WEBVTT - From the Vault: Meteoric Metal and Alien Iron, Part 2

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<v Speaker 1>Hey, welcome to Stuff to Blow Your Mind. This is

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<v Speaker 1>Robert Lamb. We're out this week, so we're continuing some

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<v Speaker 1>episodes from the vault here. This is going to be

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<v Speaker 1>part two of our series on meteoric metal and alien iron.

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<v Speaker 1>This originally published five nine, twenty twenty four. Let's jump

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<v Speaker 1>right in.

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<v Speaker 2>Welcome to Stuff to Blow Your Mind, production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Stuff to Blow your Mind. My name

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<v Speaker 1>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 pharaotutin 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 discussed 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 linguistic clues, clues in

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<v Speaker 3>the 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 in human artifacts in human technological history.

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<v Speaker 1>That's right, and where we're going to go next. We're

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<v Speaker 1>going to get back into the use of iron and

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<v Speaker 1>meteoric iron in meteorites in Chinese tradition, Chinese history, and

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<v Speaker 1>maybe just a little dash of Chinese mythology. I want

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<v Speaker 1>to refer back to a write up on iron that

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<v Speaker 1>appears in the seventy Great Inventions of the Ancient World

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<v Speaker 1>by Brian and Fagan. With this particular bit by Paul Tikratic.

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<v Speaker 1>Cratic sums up Chinese iron usage by pointing out that

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<v Speaker 1>iron production in China began around ninth century BCE, perhaps

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<v Speaker 1>introduced from the West, but also just as likely an

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<v Speaker 1>independent invention, and that by the Han period to go

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<v Speaker 1>to BCE, the Chinese quote incontestably led the world in

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<v Speaker 1>iron technology and production. But of course, as with these

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<v Speaker 1>other examples we've been looking at, we do have evidence

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<v Speaker 1>of artifacts created with meteoric iron prior to this. Specifically

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<v Speaker 1>it takes us back to the Sheng dynasty. This would

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<v Speaker 1>have been around fourteen one hundred BCE. Now, as we

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<v Speaker 1>previously mentioned, there of course has been some back and

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<v Speaker 1>forth on the testing of various pre Iron Age iron artifacts,

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<v Speaker 1>and ultimately a lot of that is still going on,

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<v Speaker 1>and these blades are often mentioned in some of those documents.

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<v Speaker 1>Now in that paper that I credited in the last

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<v Speaker 1>episode from Albert Jambond, twenty seventeenth Bronze Age iron meteoretic

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<v Speaker 1>or not a chemical strategy. At least according to this source,

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<v Speaker 1>the nickel count is low in these examples, but not

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<v Speaker 1>low enough to assign terrestrial origin, and that this is

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<v Speaker 1>definitely a case it seems like where the lower nickel

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<v Speaker 1>content is likely due to weathering effects. The blades themselves

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<v Speaker 1>have long been discussed as probable examples of meteoric iron,

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<v Speaker 1>going back at least as far as the book two

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<v Speaker 1>Early Chinese bronz Weapons with Meteoritic Iron Blades by gettens

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<v Speaker 1>at All in nineteen seventy one, which details that these

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<v Speaker 1>blades were found in nineteen thirty one in Anyang, Hanan

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<v Speaker 1>within a single tomb, which is also cited in Metals

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<v Speaker 1>in Antiquity by Young at All nineteen ninety nine. Now

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<v Speaker 1>I have a picture here of these artifacts here for

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<v Speaker 1>you to look at, Joe and everyone else. You can

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<v Speaker 1>look these up as well online. Just look for meteoric

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<v Speaker 1>iron Chinese axes or Chinese broad axes and you can

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<v Speaker 1>likely find images of this. You can tell that these

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<v Speaker 1>were ornate, highly stylized weapons. Now, I want to note

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<v Speaker 1>that both of these sources here that are talking about it,

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<v Speaker 1>they seem to indicate less than certainty in some of

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<v Speaker 1>the details, saying that there seems to be a lot

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<v Speaker 1>of believe to have been in these references. Though to

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<v Speaker 1>be clear, these weapons have long been in the Freer

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<v Speaker 1>collection at the Smithsonian, and there's no indication that the

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<v Speaker 1>dating or a larger geographic origin is particularly endowed here.

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<v Speaker 1>I just couldn't help but pick up on the fact

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<v Speaker 1>that this is one of those accounts where there seem

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<v Speaker 1>to be a little bit of ambiguity but no real

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<v Speaker 1>sticking points I think in trying to understand where these

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<v Speaker 1>came from. These would have been Chinese broad axes, formally

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<v Speaker 1>inlaid and again likely largely ceremonial. These are not weapons

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<v Speaker 1>that would be out on the battlefield.

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<v Speaker 3>Ah. Yeah, and I had been assuming the same was

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<v Speaker 3>true of Tuton Commons iron dagger, though in fact I

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<v Speaker 3>guess 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 1>Yeah, it's interesting to think about these examples in terms

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<v Speaker 1>of how do you use it right, because you know,

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<v Speaker 1>we have cases where you're going to have some sort

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<v Speaker 1>of an iron weapon that is going to be of

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<v Speaker 1>exceptional quality, but you're going to have so few of them,

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<v Speaker 1>maybe even just one. You know, what, what are you

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<v Speaker 1>going to do during the Bronze period with your iron weapon.

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<v Speaker 1>It's kind of like if, as a thought experiment, you

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<v Speaker 1>were to say, okay, what if I were to take

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<v Speaker 1>a lightsaber back to the Hundred Years War between England

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<v Speaker 1>and France during the fourteenth and fifteenth century, and you

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<v Speaker 1>gave it to one side or the other? You know,

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<v Speaker 1>what good is it going to do? You know, you

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<v Speaker 1>could make a case maybe for some sort of special

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<v Speaker 1>forces style use of the weapon by either party. Okay,

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<v Speaker 1>single combat, sure, but more likely than not, a single

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<v Speaker 1>light saber is not going to decide anything during the

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<v Speaker 1>fourteenth or fifteenth century in any kind of like warfare scenario.

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<v Speaker 1>Would make far more sense as a ritual object, as

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<v Speaker 1>a tool of propaganda, as is essentially like a scepter

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<v Speaker 1>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 metal 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 age,

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<v Speaker 3>were primarily advantages in terms of economics and the sourcing

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<v Speaker 3>of materials, that it was easier to produce lots of

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<v Speaker 3>iron implements and tools and weapons at scale, rather than

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<v Speaker 3>it being that iron is just a much better metal

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<v Speaker 3>or something right right.

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<v Speaker 1>And the other key point, as we discussed in the

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<v Speaker 1>last episode, is the knowledge of where the meteoric iron

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<v Speaker 1>came from, like knowing that this weapon is, you know,

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<v Speaker 1>of heavenly origin or of cosmic origin and so forth,

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<v Speaker 1>that seems to often be really important. And so I'm

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<v Speaker 1>going to get into that question here with Chinese examples.

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<v Speaker 1>Turning first back to gettens at All the work to

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<v Speaker 1>early Chinese bronze weapons with iron blades from seventy one.

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<v Speaker 1>They point out that meteorite falls were known to the

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<v Speaker 1>ancient Chinese and discussed in their literature, often in reference

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<v Speaker 1>to portents. So if the metal used was known to

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<v Speaker 1>have come from the sky, they contend, it would have

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<v Speaker 1>added to the auspiciousness of the weapons and the reason

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<v Speaker 1>that the iron was used in these cases instead of jade,

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<v Speaker 1>which typically occupied an elevated position of ceremonial importance for

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<v Speaker 1>weapons and so forth. Such usage may have also influenced

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<v Speaker 1>known Chinese meteorite fragments. Quote such a use of meteoritic

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<v Speaker 1>iron might also explain the fact that only one iron

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<v Speaker 1>meteorite find is known from China. This I is referring

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<v Speaker 1>to ancient examples of meteorite, the idea being that iron

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<v Speaker 1>meteorites would have been known as a source for this

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<v Speaker 1>sort of metal and would have been used as such.

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<v Speaker 1>And certainly these are not the only known examples of

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<v Speaker 1>Chinese meteoric weapons or weapons or artifacts that are believed

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<v Speaker 1>or it's argued, may be made of such iron. There

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<v Speaker 1>are several known artifacts of possible meteoric iron from the

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<v Speaker 1>late Sheng and early Western Zo. So for examples of

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<v Speaker 1>some of those observations, because they mentioned, okay, the ancient

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<v Speaker 1>Chinese knew about meteorites. They knew they came from the sky.

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<v Speaker 1>For some examples of this knowledge, I turned to the

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<v Speaker 1>nineteen ninety four paper Meteorite Falls in China and some

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<v Speaker 1>Related human Casualty Events by Yao at All, published in

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<v Speaker 1>the journal Meteoritics. They looked at accounts from roughly seven

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<v Speaker 1>hundred BCE through nineteen twenty CE, with the earliest account

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<v Speaker 1>cited found in the Spring and Autumn Annals, traditionally attributed

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<v Speaker 1>to Confucius, who would have historically lived around five fifty

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<v Speaker 1>one through four to seventy nine BCE. This work is

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<v Speaker 1>one of the five classics of ancient Chinese literature and

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<v Speaker 1>it covers an historical period stretching from seven twenty two

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<v Speaker 1>to for eighty one BCE, and the work includes coverage

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<v Speaker 1>of a six forty five BCE event in which quote

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<v Speaker 1>in translation of course, five stones fell in Sung And

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<v Speaker 1>there are various other accounts in this article that they

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<v Speaker 1>don't highlight all of them, but they highlight some of

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<v Speaker 1>historic Note there is a Sei dynasty account. This is

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<v Speaker 1>from the work History of the Suy Dynasty, and it

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<v Speaker 1>refers to a six sixteen b CE meteorite, with the

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<v Speaker 1>account depicting a meteorite hitting a siege tower during the

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<v Speaker 1>besiegement of a walled city. What yeah, So the idea

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<v Speaker 1>is that there's a you know, a siege situation going on,

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<v Speaker 1>a meteorite hits, takes out the siege tower, causes the sea,

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<v Speaker 1>and then either the strike of the meteorite or the

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<v Speaker 1>perhaps far more likely the subsequent collapse of said siege

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<v Speaker 1>tower results in I believe I read possibly ten fatalities.

