can tell that these

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<v Speaker 2>were ornate, highly stylized weapons. Now, I want to note

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<v Speaker 2>that both of these sources here that are talking about it,

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<v Speaker 2>they seem to indicate less than certainty in some of

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<v Speaker 2>the details, saying that there seems to be a lot

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<v Speaker 2>of believe to have been in these references. Though, to

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<v Speaker 2>be clear, these weapons have long been in the Freer

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<v Speaker 2>collection at the Smithsonian, and there's no indication that the

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<v Speaker 2>dating or a larger geographic origin is particularly endowed here.

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<v Speaker 2>I just couldn't help it pick up on the fact

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<v Speaker 2>that this is one of those accounts where there seem

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<v Speaker 2>to be a little bit of ambiguity but no real

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<v Speaker 2>sticking points. I think in trying to understand where these

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<v Speaker 2>came from. These would have been Chinese broad axes, formally

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<v Speaker 2>inlaid and again likely largely ceremonial. These are not weapons

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<v Speaker 2>that would be out on the battlefield. Ah.

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<v Speaker 3>Yeah, and I had been assuming the same was true

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<v Speaker 3>of Tuton Common's iron dagger, though in fact I guess

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<v Speaker 3>I don't have a way of knowing that for sure,

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<v Speaker 3>don't have a reason to suspect to use this for

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<v Speaker 3>knife dueling or anything.

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<v Speaker 2>Yeah, it's interesting to think about these examples in terms

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<v Speaker 2>of how do you use it right, because you know,

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<v Speaker 2>we have cases where you're going to have some sort

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<v Speaker 2>of an iron weapon that is going to be of

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<v Speaker 2>exceptional quality, but you're going to have so few of them,

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<v Speaker 2>maybe even just one. You know, what are you going

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<v Speaker 2>to do during the Bronze period with your iron weapon.

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<v Speaker 2>It's kind of like if, as a thought experiment, you

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<v Speaker 2>were to say, okay, what if I were to take

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<v Speaker 2>a lightsaber back to the one hundred Years War between

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<v Speaker 2>England and France during the fourteenth and fifteenth century, and

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<v Speaker 2>you gave it to one side or the other, you know,

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<v Speaker 2>what good is it going to do? You know, you

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<v Speaker 2>could make a case maybe for some sort of special

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<v Speaker 2>forces style use of the weapon by either party. Okay,

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<v Speaker 2>single combat, sure, but more likely than not, a single

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<v Speaker 2>lightsaber is not going to decide anything during the fourteenth

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<v Speaker 2>or fifteenth century in any kind of like warfare scenario.

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<v Speaker 2>It would make far more sense as a ritual object,

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<v Speaker 2>as a tool of propaganda, is essentially like a scepter

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<v Speaker 2>to show how special and or powerful you are.

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<v Speaker 3>And as we talked about last time, with the specific

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<v Speaker 3>case of iron versus the dominant medal of bronze, there's

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<v Speaker 3>not even really a clear material superiority of early iron

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<v Speaker 3>weapons over say, well made bronze ones of the period.

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<v Speaker 3>That the advantages of iron when moving into the Iron

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<v Speaker 3>Age were primarily advantages in terms of economics and the

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<v Speaker 3>sourcing of materials, that it was easier to produce lots

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<v Speaker 3>of iron implements and tools and weapons at scale, rather

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<v Speaker 3>than it being that iron is just a much better

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<v Speaker 3>metal or something.

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<v Speaker 2>Right right, And the other key point, as we discussed

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<v Speaker 2>in the last episode is the knowledge of where the

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<v Speaker 2>meteorc iron came from, like knowing that this weapon is

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<v Speaker 2>of heavenly origin or of cosmic origin and so forth,

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<v Speaker 2>that seems to often be really important. And so I'm

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<v Speaker 2>going to get into that question here with Chinese examples.

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<v Speaker 2>Turning first back to Gettings at All, the work to

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<v Speaker 2>early Chinese bronze weapons with iron blades from seventy one.

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<v Speaker 2>They point out that meteorite falls were known to the

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<v Speaker 2>ancient Chinese and discussed in literature, often in reference to portents.

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<v Speaker 2>So if the metal used was known to have come

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<v Speaker 2>from the sky, they contend, it would have added to

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<v Speaker 2>the auspiciousness of the weapons and the reason that the

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<v Speaker 2>iron was used in these cases instead of jade, which

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<v Speaker 2>typically occupied an elevated position of ceremonial importance for weapons

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<v Speaker 2>and so forth. Such usage may have also influenced known

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<v Speaker 2>Chinese meteorite fragments. Quote such a use of meteoritic iron

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<v Speaker 2>might also explain the fact that only one iron meteorite

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<v Speaker 2>find is known from China. This I is referring to,

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<v Speaker 2>you know, ancient examples of meteorite, the idea being that

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<v Speaker 2>the iron meteorites would have been known as a source

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<v Speaker 2>for this sort of metal and would have been used

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<v Speaker 2>as such. And certainly these are not the only known

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<v Speaker 2>examples of Chinese meteoric weapons or weapons or artifacts that

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<v Speaker 2>are believed or it's argued, may be made of such iron.

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<v Speaker 2>There are several known artifacts of possible meteoric iron from

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<v Speaker 2>the late Sheng and early Western Zoo. So for examples

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<v Speaker 2>of some of those observations, because they mentioned, okay, the

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<v Speaker 2>ancient Chinese knew about meteorites. They knew they came from

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<v Speaker 2>the sky. For some examples of this knowledge, I turned

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<v Speaker 2>to the nineteen ninety four paper Meteorite Falls in China

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<v Speaker 2>and some Related Human Casualty Events by Yao at All,

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<v Speaker 2>published in the journal Meteoritics. They looked at accounts from

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<v Speaker 2>roughly seven hundred BCE through nineteen twenty CE, with the

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<v Speaker 2>earliest account cited found in the Spring and Autumn Annals,

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<v Speaker 2>traditionally attributed to Confucius, would have historically lived around five

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<v Speaker 2>fifty one through four to seventy nine BCE. This work

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<v Speaker 2>is one of the five classics of ancient Chinese literature,

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<v Speaker 2>and it covers an historical period stretching from seven twenty

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<v Speaker 2>two to for eighty one BCE, and the work includes

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<v Speaker 2>coverage of a six forty five BCE event in which

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<v Speaker 2>quote in translation, of course, five stones fell in Sung

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<v Speaker 2>And there are various other accounts in this article that

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<v Speaker 2>they don't highlight all of them, but they highlights some

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<v Speaker 2>of historic. Note there is a Sey dynasty account. This

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<v Speaker 2>is from the work History of the Suy Dynasty, and

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<v Speaker 2>it refers to a six sixteen BCE meteorite, with the

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<v Speaker 2>account depicting a meteorite hitting a siege tower during the

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<v Speaker 2>besiegement of a walled city.

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<v Speaker 3>What.

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<v Speaker 2>Yeah, So the idea is that there's a you know,

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<v Speaker 2>a siege situation going on, a meteorite hits, takes out

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<v Speaker 2>the siege tower, causes the sea, and then either the

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<v Speaker 2>strike of the meteorite or the perhaps far more likely

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<v Speaker 2>the subsequent collapse of said siege tower results in I

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<v Speaker 2>believe I read possibly ten fatalities. That was their I

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<v Speaker 2>think the recorded number. If this is true, it might

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<v Speaker 2>stand as the earliest recorded human meteorite related fatality. These are,

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<v Speaker 2>of course rare. You're talking about situations where you know,

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<v Speaker 2>a meteorite hits somebody or hits the vicinity of a

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<v Speaker 2>human and in doing so results in a casualty. But

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<v Speaker 2>it's also not entirely clear. I've read some criticism of

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<v Speaker 2>this account saying, Okay, this is certainly possible, it would

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<v Speaker 2>be a very rare occurrence. It's we also have to

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<v Speaker 2>just acknowledge that it's possible that this siege tower was

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<v Speaker 2>taken out by something far more mundane, like human munitions

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<v Speaker 2>fired from the wall of the siege city, that sort

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<v Speaker 2>of thing. But it is kind of It is cataloged

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<v Speaker 2>in the historic records, so I've seen numerous texts acknowledge

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<v Speaker 2>it and say, well, perhaps this is true.

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<v Speaker 3>Yeah.