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<v Speaker 1>That was their I think recorded number. If this is true,

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<v Speaker 1>it might stand as the earliest recorded human meteorite related fatality.

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<v Speaker 1>These are of course rare. You're talking about situations where

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<v Speaker 1>the you know, a meteorite hits somebody or hits the

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<v Speaker 1>vicinity of a human and in doing so, results in

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<v Speaker 1>a casualty. But it's also non entirely clear. I've read

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<v Speaker 1>some criticism of this account saying, Okay, this is certainly possible.

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<v Speaker 1>It would be a very rare occurrence. We also have

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<v Speaker 1>to just acknowledge that it's possible that this siege tower

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<v Speaker 1>was taken out by something far more mundane, like human

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<v Speaker 1>munitions fired from the wall of the sieged city, that

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<v Speaker 1>sort of thing. But it is kind of It is

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<v Speaker 1>cataloged in the historic records, so I've seen numerous texts

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<v Speaker 1>acknowledge it and say, well, perhaps this is true.

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<v Speaker 3>Yeah.

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<v Speaker 1>So hundreds of accounts follow these early accounts of meteorites

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<v Speaker 1>and the Chinese records, and I'm not going to go

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<v Speaker 1>through all of them, or even the ones listed in

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<v Speaker 1>this source. But there's one more I wanted to mention

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<v Speaker 1>here because it does line up with what we're talking

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<v Speaker 1>about and the subject of meteors and iron, and that

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<v Speaker 1>is the non meteorite shower of thirteen forty one. It's

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<v Speaker 1>notable because it seems to have been a shower of

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<v Speaker 1>iron meteorites, and it was even referred to as quote

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<v Speaker 1>the iron rain, with descriptions of the resulting bore holes

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<v Speaker 1>in the earth matching up with what we know of

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<v Speaker 1>iron meteorite impacts today. Now. Thirteen forty one, of course,

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<v Speaker 1>is far outside the Bronze Age examples we're looking at,

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<v Speaker 1>but you know, you combine this with certainly these much

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<v Speaker 1>earlier examples, and it does seem clear that the ancient

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<v Speaker 1>Chinese knew that meteorites came from above, they came from

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<v Speaker 1>the sky, and that alone would be enough to sort

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<v Speaker 1>of factor into these myth making understandings of what a

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<v Speaker 1>weapon forged of such iron would mean. By the way,

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<v Speaker 1>speaking of Chinese mythology, it's worth noting that you the Great,

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<v Speaker 1>the character that we've talked about on the show before,

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<v Speaker 1>founder of the Shop of the dynasty, in myth and legend,

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<v Speaker 1>the bringer of flood controls is sometimes, at least at

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<v Speaker 1>least in early China, these mythology connected to meteorites. Oh so,

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<v Speaker 1>according to Mark Edward Lewis in the Mythology of Early China,

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<v Speaker 1>some texts say that you was born of a stone

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<v Speaker 1>or in a place named for a stone, while other

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<v Speaker 1>tellings state that quote his mother was inseminated by a

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<v Speaker 1>magical stone or meteor.

0:14:20.720 --> 0:14:23.840
<v Speaker 3>Oh. Interesting, this is a different way of sort of

0:14:23.920 --> 0:14:26.400
<v Speaker 3>like a parenthood by the gods. Yeah.

0:14:26.480 --> 0:14:29.400
<v Speaker 1>Yeah, so I had not run across this before. I

0:14:29.600 --> 0:14:32.200
<v Speaker 1>cross checked it in a couple of my go to

0:14:32.640 --> 0:14:36.360
<v Speaker 1>Chinese mythology sources Yang and in Turner's Chinese Mythology and

0:14:36.440 --> 0:14:40.800
<v Speaker 1>Burrell's work on Chinese mythology. Both of these texts, I

0:14:40.840 --> 0:14:43.960
<v Speaker 1>refer to an origin story for you by which he's

0:14:44.000 --> 0:14:47.920
<v Speaker 1>born from the belly of his father's corpse following the

0:14:48.040 --> 0:14:54.880
<v Speaker 1>said father's execution. And this I'm guessing this entirely masculine

0:14:54.920 --> 0:14:58.080
<v Speaker 1>birth as a Buryl describes it. I guess this is

0:14:58.120 --> 0:15:01.880
<v Speaker 1>the predominant origin story that comes later, and that Lewis

0:15:01.920 --> 0:15:06.960
<v Speaker 1>here is focusing primarily on early tellings before those traditions emerged.

0:15:07.160 --> 0:15:08.960
<v Speaker 3>Oh okay, I see so.

0:15:08.920 --> 0:15:12.760
<v Speaker 1>Anyway, these uh, these axes among other artifacts, you know,

0:15:12.800 --> 0:15:18.800
<v Speaker 1>another example of an ancient Bronze Age culture having access

0:15:18.920 --> 0:15:22.440
<v Speaker 1>to meteoric iron, using it to craft weapons that then

0:15:22.520 --> 0:15:27.240
<v Speaker 1>have an exalted place within their culture. Uh and so,

0:15:27.360 --> 0:15:30.800
<v Speaker 1>and definitely look up images of this if you have

0:15:30.920 --> 0:15:34.200
<v Speaker 1>the ability to do so readily, because you can you know,

0:15:34.240 --> 0:15:37.040
<v Speaker 1>they're they're they're not in pristine form, they haven't been

0:15:37.080 --> 0:15:41.880
<v Speaker 1>restored or anything like that. They're not anywhere near the

0:15:41.880 --> 0:15:44.760
<v Speaker 1>the completeness of Tout and Commons dagger, but you can

0:15:44.800 --> 0:15:46.800
<v Speaker 1>still get a sense of the majesty they would have had.

0:15:47.040 --> 0:16:00.320
<v Speaker 3>Yeah, even the stubs are beautiful. Okay. I want to

0:16:00.360 --> 0:16:07.880
<v Speaker 3>talk about a statue, specifically a metal sculpture allegedly from Tibet,

0:16:08.480 --> 0:16:12.960
<v Speaker 3>sometimes called the Iron Man, referred to in a lot

0:16:13.000 --> 0:16:16.400
<v Speaker 3>of media reports as the Iron Man or sometimes as

0:16:16.520 --> 0:16:18.920
<v Speaker 3>the Space Buddha.

0:16:19.360 --> 0:16:23.640
<v Speaker 1>Well, these both, these descriptions both take you somewhere, that's

0:16:23.640 --> 0:16:24.040
<v Speaker 1>for sure.

0:16:24.360 --> 0:16:28.520
<v Speaker 3>So this statue weighs about ten point six kilograms or

0:16:28.560 --> 0:16:32.280
<v Speaker 3>about twenty three pounds, and is roughly twenty four centimeters

0:16:32.400 --> 0:16:35.120
<v Speaker 3>or about nine and a half inches tall. It is

0:16:35.200 --> 0:16:39.680
<v Speaker 3>made of iron, and it depicts a bearded male figure

0:16:40.120 --> 0:16:42.960
<v Speaker 3>that is sometimes referred to as a Buddha, sometimes referred

0:16:43.000 --> 0:16:45.080
<v Speaker 3>to as a God sometimes referred to as a man,

0:16:45.960 --> 0:16:49.600
<v Speaker 3>but he is depicted wearing trousers, a sort of cape

0:16:49.760 --> 0:16:53.480
<v Speaker 3>or cloak that's joined over his shoulders in a knot

0:16:53.520 --> 0:16:56.560
<v Speaker 3>on his chest. He's wearing kind of almost kind of

0:16:56.680 --> 0:17:02.120
<v Speaker 3>cloglike looking shoes with a split in the cuff at

0:17:02.160 --> 0:17:05.600
<v Speaker 3>the bottom of the pant legs, and what looks to

0:17:05.640 --> 0:17:08.680
<v Speaker 3>me kind of like scale armor over his mid section.

0:17:09.400 --> 0:17:12.560
<v Speaker 3>And then on that scale armor there is the symbol

0:17:12.800 --> 0:17:16.960
<v Speaker 3>of a swastika, which, remember, before it was appropriated by

0:17:17.160 --> 0:17:20.199
<v Speaker 3>the German Nazi Party, that was around nineteen twenty, it

0:17:20.359 --> 0:17:24.399
<v Speaker 3>was for centuries or even millennia, a traditional symbol with

0:17:24.520 --> 0:17:27.920
<v Speaker 3>positive associations in a lot of different cultures and religions

0:17:27.920 --> 0:17:30.320
<v Speaker 3>throughout the world, notably in Hinduism and Buddhism.

0:17:30.840 --> 0:17:34.600
<v Speaker 1>That's right, and it still has that status in various

0:17:34.640 --> 0:17:41.879
<v Speaker 1>Hindu and Buddhist traditions, though of course permanently ruined in

0:17:41.920 --> 0:17:44.680
<v Speaker 1>the West by the appropriation of the Nazi Party.