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<v Speaker 2>So hundreds of accounts follow these early accounts of meteorites

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<v Speaker 2>and the Chinese records, and I'm not going to go

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<v Speaker 2>through all of them, or even the ones listed in

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<v Speaker 2>this source. But there's one more I wanted to mention

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<v Speaker 2>here because it does line up with what we're talking

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<v Speaker 2>about and the subject of meteors and iron, and that

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<v Speaker 2>is the non meteorite shower of thirteen forty one. It's

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<v Speaker 2>notable because it seems to have been a shower of

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<v Speaker 2>iron meteorites, and it was even referred to as quote

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<v Speaker 2>the iron rain, with descriptions of the resulting bore holes

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<v Speaker 2>in the earth, matching up with what we know of

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<v Speaker 2>iron meteorite impacts today now thirteen forty one, of course,

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<v Speaker 2>is far outside the Bronze Age examples we're looking at,

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<v Speaker 2>but you know, you conbind this with certainly these much

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<v Speaker 2>earlier examples, and it does seem clear that the ancient

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<v Speaker 2>Chinese knew that meteorites came from above, they came from

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<v Speaker 2>the sky, and that alone would be enough to sort

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<v Speaker 2>of factor into these myth making understandings of what a

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<v Speaker 2>weapon forged of such iron would mean. By the way,

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<v Speaker 2>speaking of Chinese mythology, it's worth noting that You the Great,

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<v Speaker 2>the character that we've talked about on the show before,

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<v Speaker 2>founder of the shop of the dynasty, in myth and legend,

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<v Speaker 2>the bringer of flood controls, is sometimes, at least at

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<v Speaker 2>least in early Chinese mythology, connected to meteorites. Oh so,

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<v Speaker 2>according to Mark Edward Lewis, in the Mythology of Early China,

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<v Speaker 2>some texts say that you was born of a stone

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<v Speaker 2>or in a place named for a stone, while other

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<v Speaker 2>tellings state that quote his mother was inseminated by a

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<v Speaker 2>magical stone or meteor.

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<v Speaker 3>Oh interesting, this is a different way of sort of

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<v Speaker 3>like parenthood by the gods.

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<v Speaker 2>Yeah, yeah, so I had not run across this before.

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<v Speaker 2>I cross checked it in a couple of my go

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<v Speaker 2>to Chinese mythology sources Yang and in Turner's Chinese Mythology

0:14:14.640 --> 0:14:18.200
<v Speaker 2>and Burrel's work on Chinese mythology. Both of these texts,

0:14:18.440 --> 0:14:22.120
<v Speaker 2>I refer to an origin story for you by which

0:14:22.160 --> 0:14:26.040
<v Speaker 2>he's born from the belly of his father's corpse following

0:14:26.280 --> 0:14:32.720
<v Speaker 2>the said father's execution. And this I'm guessing this entirely

0:14:32.760 --> 0:14:36.400
<v Speaker 2>masculine birth as a Buryl describes it. I guess this

0:14:36.440 --> 0:14:39.840
<v Speaker 2>is the predominant origin story that comes later, and that

0:14:39.960 --> 0:14:44.360
<v Speaker 2>Lewis here is focusing primarily on early tellings before those

0:14:44.360 --> 0:14:45.400
<v Speaker 2>traditions emerged.

0:14:45.600 --> 0:14:46.640
<v Speaker 3>Oh okay, I see.

0:14:47.200 --> 0:14:51.560
<v Speaker 2>So anyway, these axes, among other artifacts, you know, another

0:14:51.600 --> 0:14:57.440
<v Speaker 2>example of an ancient Bronze Age culture having access to

0:14:57.600 --> 0:15:01.040
<v Speaker 2>meteoric iron using it to craft weapons that then have

0:15:01.560 --> 0:15:05.840
<v Speaker 2>an exalted place within their culture. Uh, and so, And

0:15:05.880 --> 0:15:09.440
<v Speaker 2>definitely look up images of this if you have the

0:15:09.480 --> 0:15:12.640
<v Speaker 2>ability to do so readily, because you can you know

0:15:12.640 --> 0:15:15.480
<v Speaker 2>they're they're they're not in priestine form, they haven't been

0:15:15.480 --> 0:15:20.320
<v Speaker 2>restored or anything like that they're not anywhere near the

0:15:20.320 --> 0:15:23.200
<v Speaker 2>the completeness of tut and Commons dagger, but you can

0:15:23.200 --> 0:15:25.240
<v Speaker 2>still get a sense of the majesty they would have had.

0:15:25.440 --> 0:15:38.720
<v Speaker 3>Yeah, even the stubs are beautiful. Okay. I want to

0:15:38.760 --> 0:15:46.320
<v Speaker 3>talk about a statue, specifically a metal sculpture allegedly from Tibet,

0:15:46.880 --> 0:15:51.400
<v Speaker 3>sometimes called the Iron Man, referred to in a lot

0:15:51.400 --> 0:15:54.600
<v Speaker 3>of media reports as as the Iron Man or sometimes

0:15:54.640 --> 0:15:57.359
<v Speaker 3>as the Space Buddha.

0:15:57.800 --> 0:16:01.840
<v Speaker 2>Well, these these, both, these descriptions both take you somewhere,

0:16:01.880 --> 0:16:02.480
<v Speaker 2>that's for sure.

0:16:02.800 --> 0:16:06.960
<v Speaker 3>So this statue weighs about ten point six kilograms or

0:16:06.960 --> 0:16:10.720
<v Speaker 3>about twenty three pounds, and is roughly twenty four centimeters

0:16:10.800 --> 0:16:13.560
<v Speaker 3>or about nine and a half inches tall. It is

0:16:13.600 --> 0:16:18.120
<v Speaker 3>made of iron, and it depicts a bearded male figure

0:16:18.520 --> 0:16:21.400
<v Speaker 3>that is sometimes referred to as a Buddha, sometimes referred

0:16:21.400 --> 0:16:23.520
<v Speaker 3>to as a god, sometimes referred to as a man.

0:16:24.360 --> 0:16:28.080
<v Speaker 3>But he is depicted wearing trousers, a sort of cape

0:16:28.160 --> 0:16:31.920
<v Speaker 3>or cloak that's joined over his shoulders in a knot

0:16:31.960 --> 0:16:35.000
<v Speaker 3>on his chest. He's wearing kind of almost kind of

0:16:35.120 --> 0:16:40.400
<v Speaker 3>cloglike looking shoes, pants with a split in the cuff

0:16:40.440 --> 0:16:43.880
<v Speaker 3>at the bottom of the pant legs, and what looks

0:16:43.920 --> 0:16:47.120
<v Speaker 3>to me kind of like scale armor over his mid section.

0:16:47.800 --> 0:16:51.000
<v Speaker 3>And then on that scale armor there is the symbol

0:16:51.240 --> 0:16:55.400
<v Speaker 3>of a swastika, which, remember, before it was appropriated by

0:16:55.560 --> 0:16:58.880
<v Speaker 3>the German Nazi Party, that was around nineteen twenty, it was,

0:16:59.000 --> 0:17:02.640
<v Speaker 3>for you know, injuries or even millennia, a traditional symbol

0:17:02.720 --> 0:17:05.879
<v Speaker 3>with positive associations in a lot of different cultures and

0:17:05.880 --> 0:17:08.760
<v Speaker 3>religions throughout the world, notably in Hinduism and Buddhism.

0:17:09.280 --> 0:17:13.040
<v Speaker 2>That's right, and it still has that status in various

0:17:13.080 --> 0:17:20.280
<v Speaker 2>Hindu and Buddhist traditions, though of course permanently ruined in

0:17:20.320 --> 0:17:23.119
<v Speaker 2>the West by the appropriation of the Nazi Party.

0:17:23.480 --> 0:17:26.520
<v Speaker 3>Yeah, and so in the iron Man statue, the figure

0:17:27.400 --> 0:17:31.520
<v Speaker 3>has a halo like disc behind his head and he

0:17:31.720 --> 0:17:35.359
<v Speaker 3>is clutching a round egg shaped object in one hand.

0:17:35.840 --> 0:17:38.640
<v Speaker 3>His legs are folded underneath his body, so he looks

0:17:38.640 --> 0:17:42.280
<v Speaker 3>like he could be sitting cross legged or perhaps even dancing.

0:17:43.440 --> 0:17:47.800
<v Speaker 3>But this whole thing is carved out of a solid

0:17:47.960 --> 0:17:52.440
<v Speaker 3>piece of metal, with a rough, unfinished base below the figure.

0:17:53.000 --> 0:17:55.960
<v Speaker 3>So what is the deal with this weird metal statue. Well,

0:17:56.000 --> 0:17:58.240
<v Speaker 3>there was a bunch of media about this statue way

0:17:58.280 --> 0:18:02.280
<v Speaker 3>back in twenty twelve, it was associated with the publication

0:18:02.400 --> 0:18:06.479
<v Speaker 3>of a paper that was looking into its physical makeup

0:18:06.520 --> 0:18:10.240
<v Speaker 3>and its origins. The paper was by Buckner at All,

0:18:10.320 --> 0:18:14.080
<v Speaker 3>published in the journal Media Critics and Planetary Science again

0:18:14.119 --> 0:18:17.600
<v Speaker 3>in twenty twelve, and it was called Buddha from Space,

0:18:17.880 --> 0:18:21.359
<v Speaker 3>an ancient object of art made of a China iron

0:18:21.480 --> 0:18:24.439
<v Speaker 3>media write fragment. So I'm going to start with what

0:18:24.600 --> 0:18:27.040
<v Speaker 3>was originally alleged by it, but keep in mind that

0:18:27.160 --> 0:18:29.600
<v Speaker 3>some of the information I'm going to say at first

0:18:29.760 --> 0:18:34.439
<v Speaker 3>is either not certain or almost certainly not true. The

0:18:34.520 --> 0:18:38.400
<v Speaker 3>lead author of this paper, Elmer Buckner, is a geologist

0:18:38.760 --> 0:18:43.520
<v Speaker 3>affiliated with the Planetology Institute at Stuttgart University, and so

0:18:43.640 --> 0:18:46.080
<v Speaker 3>the authors of this paper were looking into the question

0:18:46.320 --> 0:18:49.879
<v Speaker 3>of first of all, what this statue is made of,

0:18:49.960 --> 0:18:52.560
<v Speaker 3>but also what does it depict and where did it

0:18:52.600 --> 0:18:56.200
<v Speaker 3>come from? As to where it comes from, there again

0:18:56.359 --> 0:18:58.960
<v Speaker 3>is plenty of debate about this, but the story as

0:18:59.119 --> 0:19:02.400
<v Speaker 3>received by the authors of the paper goes like this.