0:17:45.040 --> 0:17:48.120
<v Speaker 3>Yeah, and so in the iron Man statue, the figure

0:17:48.960 --> 0:17:53.119
<v Speaker 3>has a halo like disc behind his head and he

0:17:53.280 --> 0:17:56.919
<v Speaker 3>is clutching a round egg shaped object in one hand.

0:17:57.440 --> 0:18:00.399
<v Speaker 3>His legs are folded underneath. His body looks like he

0:18:00.440 --> 0:18:05.040
<v Speaker 3>could be sitting cross legged or perhaps even dancing. But

0:18:06.480 --> 0:18:09.879
<v Speaker 3>this whole thing is carved out of a solid piece

0:18:09.960 --> 0:18:13.920
<v Speaker 3>of metal with a rough, unfinished base below the figure.

0:18:14.560 --> 0:18:17.520
<v Speaker 3>So what is the deal with this weird metal statue. Well,

0:18:17.560 --> 0:18:19.840
<v Speaker 3>there was a bunch of media about this statue way

0:18:19.840 --> 0:18:23.840
<v Speaker 3>back in twenty twelve that was associated with the publication

0:18:23.960 --> 0:18:28.040
<v Speaker 3>of a paper that was looking into its physical makeup

0:18:28.119 --> 0:18:31.800
<v Speaker 3>and its origins. The paper was by Buckner at All,

0:18:31.920 --> 0:18:35.640
<v Speaker 3>published in the journal Media Critics and Planetary Science again

0:18:35.680 --> 0:18:39.200
<v Speaker 3>in twenty twelve, and it was called Buddha from Space,

0:18:39.440 --> 0:18:42.960
<v Speaker 3>an ancient object of art made of a China iron

0:18:43.040 --> 0:18:46.000
<v Speaker 3>metia write fragment. So I'm going to start with what

0:18:46.160 --> 0:18:48.600
<v Speaker 3>was originally alleged by it, but keep in mind that

0:18:48.720 --> 0:18:51.159
<v Speaker 3>some of the information I'm going to say at first

0:18:51.320 --> 0:18:56.040
<v Speaker 3>is either not certain or almost certainly not true. The

0:18:56.119 --> 0:18:59.920
<v Speaker 3>lead author of this paper, Elmer Buckner, is a geologist

0:19:00.320 --> 0:19:05.080
<v Speaker 3>affiliated with the Planetology Institute at Stuttgart University, and so

0:19:05.200 --> 0:19:07.679
<v Speaker 3>the authors of this paper were looking into the question

0:19:07.880 --> 0:19:11.480
<v Speaker 3>of first of all, what this statue is made of,

0:19:11.520 --> 0:19:14.159
<v Speaker 3>but also what does it depict and where did it

0:19:14.200 --> 0:19:17.760
<v Speaker 3>come from? As to where it comes from, there again,

0:19:17.920 --> 0:19:20.520
<v Speaker 3>is plenty of debate about this, but the story as

0:19:20.680 --> 0:19:23.960
<v Speaker 3>received by the authors of the paper goes like this.

0:19:24.720 --> 0:19:27.800
<v Speaker 3>In the years nineteen thirty eight and nineteen thirty nine,

0:19:28.280 --> 0:19:33.960
<v Speaker 3>Adolf Hitler's SS sponsored a research and propaganda expedition to Tibet.

0:19:34.119 --> 0:19:37.760
<v Speaker 3>This is kind of a famous, famous expedition about which

0:19:37.800 --> 0:19:40.919
<v Speaker 3>there has been much sort of cultural legend. But this

0:19:41.040 --> 0:19:45.560
<v Speaker 3>expedition was led by the German zoologist and explorer Ernst Schaffer.

0:19:46.800 --> 0:19:50.680
<v Speaker 3>This expedition collected a lot of material for return to Germany.

0:19:50.720 --> 0:19:53.119
<v Speaker 3>So they took a bunch of plant and animal samples,

0:19:53.320 --> 0:19:57.760
<v Speaker 3>seeds and grains and plants, and they cataloged birds. There

0:19:57.800 --> 0:20:00.879
<v Speaker 3>was ornithology missions and stuff like that. And it also

0:20:01.000 --> 0:20:05.240
<v Speaker 3>took a lot of cultural artifacts, including, according to a

0:20:05.240 --> 0:20:07.960
<v Speaker 3>Triple As blog post about this paper by Stephen A.

0:20:08.200 --> 0:20:12.280
<v Speaker 3>Edwards quote, a robe believed to have been worn by

0:20:12.280 --> 0:20:16.320
<v Speaker 3>the Dali Lama, a gold coin, and the iron statue.

0:20:16.720 --> 0:20:20.240
<v Speaker 3>The latter apparently attracted the attention of the Nazis because

0:20:20.600 --> 0:20:24.120
<v Speaker 3>of a swastika carved into its center. So that's the

0:20:24.160 --> 0:20:27.000
<v Speaker 3>story about where it came from. What does appear to

0:20:27.000 --> 0:20:29.800
<v Speaker 3>be true is that the statue was in the possession

0:20:29.920 --> 0:20:34.359
<v Speaker 3>of a private collector from some time unknown until the

0:20:34.440 --> 0:20:37.640
<v Speaker 3>year two thousand and seven, which is the same year

0:20:37.720 --> 0:20:42.240
<v Speaker 3>these authors began investigating it. But before then. The allegation

0:20:42.520 --> 0:20:45.960
<v Speaker 3>is that it was taken from Tibet by Schaffer's men

0:20:46.080 --> 0:20:49.239
<v Speaker 3>in the late thirties and then disappeared during World War II,

0:20:49.440 --> 0:20:52.400
<v Speaker 3>only to reappear to the public in the two thousands.

0:20:52.640 --> 0:20:55.080
<v Speaker 3>All right, now, as to the question of what the

0:20:55.200 --> 0:20:59.400
<v Speaker 3>statue is made of, the authors conducted an elemental analysis

0:20:59.440 --> 0:21:02.720
<v Speaker 3>and found that the concentration of elements present in the

0:21:02.720 --> 0:21:06.840
<v Speaker 3>metal was consistent with an iron meteorite, so much like

0:21:06.960 --> 0:21:09.880
<v Speaker 3>the analysis we talked about in the previous episode looking

0:21:09.920 --> 0:21:14.080
<v Speaker 3>at King Tut's dagger. Here they found high concentrations of nickel.

0:21:14.280 --> 0:21:19.040
<v Speaker 3>This statue was approximately sixteen percent nickel by weight and

0:21:19.119 --> 0:21:22.159
<v Speaker 3>about zero point six percent cobalt, and these are not

0:21:22.400 --> 0:21:25.719
<v Speaker 3>ratios you would expect to find in earth based iron.

0:21:26.040 --> 0:21:29.080
<v Speaker 3>Earth based iron extracted from before the eighteen hundreds tends

0:21:29.119 --> 0:21:32.560
<v Speaker 3>to be not more than about four percent nickel. Also,

0:21:32.680 --> 0:21:36.760
<v Speaker 3>the authors analyzed the ratios of trace platinum group metals

0:21:36.800 --> 0:21:41.080
<v Speaker 3>and found that these were also consistent with meteorite iron.

0:21:41.840 --> 0:21:45.080
<v Speaker 3>Not only that they were able to match this metal

0:21:45.160 --> 0:21:50.280
<v Speaker 3>to the composition of meteorites from a specific known impact area.

0:21:50.720 --> 0:21:54.720
<v Speaker 3>They write, quote, the geochemical data of the meteorite generally

0:21:54.760 --> 0:21:58.200
<v Speaker 3>matched the element values known from fragments of the Chinga

0:21:58.280 --> 0:22:04.960
<v Speaker 3>atax site taxite meaning ungrouped iron meteorite strewn field, discovered

0:22:04.960 --> 0:22:08.280
<v Speaker 3>in nineteen thirteen. The provenance of the meteorite, as well

0:22:08.320 --> 0:22:10.679
<v Speaker 3>as the piece of art strongly points to the border

0:22:10.720 --> 0:22:15.560
<v Speaker 3>region of eastern Siberia and Mongolia. Accordingly, and I went

0:22:15.600 --> 0:22:17.520
<v Speaker 3>and did a little more looking, So it seems that

0:22:17.560 --> 0:22:22.000
<v Speaker 3>the Chinga meteorite is sort of it's an area rather

0:22:22.080 --> 0:22:27.360
<v Speaker 3>than one specific object. The Chinga meteorite field is something

0:22:27.440 --> 0:22:32.440
<v Speaker 3>that contains fragments of meteorite found by gold miners in Tuva,

0:22:32.800 --> 0:22:36.360
<v Speaker 3>which is a region of southern Siberia in Russia near

0:22:36.359 --> 0:22:40.240
<v Speaker 3>the border with Mongolia, and the hundreds of meteorite fragments

0:22:40.280 --> 0:22:42.679
<v Speaker 3>found there are thought to result from an object that

0:22:42.800 --> 0:22:46.520
<v Speaker 3>exploded in the atmosphere over Tuva between ten and twenty

0:22:46.640 --> 0:22:50.800
<v Speaker 3>thousand years ago. So the scientific evidence that the iron

0:22:50.840 --> 0:22:54.920
<v Speaker 3>Man statue was made out of meteorite iron seems quite strong.

0:22:55.560 --> 0:22:59.000
<v Speaker 3>But what about these other questions? What does this statue

0:22:59.040 --> 0:23:01.600
<v Speaker 3>depict and when was a when and where was it made?