0:19:03.119 --> 0:19:06.240
<v Speaker 3>In the years nineteen thirty eight and nineteen thirty nine,

0:19:06.720 --> 0:19:12.400
<v Speaker 3>Adolf Hitler's SS sponsored a research and propaganda expedition to Tibet.

0:19:12.560 --> 0:19:16.200
<v Speaker 3>This is kind of a famous famous expedition about which

0:19:16.240 --> 0:19:20.199
<v Speaker 3>there has been much cultural legend, but this expedition was

0:19:20.280 --> 0:19:25.400
<v Speaker 3>led by the German zoologist and explorer Ernst Schaeffer. This

0:19:25.480 --> 0:19:29.080
<v Speaker 3>expedition collected a lot of material for return to Germany.

0:19:29.119 --> 0:19:31.520
<v Speaker 3>So they took a bunch of plant and animal samples,

0:19:31.760 --> 0:19:36.159
<v Speaker 3>seeds and grains and plants, and they cataloged birds. There

0:19:36.200 --> 0:19:39.280
<v Speaker 3>was ornithology missions and stuff like that, and it also

0:19:39.440 --> 0:19:43.640
<v Speaker 3>took a lot of cultural artifacts, including, according to a

0:19:43.680 --> 0:19:46.399
<v Speaker 3>Triple As blog post about this paper by Stephen A.

0:19:46.600 --> 0:19:50.720
<v Speaker 3>Edwards quote, a robe believed to have been worn by

0:19:50.720 --> 0:19:54.760
<v Speaker 3>the Dali Lama, a gold coin, and the iron statue.

0:19:55.160 --> 0:19:58.680
<v Speaker 3>The latter apparently attracted the attention of the Nazis because

0:19:59.000 --> 0:20:02.439
<v Speaker 3>of a swastika carved into its center. So that's the

0:20:02.600 --> 0:20:05.399
<v Speaker 3>story about where it came from. What does appear to

0:20:05.440 --> 0:20:08.200
<v Speaker 3>be true is that the statue was in the possession

0:20:08.320 --> 0:20:13.080
<v Speaker 3>of a private collector from sometime unknown until the year

0:20:13.200 --> 0:20:16.320
<v Speaker 3>two thousand and seven, which is the same year these

0:20:16.320 --> 0:20:21.040
<v Speaker 3>authors began investigating it. But before then, the allegation is

0:20:21.160 --> 0:20:24.600
<v Speaker 3>that it was taken from Tibet by Schaffer's men in

0:20:24.680 --> 0:20:27.679
<v Speaker 3>the late thirties and then disappeared during World War II,

0:20:27.880 --> 0:20:30.560
<v Speaker 3>only to reappear to the public in the two thousands.

0:20:31.080 --> 0:20:31.439
<v Speaker 2>All right.

0:20:31.960 --> 0:20:34.280
<v Speaker 3>Now, as to the question of what the statue is

0:20:34.359 --> 0:20:38.800
<v Speaker 3>made of, the authors conducted an elemental analysis and found

0:20:38.880 --> 0:20:41.720
<v Speaker 3>that the concentration of elements present in the metal was

0:20:41.840 --> 0:20:46.560
<v Speaker 3>consistent with an iron meteorite. So much like the analysis

0:20:46.560 --> 0:20:48.640
<v Speaker 3>we talked about in the previous episode looking at King

0:20:48.720 --> 0:20:52.880
<v Speaker 3>Tut's dagger, here they found high concentrations of nickel. This

0:20:53.320 --> 0:20:57.800
<v Speaker 3>statue was approximately sixteen percent nickel by weight and about

0:20:57.880 --> 0:21:01.440
<v Speaker 3>zero point six percent cobalt. These are not ratios you

0:21:01.480 --> 0:21:04.960
<v Speaker 3>would expect to find in earth based iron. Earth based

0:21:04.960 --> 0:21:07.720
<v Speaker 3>iron extracted from before the eighteen hundreds tends to be

0:21:07.800 --> 0:21:11.720
<v Speaker 3>not more than about four percent nickel. Also, the authors

0:21:11.800 --> 0:21:15.680
<v Speaker 3>analyzed the ratios of trace platinum group metals and found

0:21:15.760 --> 0:21:20.680
<v Speaker 3>that these were also consistent with meteorite iron. Not only

0:21:20.720 --> 0:21:23.879
<v Speaker 3>that they were able to match this metal to the

0:21:23.920 --> 0:21:30.160
<v Speaker 3>composition of meteorites from a specific known impact area. They write, quote,

0:21:30.600 --> 0:21:34.000
<v Speaker 3>the geochemical data of the meteorite generally matched the element

0:21:34.080 --> 0:21:37.640
<v Speaker 3>values known from fragments of the chinga a tax site,

0:21:38.400 --> 0:21:43.360
<v Speaker 3>A tax site meaning ungrouped iron meteorite strewn field discovered

0:21:43.359 --> 0:21:46.680
<v Speaker 3>in nineteen thirteen. The provenance of the meteorite as well

0:21:46.720 --> 0:21:49.080
<v Speaker 3>as the piece of art strongly points to the border

0:21:49.160 --> 0:21:54.000
<v Speaker 3>region of eastern Siberia and Mongolia. Accordingly, and I went

0:21:54.040 --> 0:21:55.960
<v Speaker 3>and did a little more looking. So it seems that

0:21:56.000 --> 0:22:00.440
<v Speaker 3>the Chinga meteorite is sort of it's an area rather

0:22:00.520 --> 0:22:05.760
<v Speaker 3>than one specific object. The Chinga meteorite field is something

0:22:05.840 --> 0:22:10.879
<v Speaker 3>that contains fragments of meteorite found by gold miners in Tuva,

0:22:11.240 --> 0:22:14.760
<v Speaker 3>which is a region of southern Siberia in Russia near

0:22:14.800 --> 0:22:18.639
<v Speaker 3>the border with Mongolia, and the hundreds of meteorite fragments

0:22:18.680 --> 0:22:21.119
<v Speaker 3>found there are thought to result from an object that

0:22:21.240 --> 0:22:25.000
<v Speaker 3>exploded in the atmosphere over Tuva between ten and twenty

0:22:25.080 --> 0:22:29.240
<v Speaker 3>thousand years ago. So the scientific evidence that the iron

0:22:29.240 --> 0:22:33.360
<v Speaker 3>Man statue was made out of meteorite iron seems quite strong.

0:22:34.000 --> 0:22:37.840
<v Speaker 3>But what about these other questions? What does this statue depict?

0:22:38.000 --> 0:22:40.680
<v Speaker 3>And when was when and where was it made? Here's

0:22:40.720 --> 0:22:43.560
<v Speaker 3>where we start getting into the much more disputed territory.

0:22:44.080 --> 0:22:47.160
<v Speaker 3>The authors of this twenty twelve paper claimed that it

0:22:47.400 --> 0:22:51.239
<v Speaker 3>was likely a depiction of the warrior king, god and

0:22:51.359 --> 0:22:55.520
<v Speaker 3>wealth Buddha known as vice Ravana, who is the guardian

0:22:55.640 --> 0:22:58.920
<v Speaker 3>of the North. You can think of sort of heavenly

0:22:58.960 --> 0:23:01.760
<v Speaker 3>beings that are guard ardians of the cardinal directions, and

0:23:01.840 --> 0:23:05.800
<v Speaker 3>Viceravana is the guardian of the North. This figure, Viceravanna,

0:23:06.040 --> 0:23:10.280
<v Speaker 3>shares characteristics with the Hindu deity known as Kubera and

0:23:10.640 --> 0:23:14.840
<v Speaker 3>is also known as Jambala, sometimes shown carrying a lemon

0:23:15.080 --> 0:23:18.440
<v Speaker 3>or a money bag in his hand, and in other depictions,

0:23:18.520 --> 0:23:22.160
<v Speaker 3>especially earlier ones, the authors say that Viceravana is shown

0:23:22.200 --> 0:23:25.960
<v Speaker 3>as quote, a corpulent figure that holds a mongoose which

0:23:26.000 --> 0:23:30.520
<v Speaker 3>spews jewels from its mouth. Sometimes also, especially beginning in

0:23:30.600 --> 0:23:33.560
<v Speaker 3>the second half of the eighth century, they say, he

0:23:33.720 --> 0:23:38.119
<v Speaker 3>is shown with ghosts at his feet. So, due to

0:23:38.359 --> 0:23:42.320
<v Speaker 3>a number of visual motifs such as the crossed legs

0:23:42.800 --> 0:23:45.639
<v Speaker 3>and the scale armor and so forth, the authors believe

0:23:45.720 --> 0:23:48.879
<v Speaker 3>that this is Viceravana we're looking at. But they also

0:23:48.960 --> 0:23:52.760
<v Speaker 3>write their thoughts about the religious significance of the swastika

0:23:52.800 --> 0:23:56.720
<v Speaker 3>in the image. They say, quote, the swastika prominently displayed

0:23:56.760 --> 0:23:59.760
<v Speaker 3>on the cuirass of the sculpture was a symbol frequently

0:23:59.840 --> 0:24:03.560
<v Speaker 3>used is by the nature based pre Buddhist Bun religion

0:24:04.119 --> 0:24:07.520
<v Speaker 3>rooted in the western parts of Tibet. The Bun religion

0:24:07.600 --> 0:24:10.520
<v Speaker 3>had its own literature and art that was, they say,

0:24:10.920 --> 0:24:15.920
<v Speaker 3>continuously absorbed into the Tibetan Buddhism that propagated into the

0:24:16.080 --> 0:24:19.240
<v Speaker 3>entire area of Buddhist influence. A paper I'm going to

0:24:19.280 --> 0:24:21.600
<v Speaker 3>talk about in a minute, I think will somewhat dispute

0:24:21.640 --> 0:24:25.720
<v Speaker 3>that claim. But they say, accordingly, the iron Man could

0:24:25.720 --> 0:24:30.840
<v Speaker 3>represent a Bun slash Buddhist hybrid, showing some recognition features

0:24:30.880 --> 0:24:33.160
<v Speaker 3>of Kubera the early Vicerovana.