0:23:02.000 --> 0:23:05.200
<v Speaker 3>Here's where we start getting into the much more disputed territory.

0:23:05.640 --> 0:23:08.760
<v Speaker 3>The authors of this twenty twelve paper claimed that it

0:23:09.000 --> 0:23:12.840
<v Speaker 3>was likely a depiction of the warrior king, god and

0:23:12.960 --> 0:23:17.320
<v Speaker 3>wealth Buddha known as Viceravanna, who is the guardian of

0:23:17.359 --> 0:23:20.480
<v Speaker 3>the North. There you can think of sort of heavenly

0:23:20.520 --> 0:23:24.040
<v Speaker 3>beings that are guardians of the cardinal directions, and Viceravanna

0:23:24.119 --> 0:23:27.959
<v Speaker 3>is the guardian of the North. This figure, Viceravanna, shares

0:23:28.080 --> 0:23:32.360
<v Speaker 3>characteristics with the Hindu deity known as Kubera and is

0:23:32.440 --> 0:23:36.720
<v Speaker 3>also known as Jambala, sometimes shown carrying a lemon or

0:23:36.720 --> 0:23:40.000
<v Speaker 3>a money bag in his hand, and in other depictions,

0:23:40.080 --> 0:23:43.760
<v Speaker 3>especially earlier ones, the authors say that Viceravana is shown

0:23:43.760 --> 0:23:47.520
<v Speaker 3>as quote, a corpulent figure that holds a mongoose which

0:23:47.560 --> 0:23:52.080
<v Speaker 3>spews jewels from its mouth. Sometimes also, especially beginning in

0:23:52.160 --> 0:23:55.119
<v Speaker 3>the second half of the eighth century, they say he

0:23:55.320 --> 0:23:59.679
<v Speaker 3>is shown with ghosts at his feet. So, due to

0:23:59.840 --> 0:24:03.960
<v Speaker 3>a number of visual motifs such as the crossed legs

0:24:04.400 --> 0:24:07.200
<v Speaker 3>and the scale armor and so forth, the authors believe

0:24:07.320 --> 0:24:10.480
<v Speaker 3>that this is Viceravana we're looking at. But they also

0:24:10.560 --> 0:24:14.360
<v Speaker 3>write their thoughts about the religious significance of the swastika

0:24:14.359 --> 0:24:18.320
<v Speaker 3>in the image. They say, quote, the swastika prominently displayed

0:24:18.320 --> 0:24:21.359
<v Speaker 3>on the cuirass of the sculpture was a symbol frequently

0:24:21.480 --> 0:24:26.080
<v Speaker 3>used by the nature based pre Buddhist Bun religion rooted

0:24:26.200 --> 0:24:29.320
<v Speaker 3>in the western parts of Tibet. The Bun religion had

0:24:29.359 --> 0:24:33.400
<v Speaker 3>its own literature and art that was, they say, continuously

0:24:33.480 --> 0:24:37.960
<v Speaker 3>absorbed into the Tibetan Buddhism that propagated into the entire

0:24:38.040 --> 0:24:41.000
<v Speaker 3>area of Buddhist influence. A paper I'm going to talk

0:24:41.000 --> 0:24:44.080
<v Speaker 3>about in a minute I think will somewhat dispute that claim.

0:24:44.640 --> 0:24:48.000
<v Speaker 3>But they say, accordingly, the iron man could represent a

0:24:48.280 --> 0:24:53.160
<v Speaker 3>Bun slash Buddhist hybrid, showing some recognition features of Kubera

0:24:53.400 --> 0:24:54.760
<v Speaker 3>the early Viceravana.

0:24:55.880 --> 0:25:00.040
<v Speaker 1>Good, all right, and not getting into the criticism I

0:25:00.160 --> 0:25:03.520
<v Speaker 1>was about to come, that would seemingly make sense. We

0:25:03.760 --> 0:25:08.680
<v Speaker 1>can point in various examples not only in Buddhist traditions,

0:25:08.680 --> 0:25:11.720
<v Speaker 1>but in other traditions where we see these emerging of

0:25:11.880 --> 0:25:15.480
<v Speaker 1>art styles and merging of cultures in a particular sculpture

0:25:15.600 --> 0:25:16.200
<v Speaker 1>or other work.

0:25:16.640 --> 0:25:19.840
<v Speaker 3>Sure, and so going with this hybrid art hypothesis, they

0:25:19.840 --> 0:25:23.760
<v Speaker 3>write quote. According to this interpretation, the possible provenance of

0:25:23.800 --> 0:25:27.320
<v Speaker 3>the Iron Man is Western Tibet or anywhere in the

0:25:27.400 --> 0:25:30.840
<v Speaker 3>area of Buddhist influence, and the age can be tentatively

0:25:30.920 --> 0:25:44.080
<v Speaker 3>dated at the eighth to tenth century. Now, as far

0:25:44.119 --> 0:25:48.000
<v Speaker 3>as I can tell, the chemical analysis that they did

0:25:48.480 --> 0:25:51.840
<v Speaker 3>appears sound. I've not come across major criticism of the

0:25:51.880 --> 0:25:56.320
<v Speaker 3>analysis of the materials. So the statue is probably made

0:25:56.400 --> 0:26:00.159
<v Speaker 3>of meteorite iron, perhaps even from the known source, the

0:26:00.200 --> 0:26:04.960
<v Speaker 3>Chinga metiorite field, but the question of its cultural origin

0:26:05.520 --> 0:26:09.600
<v Speaker 3>I found to be strongly disputed. So there is a

0:26:09.640 --> 0:26:14.919
<v Speaker 3>professor of Buddhist studies named Akim Beher that could be

0:26:14.920 --> 0:26:17.280
<v Speaker 3>Beyer or Bayer. I'm not sure. I'm going to say Beyer.

0:26:17.359 --> 0:26:21.040
<v Speaker 3>Apologies if that's wrong. Beher, who was at one point

0:26:21.080 --> 0:26:25.680
<v Speaker 3>affiliated with Dunguk University in Seoul, South Korea. He may

0:26:25.680 --> 0:26:29.159
<v Speaker 3>be at a different institution. Now addressed these claims in

0:26:29.200 --> 0:26:32.880
<v Speaker 3>an article that I found called the Lama Wearing Trousers

0:26:33.359 --> 0:26:36.840
<v Speaker 3>Notes on an iron statue in a German private collection.

0:26:37.600 --> 0:26:40.640
<v Speaker 3>And here's where the story I think becomes even more interesting, because,

0:26:40.640 --> 0:26:44.160
<v Speaker 3>of course, any statue or sculpture made out of a meteorite.

0:26:44.240 --> 0:26:48.399
<v Speaker 3>That's inherently a pretty fascinating idea, but it goes beyond

0:26:48.400 --> 0:26:51.919
<v Speaker 3>that because it calls up questions of the authenticity of

0:26:52.080 --> 0:26:54.840
<v Speaker 3>art and our ability to recognize what we're looking at

0:26:54.880 --> 0:26:59.040
<v Speaker 3>when we're looking for cultural authentics and forgeries and fakes.

0:26:59.520 --> 0:27:03.840
<v Speaker 3>In this place, pa Bear does not dispute the meteorite

0:27:03.880 --> 0:27:07.159
<v Speaker 3>origin of the iron, but argues that the statue is

0:27:07.280 --> 0:27:12.359
<v Speaker 3>not authentically Tibetan or Mongolian, and Bear's clear and well

0:27:12.400 --> 0:27:18.040
<v Speaker 3>known hallmarks of European imitations of Tibetan art. In other words,

0:27:18.080 --> 0:27:21.680
<v Speaker 3>instead of being a eight to tenth century Tibetan religious

0:27:21.680 --> 0:27:24.520
<v Speaker 3>sculpture made out of iron from space, it is a

0:27:24.680 --> 0:27:29.320
<v Speaker 3>modern European forgery made out of iron from space. Or

0:27:29.359 --> 0:27:33.359
<v Speaker 3>perhaps not forgery, perhaps just imitation. I guess to decipher

0:27:33.520 --> 0:27:36.560
<v Speaker 3>the difference between forgery and imitation, maybe you would need

0:27:36.600 --> 0:27:38.159
<v Speaker 3>to know the intent of the artist.

0:27:38.440 --> 0:27:41.840
<v Speaker 1>Yeah, yeah, I would imagine so. But as we've been saying,

0:27:41.960 --> 0:27:44.439
<v Speaker 1>that that would appear to be lost to history. So

0:27:44.560 --> 0:27:46.679
<v Speaker 1>all we can do is offer conjecture.