0:24:34.200 --> 0:24:38.440
<v Speaker 2>O good, all right, and not getting into the criticism

0:24:38.560 --> 0:24:41.960
<v Speaker 2>is about to come. That would seemingly make sense. We

0:24:42.200 --> 0:24:47.080
<v Speaker 2>can point in various examples, not only in Buddhist traditions,

0:24:47.119 --> 0:24:50.159
<v Speaker 2>but in other traditions where we see these emerging of

0:24:50.280 --> 0:24:53.880
<v Speaker 2>art styles and merging of cultures in a particular sculpture

0:24:54.040 --> 0:24:54.640
<v Speaker 2>or other work.

0:24:55.040 --> 0:24:58.959
<v Speaker 3>Sure, and so going with this hybrid art hypothesis, they write, quote,

0:24:59.200 --> 0:25:02.840
<v Speaker 3>according to this interpretation, the possible provenance of the iron

0:25:02.920 --> 0:25:06.280
<v Speaker 3>Man is western Tibet or anywhere in the area of

0:25:06.320 --> 0:25:10.040
<v Speaker 3>Buddhist influence, and the age can be tentatively dated at

0:25:10.119 --> 0:25:22.800
<v Speaker 3>the eighth to tenth century. Now, as far as I

0:25:22.800 --> 0:25:27.840
<v Speaker 3>can tell, the chemical analysis that they did appears sound.

0:25:28.040 --> 0:25:31.080
<v Speaker 3>I've not come across major criticism of the analysis of

0:25:31.119 --> 0:25:35.959
<v Speaker 3>the materials. So the statue is probably made of meteorite iron,

0:25:36.320 --> 0:25:40.000
<v Speaker 3>perhaps even from the known source of the Chinga meteorite field,

0:25:40.560 --> 0:25:44.439
<v Speaker 3>but the question of its cultural origin I found to

0:25:44.480 --> 0:25:49.400
<v Speaker 3>be strongly disputed. So there is a professor of Buddhist

0:25:49.520 --> 0:25:54.159
<v Speaker 3>studies named Akim Beher that could be Beayer or Bayer.

0:25:54.200 --> 0:25:56.640
<v Speaker 3>I'm not sure. I'm going to say Beyer. Apologies if

0:25:56.720 --> 0:26:00.359
<v Speaker 3>that's wrong. Behar, who was at one point affiliated with

0:26:00.680 --> 0:26:04.359
<v Speaker 3>Dunguk University in Soul, South Korea. He may be at

0:26:04.359 --> 0:26:08.119
<v Speaker 3>a different institution now, addressed these claims in an article

0:26:08.160 --> 0:26:12.320
<v Speaker 3>that I found called the Lama Wearing Trousers Notes on

0:26:12.359 --> 0:26:16.440
<v Speaker 3>an iron statue in a German private collection. And here's

0:26:16.440 --> 0:26:19.080
<v Speaker 3>where the story, I think becomes even more interesting, because,

0:26:19.080 --> 0:26:22.639
<v Speaker 3>of course, any statue or sculpture made out of a meteorite,

0:26:22.680 --> 0:26:26.879
<v Speaker 3>that's inherently a pretty fascinating idea. But it goes beyond that,

0:26:27.000 --> 0:26:30.720
<v Speaker 3>because it calls up questions of the authenticity of art

0:26:30.800 --> 0:26:33.480
<v Speaker 3>and our ability to recognize what we're looking at when

0:26:33.480 --> 0:26:38.080
<v Speaker 3>we're looking for cultural authentics and forgeries and fakes. In

0:26:38.160 --> 0:26:42.960
<v Speaker 3>this paper, Behar does not dispute the meteorite origin of

0:26:43.000 --> 0:26:46.800
<v Speaker 3>the iron, but argues that the statue is not authentically

0:26:46.840 --> 0:26:52.000
<v Speaker 3>Tibetan or Mongolian and bear's clear and well known hallmarks

0:26:52.040 --> 0:26:56.880
<v Speaker 3>of European imitations of Tibetan art. In other words, instead

0:26:56.880 --> 0:27:00.560
<v Speaker 3>of being a eight to tenth century Tibetan religious sculpture

0:27:00.640 --> 0:27:03.520
<v Speaker 3>made out of iron from space, it is a modern

0:27:03.640 --> 0:27:08.160
<v Speaker 3>European forgery made out of iron from space, or perhaps

0:27:08.200 --> 0:27:12.000
<v Speaker 3>not forgery, perhaps just imitation. I guess to decipher the

0:27:12.040 --> 0:27:15.080
<v Speaker 3>difference between forgery and imitation, maybe you would need to

0:27:15.119 --> 0:27:16.600
<v Speaker 3>know the intent of the artist.

0:27:16.840 --> 0:27:19.919
<v Speaker 2>Yeah, yeah, I would imagine so, But as we've been

0:27:19.920 --> 0:27:22.639
<v Speaker 2>saying that that would appear to be lost to history,

0:27:22.760 --> 0:27:25.080
<v Speaker 2>so all we can do is offer conjecture.

0:27:25.680 --> 0:27:28.479
<v Speaker 3>So Beyer says that at the time of his writing

0:27:28.520 --> 0:27:32.679
<v Speaker 3>in response to this paper and the media that followed it,

0:27:33.400 --> 0:27:36.959
<v Speaker 3>no authority on Tibetan or Mongolian art had ever publicly

0:27:37.040 --> 0:27:40.680
<v Speaker 3>authenticated the sculpture. So basically, from his point of view,

0:27:40.800 --> 0:27:43.359
<v Speaker 3>I think he's saying like, there's not even really anybody

0:27:43.440 --> 0:27:47.200
<v Speaker 3>within the relevant field to disagree with about this. It's

0:27:47.320 --> 0:27:50.480
<v Speaker 3>just clearly not authentic. And he goes on to list

0:27:50.800 --> 0:27:55.000
<v Speaker 3>thirteen stylistic elements of the sculpture that make it overwhelmingly

0:27:55.080 --> 0:27:57.439
<v Speaker 3>clear to him that it is a fake. I'm not

0:27:57.480 --> 0:27:59.480
<v Speaker 3>going to go through all thirteen, but I wanted to

0:27:59.480 --> 0:28:01.919
<v Speaker 3>mention a couple in detail, and then I can just

0:28:01.960 --> 0:28:05.680
<v Speaker 3>allude to the rest. So one example that even looked

0:28:05.720 --> 0:28:07.800
<v Speaker 3>weird to me. I am not claiming to be an

0:28:07.840 --> 0:28:10.679
<v Speaker 3>expert on Tibetan or Buddhist art. I don't really know

0:28:10.720 --> 0:28:13.760
<v Speaker 3>anything about it. But I looked at the statue and

0:28:13.800 --> 0:28:17.959
<v Speaker 3>I was like, huh, the shoes look weird, and what

0:28:18.000 --> 0:28:20.520
<v Speaker 3>do you know? So he identifies as this very first

0:28:20.640 --> 0:28:24.440
<v Speaker 3>item on the list the footwear. He writes, quote, the

0:28:24.520 --> 0:28:28.040
<v Speaker 3>lama is neither barefoot, nor does he wear traditional boots.

0:28:28.440 --> 0:28:31.639
<v Speaker 3>The shoes cover the feet like European shoes up to

0:28:31.680 --> 0:28:34.919
<v Speaker 3>the ankles, and no further. And Rob, I've got a

0:28:35.080 --> 0:28:37.080
<v Speaker 3>zoom in for us to look at here of the

0:28:37.800 --> 0:28:41.440
<v Speaker 3>shoes on the image. Again, they do look weird to me.

0:28:41.480 --> 0:28:43.920
<v Speaker 3>I'm not saying what looks weird to me should be

0:28:43.960 --> 0:28:46.160
<v Speaker 3>decisive on this issue. I just thought it was funny

0:28:46.200 --> 0:28:48.640
<v Speaker 3>that they did look weird to me. So after I

0:28:48.680 --> 0:28:51.600
<v Speaker 3>read this comment by Bear, I went around looking for

0:28:51.800 --> 0:28:56.080
<v Speaker 3>other images of vice Ravana in Buddhist art and other

0:28:56.160 --> 0:29:01.280
<v Speaker 3>images of just figures from Tibetan art, and yeah, I do.

0:29:01.480 --> 0:29:03.520
<v Speaker 3>I don't really see shoes that look like this. I

0:29:03.560 --> 0:29:05.800
<v Speaker 3>either see like bare feet or boots that go up

0:29:05.800 --> 0:29:06.280
<v Speaker 3>the calf.

0:29:06.680 --> 0:29:09.760
<v Speaker 2>Yeah. I had a similar experience after I read this

0:29:09.840 --> 0:29:12.560
<v Speaker 2>in your notes. I have a copy of Roberty Fisher's

0:29:12.600 --> 0:29:15.800
<v Speaker 2>Art of Tibet that I've used in research projects before,

0:29:16.480 --> 0:29:18.680
<v Speaker 2>so I got that out I started looking through it.

0:29:19.320 --> 0:29:21.760
<v Speaker 2>That book, by the way, does not cover this particular

0:29:21.840 --> 0:29:24.120
<v Speaker 2>statue or mention it as far as I could tell,

0:29:24.720 --> 0:29:27.160
<v Speaker 2>but it has a lot of illustrations. So I scan

0:29:27.320 --> 0:29:30.520
<v Speaker 2>through it, and I don't know. I had an odd experience,

0:29:30.600 --> 0:29:32.120
<v Speaker 2>Like I love looking at t bett and art. I

0:29:32.160 --> 0:29:36.360
<v Speaker 2>love the complexity and all the rich information that is

0:29:36.400 --> 0:29:40.520
<v Speaker 2>contained within some you know that becomes apparent to someone

0:29:40.640 --> 0:29:42.560
<v Speaker 2>like me, But a lot of it is just lost

0:29:42.560 --> 0:29:46.200
<v Speaker 2>on me, as I am not its historic contended viewer.

0:29:46.640 --> 0:29:50.440
<v Speaker 2>But it is almost I found it almost physically painful

0:29:50.920 --> 0:29:54.200
<v Speaker 2>to look at each of these amazing images and focus

0:29:54.320 --> 0:29:57.040
<v Speaker 2>not on anything else going on in them, but to

0:29:57.160 --> 0:30:00.680
<v Speaker 2>look at the feet and the shoes. There are some

0:30:00.800 --> 0:30:04.640
<v Speaker 2>images where feet are seemingly very important, and so it's

0:30:04.640 --> 0:30:08.840
<v Speaker 2>not like feet or just a non commodity in these images,

0:30:09.560 --> 0:30:11.320
<v Speaker 2>but there's just so much going on that I had

0:30:11.320 --> 0:30:13.160
<v Speaker 2>a hard time looking at just the feet.

0:30:13.480 --> 0:30:16.360
<v Speaker 3>Yeah, there was some series we did a while back

0:30:16.400 --> 0:30:19.160
<v Speaker 3>where we talked about, you know, and there's variation within

0:30:19.240 --> 0:30:21.160
<v Speaker 3>all art styles, but we talked about how a lot

0:30:21.200 --> 0:30:25.440
<v Speaker 3>of Tibetan art is just gloriously busy. There's like so

0:30:25.640 --> 0:30:28.000
<v Speaker 3>much going on in it, and so much text here.

0:30:28.320 --> 0:30:31.440
<v Speaker 2>Yeah, and it is if memory serves from those past episodes.

0:30:31.480 --> 0:30:33.719
<v Speaker 2>Like part of it comes down to, of course, you

0:30:33.720 --> 0:30:36.560
<v Speaker 2>have a very complex theology that needs to be related

0:30:37.040 --> 0:30:41.920
<v Speaker 2>to some degree through these visual representations. And then also

0:30:42.040 --> 0:30:44.840
<v Speaker 2>there's a strong case to be made that the landscape

0:30:44.880 --> 0:30:47.360
<v Speaker 2>plays into it, that there is a kind of scale

0:30:48.640 --> 0:30:54.920
<v Speaker 2>to the Tibetan landscape that therefore makes these interior holy

0:30:54.960 --> 0:30:58.640
<v Speaker 2>spaces need to be busier, need to be just so

0:30:59.040 --> 0:31:03.160
<v Speaker 2>full of additional details and without any of these you know,

0:31:03.280 --> 0:31:08.360
<v Speaker 2>artistic voids that become important in other traditions. But anyway,

0:31:08.440 --> 0:31:10.760
<v Speaker 2>I looked at a lot of feet in these when

0:31:10.800 --> 0:31:13.400
<v Speaker 2>I could see them, and because it seemed like most

0:31:13.440 --> 0:31:16.719
<v Speaker 2>of the examples just broadly feet on all art. You know,

0:31:16.760 --> 0:31:19.360
<v Speaker 2>it's either going to be a barefoot or it is

0:31:19.400 --> 0:31:22.360
<v Speaker 2>going to be a feet you cannot see because they

0:31:22.360 --> 0:31:27.040
<v Speaker 2>are obscured by clothing. And I, in fact, I don't

0:31:27.040 --> 0:31:30.400
<v Speaker 2>think I saw a single shoe in that particular book.

0:31:31.040 --> 0:31:36.440
<v Speaker 2>I also went to a rather prolific blog online of

0:31:37.320 --> 0:31:40.800
<v Speaker 2>of Himalayan Buddhist art titled It's you can find It's

0:31:40.840 --> 0:31:43.760
<v Speaker 2>Himalayan Buddhist Art dot WordPress dot com. A lot of

0:31:43.800 --> 0:31:47.480
<v Speaker 2>images on there, with some some write ups. It seems

0:31:47.520 --> 0:31:50.640
<v Speaker 2>to be a very current blog. I looked around on there,

0:31:50.680 --> 0:31:52.840
<v Speaker 2>and in fact, and there I found I found lots

0:31:52.840 --> 0:31:56.400
<v Speaker 2>of bare feet, and I did find at least one

0:31:56.480 --> 0:32:00.240
<v Speaker 2>example of a couple of examples maybe a footwear, one

0:32:00.240 --> 0:32:02.840
<v Speaker 2>of which, though is clearly, like you said, a boot

0:32:02.960 --> 0:32:08.560
<v Speaker 2>that goes, you know, much much farther up the leg,

0:32:09.200 --> 0:32:11.840
<v Speaker 2>as opposed to what we see in the alleged iron

0:32:11.880 --> 0:32:15.160
<v Speaker 2>Man here. And so like you, now, when I look

0:32:15.240 --> 0:32:17.719
<v Speaker 2>at the iron Man's feet, I'm like, this is this

0:32:17.760 --> 0:32:20.480
<v Speaker 2>feels off? Like it feels even more off now that

0:32:20.560 --> 0:32:23.280
<v Speaker 2>I have all this additional information in my head about it.

0:32:23.320 --> 0:32:25.440
<v Speaker 2>They you know, they look like, I don't know, kind

0:32:25.440 --> 0:32:27.960
<v Speaker 2>of like little elfin shoes I don't know exactly.

0:32:28.040 --> 0:32:30.800
<v Speaker 3>Yeah, but again it's not just our opinion. Expert on

0:32:31.600 --> 0:32:35.120
<v Speaker 3>Buddhism and Tibetan art says, this is not what this

0:32:35.240 --> 0:32:39.120
<v Speaker 3>usually looks like. Bear's next point points out the pants.

0:32:39.400 --> 0:32:42.240
<v Speaker 3>This guy's wearing pants, and he says, this is sort

0:32:42.280 --> 0:32:44.680
<v Speaker 3>of a dead giveaway that the trousers worn by the

0:32:44.760 --> 0:32:48.080
<v Speaker 3>lama in this sculpture are to be found nowhere else

0:32:48.200 --> 0:32:51.320
<v Speaker 3>in Tibetan or Mongolian sculpture of the time, in which

0:32:51.360 --> 0:32:55.160
<v Speaker 3>figures may wear robes or might have armor covering their shins,

0:32:55.240 --> 0:32:58.880
<v Speaker 3>but never pants like this. And even there's kind of

0:32:58.920 --> 0:33:01.520
<v Speaker 3>this interesting like what would you call this a flare

0:33:01.640 --> 0:33:03.600
<v Speaker 3>or I guess like a split. There's like a split

0:33:03.720 --> 0:33:08.120
<v Speaker 3>in the pant leg down at the cuff. And yeah,

0:33:08.160 --> 0:33:09.720
<v Speaker 3>Behar is like, I don't know what to make of that.

0:33:09.800 --> 0:33:12.160
<v Speaker 3>Maybe that's just to make it look sort of different

0:33:12.240 --> 0:33:14.800
<v Speaker 3>than normal pants, like pastoral or something.

0:33:15.320 --> 0:33:17.880
<v Speaker 2>Yeah, yeah, most of these images you look at Yeah

0:33:18.720 --> 0:33:22.360
<v Speaker 2>you're looking at it flowing robes and so forth or armor. Yeah.