0:27:47.240 --> 0:27:50.040
<v Speaker 3>So Behar says that at the time of his writing,

0:27:50.080 --> 0:27:54.280
<v Speaker 3>in response to this paper and the media that followed it,

0:27:55.000 --> 0:27:58.560
<v Speaker 3>no authority on Tibetan or Mongolian art had ever publicly

0:27:58.640 --> 0:28:02.199
<v Speaker 3>authenticated the sculpture. So basically, from his point of view,

0:28:02.359 --> 0:28:04.919
<v Speaker 3>I think he's saying like, there's not even really anybody

0:28:05.000 --> 0:28:08.760
<v Speaker 3>within the relevant field to disagree with about this. It's

0:28:08.880 --> 0:28:12.080
<v Speaker 3>just clearly not authentic. And he goes on to list

0:28:12.359 --> 0:28:16.600
<v Speaker 3>thirteen stylistic elements of the sculpture that make it overwhelmingly

0:28:16.640 --> 0:28:19.040
<v Speaker 3>clear to him that it is a fake. I'm not

0:28:19.080 --> 0:28:21.080
<v Speaker 3>going to go through all thirteen, but I wanted to

0:28:21.080 --> 0:28:23.480
<v Speaker 3>mention a couple in detail, and then I can just

0:28:23.560 --> 0:28:27.280
<v Speaker 3>allude to the rest. So one example that even looked

0:28:27.280 --> 0:28:29.399
<v Speaker 3>weird to me. I am not claiming to be an

0:28:29.440 --> 0:28:32.080
<v Speaker 3>expert on the Tibetan or Buddhist art. I don't really

0:28:32.160 --> 0:28:35.280
<v Speaker 3>know anything about it. But I looked at the statue

0:28:35.280 --> 0:28:38.480
<v Speaker 3>and I was like, huh, the shoes look weird, and

0:28:39.400 --> 0:28:41.760
<v Speaker 3>what do you know? So he identifies as this very

0:28:41.800 --> 0:28:45.840
<v Speaker 3>first item on the list, the footwear. He writes, quote,

0:28:45.960 --> 0:28:49.600
<v Speaker 3>the lama is neither barefoot, nor does he wear traditional boots.

0:28:50.000 --> 0:28:53.240
<v Speaker 3>The shoes cover the feet like European shoes up to

0:28:53.280 --> 0:28:56.480
<v Speaker 3>the ankles, and no further, and Rob, I've got a

0:28:56.640 --> 0:28:58.640
<v Speaker 3>zoom in for us to look at here of the

0:28:59.360 --> 0:29:03.000
<v Speaker 3>shoes on the image. Again, they do look weird to me.

0:29:03.040 --> 0:29:05.480
<v Speaker 3>I'm not saying what looks weird to me should be

0:29:05.520 --> 0:29:07.760
<v Speaker 3>decisive on this issue. I just thought it was funny

0:29:07.760 --> 0:29:10.240
<v Speaker 3>that they did look weird to me. So after I

0:29:10.280 --> 0:29:13.240
<v Speaker 3>read this comment by Bear, I went around looking for

0:29:13.360 --> 0:29:17.680
<v Speaker 3>other images of Vice Ravanna in Buddhist art and other

0:29:17.760 --> 0:29:22.640
<v Speaker 3>images of just figures from Tibetan art. And yeah, I

0:29:22.760 --> 0:29:25.320
<v Speaker 3>don't really see shoes that look like this. I either

0:29:25.400 --> 0:29:27.840
<v Speaker 3>see like bear feed or boots that go up the calf.

0:29:28.240 --> 0:29:31.320
<v Speaker 1>Yeah. I had a similar experience after I read this

0:29:31.400 --> 0:29:34.120
<v Speaker 1>in your notes. I have a copy of Roberty Fisher's

0:29:34.200 --> 0:29:37.400
<v Speaker 1>Art of Tibet that I've used in research projects before,

0:29:38.080 --> 0:29:40.240
<v Speaker 1>so I got that out I started looking through it.

0:29:40.920 --> 0:29:43.400
<v Speaker 1>That book, by the way, does not cover this particular

0:29:43.400 --> 0:29:45.720
<v Speaker 1>statue or mention it as far as I could tell,

0:29:46.280 --> 0:29:48.880
<v Speaker 1>but it has a lot of illustrations. So I scanned

0:29:48.880 --> 0:29:52.120
<v Speaker 1>through it, and I don't know, I had an odd experience,

0:29:52.200 --> 0:29:54.080
<v Speaker 1>Like I love looking at Tibetan art. I love the

0:29:54.520 --> 0:29:58.760
<v Speaker 1>complexity and all the rich information that is contained within

0:29:58.960 --> 0:30:02.440
<v Speaker 1>some you know that becomes apparent to someone like me,

0:30:02.840 --> 0:30:04.440
<v Speaker 1>but a lot of it is just lost on me

0:30:04.480 --> 0:30:09.440
<v Speaker 1>as I am not its historic contended viewer, but it

0:30:09.520 --> 0:30:13.320
<v Speaker 1>is almost I found it almost physically painful to look

0:30:13.360 --> 0:30:16.240
<v Speaker 1>at each of these amazing images and focus not on

0:30:16.320 --> 0:30:19.160
<v Speaker 1>anything else going on in them, but to look at

0:30:19.200 --> 0:30:22.960
<v Speaker 1>the feet and the shoes. There are some images where

0:30:23.000 --> 0:30:26.480
<v Speaker 1>feet are seemingly very important, and so it's not like

0:30:26.520 --> 0:30:31.240
<v Speaker 1>feet or just a non commodity in these images, but

0:30:31.280 --> 0:30:32.960
<v Speaker 1>there's just so much going on that I had a

0:30:32.960 --> 0:30:34.840
<v Speaker 1>hard time looking at just the feet.

0:30:35.080 --> 0:30:37.960
<v Speaker 3>Yeah, there was some series we did a while back

0:30:38.000 --> 0:30:40.760
<v Speaker 3>where we talked about, you know, and there's variation within

0:30:40.800 --> 0:30:42.720
<v Speaker 3>all art styles, but we talked about how a lot

0:30:42.760 --> 0:30:47.040
<v Speaker 3>of Tibetan art is just gloriously busy. There's like so

0:30:47.200 --> 0:30:49.480
<v Speaker 3>much going on in it and so much text here.

0:30:49.880 --> 0:30:53.040
<v Speaker 1>Yeah, and it is if memory serves from those past episodes.

0:30:53.080 --> 0:30:55.280
<v Speaker 1>Like part of it comes down to, of course, you

0:30:55.320 --> 0:30:58.120
<v Speaker 1>have a very complex theology that needs to be related

0:30:58.600 --> 0:31:03.520
<v Speaker 1>to some degree through these visual representations. And then also

0:31:03.600 --> 0:31:06.440
<v Speaker 1>there's a strong case to be made that the landscape

0:31:06.440 --> 0:31:08.920
<v Speaker 1>plays into it, that there is a kind of scale

0:31:10.200 --> 0:31:16.480
<v Speaker 1>to the Tibetan landscape that therefore makes these interior holy

0:31:16.560 --> 0:31:20.000
<v Speaker 1>spaces need to be busier, need to be just just

0:31:20.120 --> 0:31:24.000
<v Speaker 1>so full of additional details, and without any of these,

0:31:24.560 --> 0:31:28.280
<v Speaker 1>you know, artistic voids that become important in other traditions.

0:31:29.480 --> 0:31:31.760
<v Speaker 1>But anyway, I looked at a lot of feet in

0:31:31.800 --> 0:31:34.520
<v Speaker 1>these when I could see them, and because it seemed

0:31:34.560 --> 0:31:37.920
<v Speaker 1>like most of the examples just broadly feet on all art,

0:31:38.080 --> 0:31:40.480
<v Speaker 1>you know, it's either going to be a barefoot or

0:31:40.680 --> 0:31:43.440
<v Speaker 1>it is going to be a feet you cannot see

0:31:43.480 --> 0:31:48.360
<v Speaker 1>because they are obscured by clothing. And in fact, I

0:31:48.400 --> 0:31:51.960
<v Speaker 1>don't think I saw a single shoe in that particular book.

0:31:52.640 --> 0:31:58.040
<v Speaker 1>I also went to a rather prolific blog online of

0:31:59.200 --> 0:32:02.760
<v Speaker 1>Himalayan Buddhis art titled It's you can find It's Himalayan

0:32:02.800 --> 0:32:05.800
<v Speaker 1>Buddhist Art dot WordPress dot com. A lot of images

0:32:05.840 --> 0:32:09.160
<v Speaker 1>on there, with some some write ups. It seems to

0:32:09.160 --> 0:32:12.200
<v Speaker 1>be a very current blog. I looked around on there,

0:32:12.240 --> 0:32:14.400
<v Speaker 1>and in fact, and there I found I found lots

0:32:14.400 --> 0:32:18.000
<v Speaker 1>of bear feet, and I did find at least one

0:32:18.040 --> 0:32:21.760
<v Speaker 1>example of a couple of examples maybe a footwear, one

0:32:21.800 --> 0:32:24.400
<v Speaker 1>of which though is clearly, like you said, a boot

0:32:24.560 --> 0:32:30.160
<v Speaker 1>that goes you know, much much farther up the leg

0:32:30.800 --> 0:32:33.880
<v Speaker 1>as opposed to what we see in the alleged Ironman here.

0:32:34.200 --> 0:32:34.560
<v Speaker 3>M hm.

0:32:35.080 --> 0:32:37.240
<v Speaker 1>And so like you, now, when I look at the

0:32:37.320 --> 0:32:39.920
<v Speaker 1>iron Man's feet, I'm like, this is this feels off?

0:32:40.160 --> 0:32:42.360
<v Speaker 1>Like it feels even more off now that I have

0:32:42.720 --> 0:32:45.120
<v Speaker 1>all this additional information in my head about it. They

0:32:45.440 --> 0:32:47.040
<v Speaker 1>you know, they look like, I don't know, kind of

0:32:47.080 --> 0:32:48.280
<v Speaker 1>like little elfin shoes.

0:32:48.360 --> 0:32:51.000
<v Speaker 3>I don't know exactly. Yeah, but again, it's not just

0:32:51.080 --> 0:32:55.320
<v Speaker 3>our opinion. Expert on on Buddhism and Tibetan art says,

0:32:55.720 --> 0:32:58.800
<v Speaker 3>this is not what this usually looks like. Bear's next

0:32:58.800 --> 0:33:02.440
<v Speaker 3>point points out the pants. This guy's wearing pants, and

0:33:02.480 --> 0:33:04.840
<v Speaker 3>he says, this is sort of a dead giveaway that

0:33:05.000 --> 0:33:08.000
<v Speaker 3>the trousers worn by the lama in this sculpture are

0:33:08.440 --> 0:33:11.880
<v Speaker 3>to be found nowhere else in Tibetan nor Mongolian sculpture

0:33:11.960 --> 0:33:14.720
<v Speaker 3>of the time, in which figures may wear robes or

0:33:14.800 --> 0:33:18.360
<v Speaker 3>might have armor covering their shins, but never pants like this.

0:33:19.440 --> 0:33:22.080
<v Speaker 3>And even there's kind of this interesting like what would

0:33:22.080 --> 0:33:24.240
<v Speaker 3>you call this a flare or I guess like a split.

0:33:24.360 --> 0:33:26.560
<v Speaker 3>There's like a split in the pant leg down at

0:33:26.600 --> 0:33:30.680
<v Speaker 3>the cuff. And yeah, Bear is like, I don't know

0:33:30.720 --> 0:33:32.360
<v Speaker 3>what to make of that. Maybe that's just to make

0:33:32.400 --> 0:33:35.760
<v Speaker 3>it look sort of different than normal pants, like pastoral

0:33:35.920 --> 0:33:37.160
<v Speaker 3>or something. Yeah.

0:33:37.320 --> 0:33:40.480
<v Speaker 1>Yeah, most of these images you look at Yeah, you're

0:33:40.520 --> 0:33:43.960
<v Speaker 1>looking at it flowing robes and so forth, or armor. Yeah.

0:33:44.400 --> 0:33:46.600
<v Speaker 1>I was looking around too for examples of what we

0:33:46.720 --> 0:33:49.000
<v Speaker 1>might describe as pants, and I was not finding them.

0:33:49.440 --> 0:33:52.080
<v Speaker 3>So then Bear goes on the list eleven other points

0:33:52.080 --> 0:33:55.040
<v Speaker 3>of difference from known Tibetan nor Mongolian art, having to

0:33:55.120 --> 0:33:58.080
<v Speaker 3>do with everything from the way the body is positioned,

0:33:58.280 --> 0:34:01.600
<v Speaker 3>like the position of the legs, to how body parts

0:34:01.640 --> 0:34:04.719
<v Speaker 3>such as the beard and the hands are rendered. There

0:34:04.720 --> 0:34:08.640
<v Speaker 3>are major differences there. How the halo is depicted. I

0:34:08.640 --> 0:34:10.759
<v Speaker 3>want to come right back to that, and then things

0:34:10.800 --> 0:34:13.440
<v Speaker 3>about the clothing and the jewelry. Just a lot of

0:34:13.480 --> 0:34:16.840
<v Speaker 3>stuff about this does not fit with the alleged context

0:34:16.880 --> 0:34:20.800
<v Speaker 3>it supposedly comes from. So the part about the halo

0:34:21.000 --> 0:34:23.279
<v Speaker 3>was also interesting to me, given that we did a

0:34:23.280 --> 0:34:25.959
<v Speaker 3>series of episodes on halo imagery a couple of years ago.

0:34:26.960 --> 0:34:31.880
<v Speaker 3>Bayer says that halo's attached to the body like I

0:34:32.360 --> 0:34:35.480
<v Speaker 3>actually attached to the body on the sculpture are not

0:34:35.760 --> 0:34:39.640
<v Speaker 3>very common in genuine metal statues here. If they have

0:34:39.760 --> 0:34:42.320
<v Speaker 3>a halo it tends to be like a separate piece

0:34:42.440 --> 0:34:46.160
<v Speaker 3>from the body in the sculpture, but then also notes

0:34:46.239 --> 0:34:49.040
<v Speaker 3>that the halo around the figure's head and then the

0:34:49.040 --> 0:34:53.560
<v Speaker 3>greater ariole behind the figure's body are totally blank and

0:34:53.640 --> 0:34:57.279
<v Speaker 3>featureless circles. Here, I did a little digging deeper on this,

0:34:57.400 --> 0:35:00.319
<v Speaker 3>and I found another paper zooming in and show maybe

0:35:00.360 --> 0:35:02.799
<v Speaker 3>there are a few little scratches in the halo if

0:35:02.800 --> 0:35:06.320
<v Speaker 3>you zoom in, but there's no major decoration or adornment.

0:35:06.920 --> 0:35:09.759
<v Speaker 3>And if you compare this to how halo's or arioles,

0:35:09.800 --> 0:35:11.560
<v Speaker 3>you know, the glow around the head or the glow

0:35:11.560 --> 0:35:15.279
<v Speaker 3>around the body, how they're usually depicted in Tibetan or

0:35:15.320 --> 0:35:18.320
<v Speaker 3>Buddhist art, it's a world of difference. They are usually

0:35:18.400 --> 0:35:23.680
<v Speaker 3>not a blank circle. They are usually highly textured, highly adorned,

0:35:24.239 --> 0:35:26.279
<v Speaker 3>like we were saying, very busy, with a lot going

0:35:26.320 --> 0:35:29.279
<v Speaker 3>in them, maybe depicted as flames or having a kind

0:35:29.280 --> 0:35:33.040
<v Speaker 3>of texture within them, or or showing even little like

0:35:33.120 --> 0:35:35.240
<v Speaker 3>scenes and figures inside them.

0:35:35.520 --> 0:35:38.000
<v Speaker 1>Yeah. I think this feels like a strong point. Yeah,

0:35:38.040 --> 0:35:43.719
<v Speaker 1>that this halo feels way too casual. Yeah, and probably

0:35:43.960 --> 0:35:47.200
<v Speaker 1>has more in common with Western depictions of a halo,

0:35:47.360 --> 0:35:47.560
<v Speaker 1>you know.

0:35:47.640 --> 0:35:49.880
<v Speaker 3>Yeah, looks more like a halo you'd see around the

0:35:49.880 --> 0:35:52.920
<v Speaker 3>head of a saint in like a medieval Catholic depiction

0:35:53.080 --> 0:35:56.560
<v Speaker 3>or something. Yeah. Yeah, So there is a bunch of

0:35:56.600 --> 0:35:59.680
<v Speaker 3>stuff like this that just does not match the cultural

0:35:59.719 --> 0:36:03.400
<v Speaker 3>con text of its alleged production and on the art elements,

0:36:03.440 --> 0:36:06.960
<v Speaker 3>Behar says, quote, my own research has not yielded a

0:36:07.120 --> 0:36:10.960
<v Speaker 3>single even remotely similar object, which led me to conclude

0:36:11.000 --> 0:36:14.719
<v Speaker 3>that the statue is in fact a European counterfeit, and

0:36:14.840 --> 0:36:17.719
<v Speaker 3>I was encouraged to take this conclusion by several colleagues

0:36:17.760 --> 0:36:21.680
<v Speaker 3>I contacted. While no such artifacts exist in Inner Asia,

0:36:21.840 --> 0:36:27.560
<v Speaker 3>artifacts of the pseudo Tibetan style exist in abundance, produced

0:36:27.600 --> 0:36:31.760
<v Speaker 3>as home decoration for film sets and the like. Any

0:36:31.960 --> 0:36:35.240
<v Speaker 3>highly improbable claim to the opposite would have to carry

0:36:35.239 --> 0:36:39.279
<v Speaker 3>the burden of proof. So having made the case that

0:36:39.320 --> 0:36:43.200
<v Speaker 3>this is a European imitation rather than a genuine Tibetan

0:36:43.239 --> 0:36:46.920
<v Speaker 3>or Mongolian original, the paper also addresses some other questions,

0:36:46.960 --> 0:36:50.319
<v Speaker 3>including who is depicted in the sculpture and where it

0:36:50.360 --> 0:36:54.760
<v Speaker 3>comes from. As to who is depicted, Bear agrees actually

0:36:55.040 --> 0:36:57.920
<v Speaker 3>that it might possibly be Vice Shravana, which is what

0:36:57.960 --> 0:37:01.760
<v Speaker 3>the original authors proposed, but then also give some other possibilities.

0:37:01.880 --> 0:37:07.399
<v Speaker 3>Maybe it is pod Maasimbava was another figure. It could

0:37:07.440 --> 0:37:12.000
<v Speaker 3>be an amalgam of elements from different original figures. And

0:37:12.040 --> 0:37:14.920
<v Speaker 3>then there's the question of where did it come from.

0:37:15.280 --> 0:37:18.879
<v Speaker 3>Behar also here casts doubt on the story that this

0:37:19.120 --> 0:37:24.920
<v Speaker 3>was taken from Tibet by the Nazi Schaffer expedition in

0:37:25.000 --> 0:37:28.200
<v Speaker 3>the late thirties. He claims that after corresponding with the

0:37:28.239 --> 0:37:31.920
<v Speaker 3>authors of the twenty twelve study, he could find no

0:37:32.160 --> 0:37:36.440
<v Speaker 3>reliable evidence that this piece had any historical association with

0:37:36.480 --> 0:37:40.000
<v Speaker 3>Schaffer or with the SS. I could be wrong, but

0:37:40.120 --> 0:37:43.960
<v Speaker 3>as best I can tell, the evidence for the association

0:37:44.719 --> 0:37:47.520
<v Speaker 3>is the claim of the collector who produced it in

0:37:47.560 --> 0:37:50.920
<v Speaker 3>the two thousands, But that came with no like historical

0:37:51.440 --> 0:37:55.160
<v Speaker 3>evidence backing it up or no reliable documentation. So Behyar

0:37:55.280 --> 0:37:57.240
<v Speaker 3>doubts the Schaffer connection totally.