0:33:22.840 --> 0:33:25.040
<v Speaker 2>I was looking around too for examples of what we

0:33:25.120 --> 0:33:27.440
<v Speaker 2>might describe as pants, and I was not finding them.

0:33:27.880 --> 0:33:30.480
<v Speaker 3>So then Bear goes on the list eleven other points

0:33:30.480 --> 0:33:33.480
<v Speaker 3>of difference from known Tibetan or Mongolian art, having to

0:33:33.520 --> 0:33:36.480
<v Speaker 3>do with everything from the way the body is positioned,

0:33:36.680 --> 0:33:40.040
<v Speaker 3>like the position of the legs, to how body parts

0:33:40.040 --> 0:33:43.160
<v Speaker 3>such as the beard and the hands are rendered. There

0:33:43.160 --> 0:33:47.040
<v Speaker 3>are major differences there. How the halo is depicted. I

0:33:47.080 --> 0:33:49.200
<v Speaker 3>want to come right back to that, and then things

0:33:49.200 --> 0:33:51.880
<v Speaker 3>about the clothing and the jewelry. Just a lot of

0:33:51.880 --> 0:33:55.280
<v Speaker 3>stuff about this does not fit with the alleged context

0:33:55.280 --> 0:33:59.240
<v Speaker 3>it supposedly comes from. So the part about the halo

0:33:59.400 --> 0:34:02.000
<v Speaker 3>was also in me given that we did a series

0:34:02.040 --> 0:34:04.400
<v Speaker 3>of episodes on halo imagery a couple of years ago.

0:34:05.360 --> 0:34:10.720
<v Speaker 3>Bayer says that halo's attached to the body like I

0:34:10.760 --> 0:34:13.920
<v Speaker 3>actually attached to the body on the sculpture are not

0:34:14.200 --> 0:34:18.080
<v Speaker 3>very common in genuine metal statues here, if they have

0:34:18.200 --> 0:34:21.080
<v Speaker 3>a halo, tends to be like a separate piece from

0:34:21.080 --> 0:34:24.879
<v Speaker 3>the body in the sculpture, But then also notes that

0:34:25.040 --> 0:34:27.760
<v Speaker 3>the halo around the figure's head and then the greater

0:34:27.920 --> 0:34:32.000
<v Speaker 3>ariole or behind the figure's body are totally blank and

0:34:32.040 --> 0:34:33.120
<v Speaker 3>featureless circles.

0:34:33.160 --> 0:34:33.399
<v Speaker 2>Here.

0:34:34.000 --> 0:34:36.360
<v Speaker 3>I did a little digging deeper on this, and I

0:34:36.360 --> 0:34:39.080
<v Speaker 3>found another paper zooming in and showing maybe there are

0:34:39.120 --> 0:34:41.839
<v Speaker 3>a few little scratches and the halo if you zoom in,

0:34:42.120 --> 0:34:45.759
<v Speaker 3>but there's no major decoration or adornment. And if you

0:34:45.800 --> 0:34:48.560
<v Speaker 3>compare this to how halo's or arioles, you know, the

0:34:48.600 --> 0:34:50.680
<v Speaker 3>glow around the head or the glow around the body,

0:34:51.320 --> 0:34:54.680
<v Speaker 3>how they're usually depicted in Tibetan or Buddhist art, it's

0:34:54.719 --> 0:34:58.880
<v Speaker 3>a world of difference. They are usually not a blank circle.

0:34:59.040 --> 0:35:03.280
<v Speaker 3>They are usually highly textured, highly adorned, like we were saying,

0:35:03.400 --> 0:35:05.680
<v Speaker 3>very busy, with a lot going in them, maybe depicted

0:35:05.719 --> 0:35:09.000
<v Speaker 3>as flames or having a kind of texture within them,

0:35:09.160 --> 0:35:13.359
<v Speaker 3>or showing even little like scenes and figures inside them.

0:35:13.960 --> 0:35:16.439
<v Speaker 2>Yeah. I think this feels like a strong point. Yeah,

0:35:16.440 --> 0:35:22.160
<v Speaker 2>that this halo feels way too casual. Yeah, and probably

0:35:22.360 --> 0:35:25.640
<v Speaker 2>has more in common with Western depictions of a halo,

0:35:25.800 --> 0:35:26.000
<v Speaker 2>you know.

0:35:26.080 --> 0:35:28.239
<v Speaker 3>Yeah, looks more like a halo you'd see around the

0:35:28.320 --> 0:35:31.320
<v Speaker 3>head of a saint in like a medieval Catholic depiction

0:35:31.520 --> 0:35:35.000
<v Speaker 3>or something. Yeah. Yeah, So there is a bunch of

0:35:35.040 --> 0:35:38.200
<v Speaker 3>stuff like this that just does not match the cultural

0:35:38.239 --> 0:35:41.840
<v Speaker 3>context of its alleged production and on the art elements,

0:35:41.840 --> 0:35:45.399
<v Speaker 3>Behar says, quote, my own research has not yielded a

0:35:45.520 --> 0:35:49.400
<v Speaker 3>single even remotely similar object, which led me to conclude

0:35:49.400 --> 0:35:53.160
<v Speaker 3>that the statue is in fact a European counterfeit, and

0:35:53.239 --> 0:35:56.160
<v Speaker 3>I was encouraged to take this conclusion by several colleagues

0:35:56.160 --> 0:35:59.960
<v Speaker 3>I contacted. While no such artifacts exist in Inner Asia,

0:36:00.239 --> 0:36:06.000
<v Speaker 3>artifacts of the pseudo Tibetan style exist in abundance, produced

0:36:06.000 --> 0:36:10.160
<v Speaker 3>as home decoration for film sets and the like. Any

0:36:10.360 --> 0:36:13.640
<v Speaker 3>highly improbable claim to the opposite would have to carry

0:36:13.640 --> 0:36:17.680
<v Speaker 3>the burden of proof. So having made the case that

0:36:17.760 --> 0:36:21.640
<v Speaker 3>this is a European imitation rather than a genuine Tibetan

0:36:21.680 --> 0:36:25.360
<v Speaker 3>or Mongolian original, the paper also addresses some other questions,

0:36:25.400 --> 0:36:28.759
<v Speaker 3>including who is depicted in the sculpture and where it

0:36:28.760 --> 0:36:33.200
<v Speaker 3>comes from. As to who is depicted, Bear agrees actually

0:36:33.480 --> 0:36:36.359
<v Speaker 3>that it might possibly be Vice Sravana, which is what

0:36:36.400 --> 0:36:40.160
<v Speaker 3>the original authors proposed, but then also give some other possibilities.

0:36:40.280 --> 0:36:45.880
<v Speaker 3>Maybe it is Podmasimbava, there was another figure. It could

0:36:45.880 --> 0:36:50.400
<v Speaker 3>be an amalgam of elements from different original figures. And

0:36:50.440 --> 0:36:53.239
<v Speaker 3>then there's the question of where did it come from.

0:36:53.719 --> 0:36:57.279
<v Speaker 3>Bear also here casts doubt on the story that this

0:36:57.560 --> 0:37:02.919
<v Speaker 3>was taken from Tibet by by the Nazi Schaffer expedition.

0:37:03.239 --> 0:37:06.520
<v Speaker 3>In the late thirties. He claims that after corresponding with

0:37:06.560 --> 0:37:10.040
<v Speaker 3>the authors of the twenty twelve study, he could find

0:37:10.200 --> 0:37:14.600
<v Speaker 3>no reliable evidence that this piece had any historical association

0:37:14.760 --> 0:37:18.280
<v Speaker 3>with Schaffer or with the SS. I could be wrong,

0:37:18.360 --> 0:37:21.680
<v Speaker 3>but as best I can tell, the evidence for the

0:37:21.760 --> 0:37:25.839
<v Speaker 3>association is the claim of the collector who produced it

0:37:25.880 --> 0:37:28.640
<v Speaker 3>in the two thousands. But that came with no like

0:37:28.800 --> 0:37:32.960
<v Speaker 3>historical evidence backing it up or no reliable documentation. So

0:37:33.360 --> 0:37:35.640
<v Speaker 3>Bayer doubts the Schaffer connection totally.

0:37:36.360 --> 0:37:38.080
<v Speaker 2>So this might have just been a story that was

0:37:38.320 --> 0:37:41.719
<v Speaker 2>heaped on, perhaps just to make it a little more

0:37:41.719 --> 0:37:42.640
<v Speaker 2>marketable to.