0:37:57.920 --> 0:37:59.640
<v Speaker 1>So this might have just been a story that was

0:38:01.080 --> 0:38:04.440
<v Speaker 1>perhaps just to make it a little more marketable.

0:38:04.120 --> 0:38:07.080
<v Speaker 3>To collectors possibly and that could in fact work in

0:38:07.120 --> 0:38:11.480
<v Speaker 3>two different ways. He identifies two different hypotheses for the

0:38:11.840 --> 0:38:14.799
<v Speaker 3>production of this. One is that it's a He calls

0:38:14.840 --> 0:38:18.880
<v Speaker 3>it something produced for the quote general antique and curio market,

0:38:19.719 --> 0:38:24.520
<v Speaker 3>in which case, the swastika depicted on the armor and

0:38:24.600 --> 0:38:29.600
<v Speaker 3>the association with the Chaffer expedition would just like sort

0:38:29.600 --> 0:38:32.160
<v Speaker 3>of give it more general mystery to be like, wow,

0:38:32.239 --> 0:38:35.680
<v Speaker 3>that's weird and be attractive to a general antique buying

0:38:35.719 --> 0:38:38.799
<v Speaker 3>audience or curio buying audience. But then he says, there's

0:38:38.840 --> 0:38:42.160
<v Speaker 3>another interpretation which is a little more sinister, which is

0:38:42.200 --> 0:38:45.400
<v Speaker 3>that it is made specifically to appeal to the market

0:38:45.520 --> 0:38:50.120
<v Speaker 3>for Nazi memorabilia, in which case these associations would would

0:38:50.160 --> 0:38:54.640
<v Speaker 3>have a specific direct appeal. So who did make it,

0:38:54.719 --> 0:38:58.800
<v Speaker 3>Beyer says, we don't know, but he thinks that most

0:38:59.040 --> 0:39:02.440
<v Speaker 3>likely it was made by a European artist sometime roughly

0:39:02.480 --> 0:39:07.120
<v Speaker 3>between nineteen ten and nineteen seventy. Why those dates, The

0:39:07.160 --> 0:39:09.880
<v Speaker 3>reasoning seems to be that this would be a period

0:39:09.960 --> 0:39:12.560
<v Speaker 3>when there was a market for this sort of thing,

0:39:12.640 --> 0:39:16.080
<v Speaker 3>for artifacts imitating Tibetan styles or things to be passed

0:39:16.080 --> 0:39:19.600
<v Speaker 3>off as Tibetan in origin. But there was also still

0:39:19.640 --> 0:39:23.680
<v Speaker 3>before nineteen seventy enough ignorance within the market for this

0:39:23.800 --> 0:39:27.000
<v Speaker 3>sort of art that something of this quality could be

0:39:27.040 --> 0:39:30.200
<v Speaker 3>passed off as authentic. He says, after around nineteen seventy

0:39:30.560 --> 0:39:34.600
<v Speaker 3>quote more details of original Tibetan art gained wide dissipation,

0:39:34.800 --> 0:39:38.839
<v Speaker 3>so probably the market would be more aware of like

0:39:38.920 --> 0:39:43.800
<v Speaker 3>that this would not pass muster. So from Bear's perspective,

0:39:43.840 --> 0:39:45.560
<v Speaker 3>we don't know what happened for sure, but it seems

0:39:45.640 --> 0:39:49.000
<v Speaker 3>possible that it was something like a piece of meteorite

0:39:49.080 --> 0:39:53.680
<v Speaker 3>iron from the Chinga meteorite field in Tuva again that

0:39:53.800 --> 0:39:58.279
<v Speaker 3>southern Siberia somehow gets transported to Germany, where sometime in

0:39:58.320 --> 0:40:01.400
<v Speaker 3>the twentieth century, maybe between like nineteen ten and nineteen

0:40:01.440 --> 0:40:05.400
<v Speaker 3>seventy roughly, it is partially forged and carved into a

0:40:05.440 --> 0:40:09.799
<v Speaker 3>statue made to crudely imitate Tibetan art, and then from

0:40:09.800 --> 0:40:13.520
<v Speaker 3>there it passes into a collector's market with this story

0:40:13.560 --> 0:40:16.160
<v Speaker 3>behind it, with this alleged link to the Shaffer expedition.

0:40:17.160 --> 0:40:19.160
<v Speaker 3>And then he wraps up the article by sort of

0:40:19.160 --> 0:40:23.000
<v Speaker 3>discussing the importance of consulting people in the relevant fields

0:40:23.080 --> 0:40:26.640
<v Speaker 3>before go before you know, going public with claims of authenticity.

0:40:27.560 --> 0:40:30.000
<v Speaker 3>So of course I'm you know, I'm not qualified to

0:40:31.120 --> 0:40:34.719
<v Speaker 3>adjudicate this matter either, but I would tend to take

0:40:34.760 --> 0:40:37.200
<v Speaker 3>the word of people who specialize in Tibetan art in

0:40:37.280 --> 0:40:42.080
<v Speaker 3>evaluating whether something is authentically Tibetan art or not. And

0:40:42.640 --> 0:40:46.719
<v Speaker 3>he says, basically, any specialist in Tibetan or Buddhist art

0:40:47.120 --> 0:40:49.640
<v Speaker 3>could have looked at this and said this is not authentic.

0:40:50.080 --> 0:40:53.080
<v Speaker 3>And it's still an interesting story with that additional context

0:40:53.080 --> 0:40:56.880
<v Speaker 3>as well, because so like a European forgery of Buddhist

0:40:57.000 --> 0:41:00.839
<v Speaker 3>art imbued with a mysterious Nazi backstory which is in

0:41:00.880 --> 0:41:04.160
<v Speaker 3>fact made out of iron from a Siberian meteorite. How

0:41:04.160 --> 0:41:04.920
<v Speaker 3>does that happen?

0:41:05.239 --> 0:41:08.359
<v Speaker 1>Yeah, it's still this enigma, isn't it, even if it's

0:41:08.480 --> 0:41:11.920
<v Speaker 1>not the enigma that some tellings would make it out

0:41:11.960 --> 0:41:12.160
<v Speaker 1>to be.

0:41:12.880 --> 0:41:16.960
<v Speaker 3>But that's not all. There is one more development in

0:41:17.000 --> 0:41:19.959
<v Speaker 3>this story that I came across. So in the year

0:41:20.280 --> 0:41:25.080
<v Speaker 3>twenty seventeen, a German historian of Tibet named Israun Engelhart

0:41:25.120 --> 0:41:29.240
<v Speaker 3>published an article called the Strange Case of the Buddha

0:41:29.360 --> 0:41:34.080
<v Speaker 3>from Space. And in this piece, Engelhart gives extensive reasons,

0:41:34.120 --> 0:41:37.400
<v Speaker 3>first of all, for thinking the sculpture was not brought

0:41:37.480 --> 0:41:40.680
<v Speaker 3>back to Germany from Tibet by the expedition in the

0:41:40.760 --> 0:41:44.760
<v Speaker 3>late nineteen thirties, which that expedition she had actually studied

0:41:44.760 --> 0:41:48.480
<v Speaker 3>in great depth. For one thing, the members of the

0:41:48.640 --> 0:41:53.080
<v Speaker 3>SS expedition actually made meticulous catalogs of the items, but

0:41:53.120 --> 0:41:55.480
<v Speaker 3>they brought back from Tibet, and the iron statue is

0:41:55.560 --> 0:41:59.640
<v Speaker 3>not listed among them. But Engelhart in this paper also

0:41:59.719 --> 0:42:04.799
<v Speaker 3>documents her attempts to track down the ownership history of

0:42:05.000 --> 0:42:08.520
<v Speaker 3>the Iron Man, and these efforts are somewhat successful, and

0:42:08.600 --> 0:42:11.640
<v Speaker 3>they end up pointing her back to a sort of

0:42:11.760 --> 0:42:17.799
<v Speaker 3>aggressively negotiating antiquities dealer from Russia. Going off that information,

0:42:18.040 --> 0:42:23.200
<v Speaker 3>Engelhart eventually reaches the conclusion that the sculpture was probably

0:42:23.400 --> 0:42:27.600
<v Speaker 3>somehow associated with a known historical figure. That it was

0:42:27.640 --> 0:42:32.240
<v Speaker 3>probably associated with and perhaps made for the strange Russian

0:42:32.440 --> 0:42:39.919
<v Speaker 3>artist Nikolai Rarick that spelled Roe rh Nikolai Rarik, who

0:42:39.960 --> 0:42:43.760
<v Speaker 3>lived from eighteen seventy four to nineteen forty seven. Rareck

0:42:44.200 --> 0:42:47.600
<v Speaker 3>in his career traveled extensively in Central Asia and was

0:42:47.680 --> 0:42:51.040
<v Speaker 3>obsessed with the Himalayas and with Tibet, and there are

0:42:51.200 --> 0:42:54.920
<v Speaker 3>many portraits of him posed in Tibetan garb and with

0:42:54.960 --> 0:42:59.240
<v Speaker 3>Tibetan surroundings. He's wearing Tibetan robes. In nineteen twenty six,

0:43:00.160 --> 0:43:04.120
<v Speaker 3>Eric produced a sketch that angle heart came across and

0:43:04.160 --> 0:43:08.839
<v Speaker 3>the sketch is entitled the Order of Riggdan Yeppo, and

0:43:09.000 --> 0:43:13.040
<v Speaker 3>the sketch really looks a lot like the iron Man statue.