0:37:42.760 --> 0:37:45.719
<v Speaker 3>Collectors possibly, and that could in fact work in two

0:37:45.840 --> 0:37:50.720
<v Speaker 3>different ways. He identifies two different hypotheses for the production

0:37:50.840 --> 0:37:53.359
<v Speaker 3>of this. One is that it's a He calls it

0:37:53.719 --> 0:37:57.280
<v Speaker 3>something produced for the quote general antique and curio market,

0:37:58.120 --> 0:38:02.960
<v Speaker 3>in which case the oustica depicted on the armor and

0:38:03.040 --> 0:38:08.040
<v Speaker 3>the association with the Schaffer expedition would just like sort

0:38:08.040 --> 0:38:11.280
<v Speaker 3>of give it more general mystery, be like wow, that's weird,

0:38:11.640 --> 0:38:14.719
<v Speaker 3>and be attractive to a general antique buying audience or

0:38:14.760 --> 0:38:18.239
<v Speaker 3>curio buying audience. But then he says there's another interpretation,

0:38:18.360 --> 0:38:20.960
<v Speaker 3>which is a little more sinister, which is that it

0:38:21.040 --> 0:38:25.600
<v Speaker 3>is made specifically to appeal to the market for Nazi memorabilia,

0:38:26.239 --> 0:38:29.879
<v Speaker 3>in which case these associations would would have a specific

0:38:30.000 --> 0:38:34.600
<v Speaker 3>direct appeal. So who did make it, Beyer says, we

0:38:34.719 --> 0:38:38.160
<v Speaker 3>don't know, but he thinks that most likely it was

0:38:38.200 --> 0:38:42.000
<v Speaker 3>made by a European artist sometime roughly between nineteen ten

0:38:42.160 --> 0:38:46.480
<v Speaker 3>and nineteen seventy. Why those dates, The reasoning seems to

0:38:46.520 --> 0:38:49.319
<v Speaker 3>be that this would be a period when there was

0:38:49.400 --> 0:38:52.440
<v Speaker 3>a market for this sort of thing, for artifacts imitating

0:38:52.440 --> 0:38:55.320
<v Speaker 3>Tibetan styles or things to be passed off as Tibetan

0:38:55.400 --> 0:38:59.200
<v Speaker 3>in origin. But there was also still before nineteen seventy

0:38:59.680 --> 0:39:02.839
<v Speaker 3>enough ignorance within the market for this sort of art

0:39:03.080 --> 0:39:06.680
<v Speaker 3>that something of this quality could be passed off as authentic.

0:39:06.760 --> 0:39:10.319
<v Speaker 3>He says, after around nineteen seventy, quote, more details of

0:39:10.360 --> 0:39:14.480
<v Speaker 3>original Tibetan art gained wide dissipation, so probably the market

0:39:14.520 --> 0:39:18.600
<v Speaker 3>would be more aware of like that this would not

0:39:18.680 --> 0:39:22.719
<v Speaker 3>pass muster. So from Bear's perspective, we don't know what

0:39:22.800 --> 0:39:25.040
<v Speaker 3>happened for sure, but it seems possible that it was

0:39:25.080 --> 0:39:29.160
<v Speaker 3>something like a piece of meteorite iron from the Chinga

0:39:29.360 --> 0:39:34.200
<v Speaker 3>meteorite field in Tuva again that southern Siberia somehow gets

0:39:34.239 --> 0:39:38.000
<v Speaker 3>transported to Germany, where sometime in the twentieth century, maybe

0:39:38.040 --> 0:39:41.719
<v Speaker 3>between like nineteen ten and nineteen seventy roughly, it is

0:39:41.800 --> 0:39:45.840
<v Speaker 3>partially forged and carved into a statue made to crudely

0:39:45.880 --> 0:39:49.279
<v Speaker 3>imitate Tibetan art, and then from there it passes into

0:39:49.280 --> 0:39:52.640
<v Speaker 3>a collector's market with this story behind it, with this

0:39:52.680 --> 0:39:56.280
<v Speaker 3>alleged link to the Schaffer expedition, and then he wraps

0:39:56.360 --> 0:39:59.040
<v Speaker 3>up the article by sort of discussing the importance of

0:39:59.280 --> 0:40:02.960
<v Speaker 3>consulting Pece in the relevant fields before go before you know,

0:40:03.080 --> 0:40:06.799
<v Speaker 3>going public with claims of authenticity. So of course I'm

0:40:06.840 --> 0:40:11.040
<v Speaker 3>you know, I'm not qualified to adjudicate this matter either,

0:40:11.200 --> 0:40:13.919
<v Speaker 3>but I would tend to take the word of people

0:40:13.960 --> 0:40:17.440
<v Speaker 3>who specialize in Tibetan art in evaluating whether something is

0:40:17.560 --> 0:40:22.959
<v Speaker 3>authentically Tibetan art or not. And he says, basically, any

0:40:23.000 --> 0:40:26.279
<v Speaker 3>specialist in Tibetan or Buddhist art could have looked at

0:40:26.320 --> 0:40:29.040
<v Speaker 3>this and said this is not authentic. And it's still

0:40:29.080 --> 0:40:32.400
<v Speaker 3>an interesting story with that additional context as well, because

0:40:32.440 --> 0:40:36.480
<v Speaker 3>so like a European forgery of Buddhist art imbued with

0:40:36.560 --> 0:40:40.080
<v Speaker 3>a mysterious Nazi backstory, which is in fact made out

0:40:40.080 --> 0:40:43.360
<v Speaker 3>of iron from a Siberian meteorite. How does that happen?

0:40:43.680 --> 0:40:46.799
<v Speaker 2>Yeah, it's still this enigma, isn't it, even if it's

0:40:46.920 --> 0:40:50.319
<v Speaker 2>not the enigma that some tellings would make it out

0:40:50.400 --> 0:40:50.560
<v Speaker 2>to be.

0:40:51.280 --> 0:40:55.360
<v Speaker 3>But that's not all. There is one more development in

0:40:55.440 --> 0:40:58.399
<v Speaker 3>this story that I came across. So in the year

0:40:58.719 --> 0:41:03.520
<v Speaker 3>twenty seventeen, age German historian of Tibet named Israun Engelhart

0:41:03.560 --> 0:41:07.680
<v Speaker 3>published an article called the Strange Case of the Buddha

0:41:07.800 --> 0:41:12.520
<v Speaker 3>from Space. And in this piece, Engelhart gives extensive reasons,

0:41:12.520 --> 0:41:15.840
<v Speaker 3>first of all, for thinking the sculpture was not brought

0:41:15.880 --> 0:41:19.120
<v Speaker 3>back to Germany from Tibet by the expedition in the

0:41:19.200 --> 0:41:23.160
<v Speaker 3>late nineteen thirties, which that expedition she had actually studied

0:41:23.200 --> 0:41:26.880
<v Speaker 3>in great depth. For one thing, the members of the

0:41:27.080 --> 0:41:31.520
<v Speaker 3>SS expedition actually made meticulous catalogs of the items but

0:41:31.560 --> 0:41:33.920
<v Speaker 3>they brought back from Tibet, and the iron statue is

0:41:33.960 --> 0:41:38.120
<v Speaker 3>not listed among them. But Engelhart in this paper also

0:41:38.280 --> 0:41:43.239
<v Speaker 3>documents her attempts to track down the ownership history of

0:41:43.400 --> 0:41:47.000
<v Speaker 3>the Iron Man, and these efforts are somewhat successful and

0:41:47.040 --> 0:41:50.080
<v Speaker 3>they end up, pointing her back to a sort of

0:41:50.160 --> 0:41:56.239
<v Speaker 3>aggressively negotiating antiquities dealer from Russia. Going off that information,

0:41:56.440 --> 0:42:01.640
<v Speaker 3>Engelhart eventually reaches the conclusion to the sculpture was probably

0:42:01.800 --> 0:42:06.040
<v Speaker 3>somehow associated with a known historical figure. That it was

0:42:06.040 --> 0:42:10.640
<v Speaker 3>probably associated with and perhaps made for the strange Russian

0:42:10.880 --> 0:42:18.279
<v Speaker 3>artist Nikolai Rarick, that spelled Roe r Nikolai Rarick, who

0:42:18.360 --> 0:42:22.160
<v Speaker 3>lived from eighteen seventy four to nineteen forty seven. Rareck,

0:42:22.600 --> 0:42:26.040
<v Speaker 3>in his career, traveled extensively in Central Asia and was

0:42:26.120 --> 0:42:29.440
<v Speaker 3>obsessed with the Himalayas and with Tibet, and there are

0:42:29.600 --> 0:42:33.360
<v Speaker 3>many portraits of him posed in Tibetan garb and with

0:42:33.400 --> 0:42:37.680
<v Speaker 3>Tibetan surroundings. He's wearing Tibetan robes. In nineteen twenty six,

0:42:38.320 --> 0:42:42.640
<v Speaker 3>Rareck produced a sketch that Engelhart came across, and the

0:42:42.640 --> 0:42:47.520
<v Speaker 3>sketch is entitled the Order of rigden Yeppo, and the

0:42:47.560 --> 0:42:51.440
<v Speaker 3>sketch really looks a lot like the Iron Man statue.

0:42:51.520 --> 0:42:54.840
<v Speaker 3>There's a similar posture and pose, a similar double halo,

0:42:55.080 --> 0:42:59.960
<v Speaker 3>similar pointed hat, similar clothing, and a note about the

0:43:00.200 --> 0:43:06.680
<v Speaker 3>title there that Rarek understood riggdan Jeppo as the name

0:43:06.840 --> 0:43:09.880
<v Speaker 3>of a figure meant to be the future ruler of

0:43:09.960 --> 0:43:15.439
<v Speaker 3>a spiritual kingdom known as Chambala in Tibetan Buddhism, and

0:43:15.840 --> 0:43:22.040
<v Speaker 3>further writing about the comparisons between the iron man statue

0:43:22.440 --> 0:43:26.920
<v Speaker 3>and the sketch and eventually the painting produced by Rerek

0:43:27.160 --> 0:43:31.640
<v Speaker 3>unknown as the order of Riggdan yeppo engel Heart writes quote,

0:43:32.040 --> 0:43:34.560
<v Speaker 3>the left hand of both the sketch and the statue

0:43:34.600 --> 0:43:37.960
<v Speaker 3>seems to hold neither a mongoose nor a vase, but

0:43:38.080 --> 0:43:43.320
<v Speaker 3>rather the famous radiant Centamani stone, the wish fulfilling jewel

0:43:43.480 --> 0:43:47.600
<v Speaker 3>coming from the Sky, which Rarec painted several times. In

0:43:47.680 --> 0:43:51.040
<v Speaker 3>nineteen twenty three, when the Rarecks were in Paris, they

0:43:51.080 --> 0:43:56.080
<v Speaker 3>received a mysterious package through dubious channels that allegedly contained

0:43:56.280 --> 0:44:01.200
<v Speaker 3>this very stone, said to be a fragment of a meteorite.

0:44:01.560 --> 0:44:05.720
<v Speaker 3>And apparently Rarick and his wife Elena, who was Elena

0:44:05.800 --> 0:44:10.919
<v Speaker 3>was very into the mystical religious movement then known as Theosophy.

0:44:11.600 --> 0:44:14.880
<v Speaker 3>They got really excited about the meteorite stone and believed

0:44:14.880 --> 0:44:18.799
<v Speaker 3>it have great significance for their lives. Apparently Rareck had

0:44:18.880 --> 0:44:24.080
<v Speaker 3>long had thoughts like imagined himself as carrying around a

0:44:24.160 --> 0:44:27.040
<v Speaker 3>magic stone that had some kind of like potency and

0:44:27.120 --> 0:44:32.040
<v Speaker 3>meaning for his fate, but anyway, Motivated in part by

0:44:32.120 --> 0:44:37.279
<v Speaker 3>their theosophical beliefs, Nikolay and Elena attempted to lead an

0:44:37.320 --> 0:44:41.960
<v Speaker 3>expedition in the nineteen twenties to find Shambala in the

0:44:42.160 --> 0:44:45.680
<v Speaker 3>in Tibet, to find the entrance to Shambala, and not

0:44:46.120 --> 0:44:49.640
<v Speaker 3>only that, but Nikolai would eventually come to see himself

0:44:49.719 --> 0:44:55.120
<v Speaker 3>and to style himself as rig Danneppo, the King of Shambala,

0:44:56.080 --> 0:44:59.920
<v Speaker 3>and so he had like ceremonial robes and other trappings

0:45:00.080 --> 0:45:06.400
<v Speaker 3>of this station created befitting his kingly destiny. Apparently, his

0:45:06.560 --> 0:45:09.680
<v Speaker 3>claim to be the king of Shambala did not go

0:45:09.800 --> 0:45:14.680
<v Speaker 3>over amazingly well with the Tibetans, and ultimately the expedition

0:45:14.800 --> 0:45:18.760
<v Speaker 3>was considered a failure. Rareck got incredibly mad at Tibet

0:45:18.840 --> 0:45:21.279
<v Speaker 3>and at Buddhism after this and published a bunch of

0:45:21.360 --> 0:45:25.000
<v Speaker 3>nasty things about them. But coming back to the statue,

0:45:25.000 --> 0:45:29.239
<v Speaker 3>where did the statue come from? Engelhart argues, based on

0:45:29.280 --> 0:45:32.200
<v Speaker 3>a number of clues, that it's quite likely that Rereck

0:45:32.520 --> 0:45:37.840
<v Speaker 3>had this statue made out of meteorite iron around nineteen

0:45:37.920 --> 0:45:42.000
<v Speaker 3>twenty six to nineteen twenty seven in order to represent

0:45:42.160 --> 0:45:46.279
<v Speaker 3>himself as the King of Shambala, and that's why it

0:45:46.320 --> 0:45:49.239
<v Speaker 3>bears these similarities to the sketch and the painting that

0:45:49.320 --> 0:45:54.439
<v Speaker 3>he did of himself in this posture. And this would

0:45:54.480 --> 0:45:58.480
<v Speaker 3>have probably been done by a metal worker somewhere in Urga,

0:45:58.560 --> 0:46:02.840
<v Speaker 3>the capital of Mongolia today known as ulan Batar, and

0:46:02.920 --> 0:46:05.720
<v Speaker 3>this would have been while the Rareks were staying there

0:46:05.760 --> 0:46:10.480
<v Speaker 3>in preparation for their expedition to bet So I think

0:46:10.520 --> 0:46:12.840
<v Speaker 3>we would need more like physical evidence to make the

0:46:12.920 --> 0:46:15.960
<v Speaker 3>link for sure, But I think it's good detective work,

0:46:16.000 --> 0:46:18.600
<v Speaker 3>and engle Heart makes a makes a really strong case,

0:46:18.719 --> 0:46:23.040
<v Speaker 3>circumstantial case based on the similarities of the artworks and

0:46:23.200 --> 0:46:26.799
<v Speaker 3>themes that we know that Raheric and Rarek and his

0:46:26.880 --> 0:46:30.800
<v Speaker 3>family were very interested in. So it seems quite plausible

0:46:30.840 --> 0:46:34.000
<v Speaker 3>to me. Anyway. I think that'll do it for today's

0:46:34.000 --> 0:46:37.320
<v Speaker 3>episode on the Iron from Space, But I feel like

0:46:37.360 --> 0:46:39.680
<v Speaker 3>we've got more to talk about with this subject now, Rob.

0:46:39.680 --> 0:46:42.719
<v Speaker 3>I think you've got an interview scheduled to run on

0:46:42.760 --> 0:46:44.879
<v Speaker 3>Tuesday of next week, right, But can we come back

0:46:44.880 --> 0:46:47.040
<v Speaker 3>with part three of this discussion on Thursday?

0:46:47.360 --> 0:46:53.360
<v Speaker 2>Absolutely? Yeah, we have more examples of potential meteoric iron

0:46:53.760 --> 0:46:57.480
<v Speaker 2>artifacts to discuss and more related topics. So we'll come

0:46:57.520 --> 0:47:01.840
<v Speaker 2>back for a part three on Thursday, with an interview

0:47:02.080 --> 0:47:04.520
<v Speaker 2>episode airing on Tuesday that's not related.

0:47:04.200 --> 0:47:04.800
<v Speaker 3>To this topic.

0:47:05.040 --> 0:47:08.120
<v Speaker 2>Sounds great, can't wait in the meantime, certainly right in.

0:47:08.239 --> 0:47:11.680
<v Speaker 2>If you have thoughts on the alleged iron man, well,

0:47:11.719 --> 0:47:14.000
<v Speaker 2>I mean, I guess the iron part is not alleged.

0:47:15.120 --> 0:47:16.920
<v Speaker 2>It's a man. He's made out of iron. He is

0:47:17.000 --> 0:47:19.279
<v Speaker 2>iron man. No one can doubt that. We can't take

0:47:19.320 --> 0:47:21.920
<v Speaker 2>that away from him. But if you have thoughts on that,

0:47:22.040 --> 0:47:26.560
<v Speaker 2>or if you have thoughts on Chinese artifacts in Chinese

0:47:26.600 --> 0:47:30.000
<v Speaker 2>mythology right in, we'd love to hear from you. Also,

0:47:30.200 --> 0:47:34.239
<v Speaker 2>if there are other examples from other cultures that we

0:47:34.280 --> 0:47:36.239
<v Speaker 2>haven't covered so far, bring them up, because we do

0:47:36.280 --> 0:47:39.319
<v Speaker 2>have a few things lined up to discuss. But if

0:47:39.360 --> 0:47:40.960
<v Speaker 2>you get us in time, you might be able to

0:47:41.520 --> 0:47:42.960
<v Speaker 2>we might be able to add it to the list,

0:47:43.400 --> 0:47:45.759
<v Speaker 2>or if it comes in after the fact, perhaps it's

0:47:45.760 --> 0:47:49.480
<v Speaker 2>something we can discuss on our listener Mail episodes. Our

0:47:49.480 --> 0:47:52.880
<v Speaker 2>listener Mail episodes publish on Mondays and The Stuff to

0:47:52.880 --> 0:47:56.360
<v Speaker 2>Blow Your Mind podcast feed core episodes on Tuesdays and Thursdays,

0:47:56.440 --> 0:47:59.080
<v Speaker 2>short form episode on Wednesdays, and on Fridays, we set

0:47:59.120 --> 0:48:01.960
<v Speaker 2>aside most serious concerns just talk about a weird film

0:48:02.160 --> 0:48:04.399
<v Speaker 2>on Weird House Cinema.

0:48:04.600 --> 0:48:08.520
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

0:48:08.800 --> 0:48:10.600
<v Speaker 3>If you would like to get in touch with us

0:48:10.600 --> 0:48:13.200
<v Speaker 3>with feedback on this episode or any other, to suggest

0:48:13.200 --> 0:48:15.200
<v Speaker 3>a topic for the future, or just to say hello,

0:48:15.320 --> 0:48:18.040
<v Speaker 3>you can email us at contact at stuff to Blow

0:48:18.040 --> 0:48:26.600
<v Speaker 3>your Mind dot com.

0:48:27.000 --> 0:48:29.960
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0:48:30.040 --> 0:48:32.799
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