0:43:13.080 --> 0:43:16.480
<v Speaker 3>There's a similar posture and pose, a similar double halo,

0:43:16.680 --> 0:43:21.719
<v Speaker 3>similar pointed hat, similar clothing, and a note about the

0:43:21.760 --> 0:43:27.719
<v Speaker 3>title there that Rarick understood rigged and Yeppo as the

0:43:28.000 --> 0:43:31.120
<v Speaker 3>name of a figure meant to be the future ruler

0:43:31.360 --> 0:43:36.160
<v Speaker 3>of a spiritual kingdom known as Shambala in Tibetan Buddhism.

0:43:36.800 --> 0:43:42.839
<v Speaker 3>And further writing about the comparisons between the iron Man

0:43:42.960 --> 0:43:47.759
<v Speaker 3>statue and the sketch and eventually the painting produced by

0:43:48.160 --> 0:43:53.200
<v Speaker 3>Rarick known as the Order of Riggdan Yeppo, Angle Heart writes, quote,

0:43:53.640 --> 0:43:56.120
<v Speaker 3>the left hand of both the sketch and the statue

0:43:56.160 --> 0:43:59.520
<v Speaker 3>seems to hold neither a mongoose nor a vase, but

0:43:59.640 --> 0:44:04.920
<v Speaker 3>rather the famous radiant Centimani Stone, the wish fulfilling jewel

0:44:05.080 --> 0:44:09.160
<v Speaker 3>coming from the Sky, which Rareck painted several times. In

0:44:09.280 --> 0:44:12.640
<v Speaker 3>nineteen twenty three, when the Rarecks were in Paris, they

0:44:12.680 --> 0:44:17.640
<v Speaker 3>received a mysterious package through dubious channels that allegedly contained

0:44:17.840 --> 0:44:22.040
<v Speaker 3>this very stone, said to be a fragment of a

0:44:22.080 --> 0:44:27.280
<v Speaker 3>meteorite and apparently Rareck and his wife Elena, who Elena

0:44:27.400 --> 0:44:32.520
<v Speaker 3>was very into the mystical religious movement then known as Theosophy.

0:44:33.160 --> 0:44:36.440
<v Speaker 3>They got really excited about the meteorite stone and believed

0:44:36.480 --> 0:44:40.359
<v Speaker 3>it have great significance for their lives. Apparently Rareck had

0:44:40.440 --> 0:44:45.640
<v Speaker 3>long had thoughts like imagined himself as carrying around a

0:44:45.760 --> 0:44:48.600
<v Speaker 3>magic stone that had some kind of like potency and

0:44:48.719 --> 0:44:53.600
<v Speaker 3>meaning for his fate. But anyway, motivated in part by

0:44:53.680 --> 0:44:58.839
<v Speaker 3>their theosophical beliefs, Nikolai and Elena attempted to lead an

0:44:58.880 --> 0:45:04.240
<v Speaker 3>expedition in the nineteen twenties to find Shambala in Tibet,

0:45:04.280 --> 0:45:08.160
<v Speaker 3>to find the entrance to Shambala, and not only that,

0:45:08.239 --> 0:45:11.520
<v Speaker 3>but Nikolai would eventually come to see himself and to

0:45:11.719 --> 0:45:17.920
<v Speaker 3>style himself as Rigg Danneppo, the King of Shambala, and

0:45:18.600 --> 0:45:21.719
<v Speaker 3>so he had like ceremonial robes and other trappings of

0:45:21.760 --> 0:45:28.520
<v Speaker 3>this station created befitting his kingly destiny. Apparently, his claim

0:45:28.719 --> 0:45:31.560
<v Speaker 3>to be the King of Shambala did not go over

0:45:31.640 --> 0:45:36.440
<v Speaker 3>amazingly well with the Tibetans, and ultimately the expedition was

0:45:36.480 --> 0:45:40.520
<v Speaker 3>considered a failure. Rareck got incredibly mad at Tibet and

0:45:40.600 --> 0:45:43.280
<v Speaker 3>at Buddhism after this and published a bunch of nasty

0:45:43.320 --> 0:45:46.799
<v Speaker 3>things about them. But coming back to the statue, where

0:45:46.800 --> 0:45:50.920
<v Speaker 3>did the statue come from? Engelhart argues, based on a

0:45:51.000 --> 0:45:54.400
<v Speaker 3>number of clues, that it's quite likely that Rarick had

0:45:54.440 --> 0:45:59.760
<v Speaker 3>this statue made out of meteorite iron around nineteen twenty

0:45:59.760 --> 0:46:04.480
<v Speaker 3>six to nineteen twenty seven in order to represent himself

0:46:04.719 --> 0:46:08.200
<v Speaker 3>as the king of Shambala, and that's why it bears

0:46:08.239 --> 0:46:11.000
<v Speaker 3>these similarities to the sketch and the painting that he

0:46:11.040 --> 0:46:16.120
<v Speaker 3>did of himself in this posture. And this would have

0:46:16.239 --> 0:46:20.040
<v Speaker 3>probably been done by a metal worker somewhere in Urga,

0:46:20.120 --> 0:46:24.560
<v Speaker 3>the capital of Mongolia today known as Ulaanbatar, and this

0:46:24.600 --> 0:46:27.480
<v Speaker 3>would have been while the Rareks were staying there in

0:46:27.520 --> 0:46:32.399
<v Speaker 3>preparation for their expedition Tibet. So I think we would

0:46:32.440 --> 0:46:35.280
<v Speaker 3>need more like physical evidence to make the link for sure,

0:46:35.320 --> 0:46:39.000
<v Speaker 3>But I think it's good detective work, and Englehart makes

0:46:39.040 --> 0:46:43.600
<v Speaker 3>a really strong case, circumstantial case based on the similarities

0:46:43.600 --> 0:46:47.120
<v Speaker 3>of the artworks and themes that we know that Rarik

0:46:47.360 --> 0:46:50.680
<v Speaker 3>and Rarek and his family were very interested in. So

0:46:51.160 --> 0:46:54.560
<v Speaker 3>it seems quite plausible to me. Anyway. I think that'll

0:46:54.560 --> 0:46:58.120
<v Speaker 3>do it for today's episode on the iron from space.

0:46:58.200 --> 0:47:00.000
<v Speaker 3>But I feel like we've got more to talk about

0:47:00.080 --> 0:47:02.239
<v Speaker 3>with this subject now, Rob, I think you've got an

0:47:02.280 --> 0:47:05.600
<v Speaker 3>interview scheduled to run on Tuesday of next week, right,

0:47:05.640 --> 0:47:07.359
<v Speaker 3>But can we come back with part three of this

0:47:07.440 --> 0:47:08.600
<v Speaker 3>discussion on Thursday?

0:47:08.920 --> 0:47:14.920
<v Speaker 1>Absolutely? Yeah. We have more examples of potential meteoric iron

0:47:15.320 --> 0:47:19.040
<v Speaker 1>artifacts to discuss and more related topics. So we'll come

0:47:19.080 --> 0:47:23.400
<v Speaker 1>back for a part three on Thursday with an interview

0:47:23.680 --> 0:47:26.160
<v Speaker 1>episode airing on Tuesday that's not related.

0:47:25.760 --> 0:47:27.960
<v Speaker 3>To this topic. Sounds great, can't wait.

0:47:28.120 --> 0:47:30.760
<v Speaker 1>In the meantime, certainly? Right in? If you have thoughts

0:47:30.880 --> 0:47:33.799
<v Speaker 1>on the alleged iron Man, well, I mean, I guess

0:47:33.840 --> 0:47:37.160
<v Speaker 1>the iron part is not alleged. He's it's a man.

0:47:37.239 --> 0:47:39.560
<v Speaker 1>He's made out of iron. He is iron Man. No,

0:47:39.719 --> 0:47:42.000
<v Speaker 1>we can doubt that. We can't take that away from him.

0:47:42.360 --> 0:47:43.880
<v Speaker 1>But if you have thoughts on that, or if you

0:47:43.920 --> 0:47:49.840
<v Speaker 1>have thoughts on Chinese artifacts in Chinese mythology right in,

0:47:49.880 --> 0:47:52.480
<v Speaker 1>we'd love to hear from you. Also, if there are

0:47:52.480 --> 0:47:56.719
<v Speaker 1>other examples from other cultures that we haven't covered so far,

0:47:56.760 --> 0:47:58.600
<v Speaker 1>bring them up, because we do have a few things

0:47:58.760 --> 0:48:01.719
<v Speaker 1>lined up to discuss. But if you get us in time,

0:48:01.760 --> 0:48:03.960
<v Speaker 1>you might be we might be able to add it

0:48:04.000 --> 0:48:06.800
<v Speaker 1>to the list, or if it comes in after the fact,

0:48:06.840 --> 0:48:10.480
<v Speaker 1>perhaps it's something we can discuss on our listener Mail episodes.

0:48:10.880 --> 0:48:14.400
<v Speaker 1>Our listener Mail episodes publish on Mondays, and the Stuff

0:48:14.400 --> 0:48:17.240
<v Speaker 1>to Blow Your Mind podcast feed core episodes on Tuesdays

0:48:17.280 --> 0:48:20.360
<v Speaker 1>and Thursdays, short form episode on Wednesdays and on Fridays.

0:48:20.400 --> 0:48:22.640
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0:48:22.680 --> 0:48:26.000
<v Speaker 1>a weird film on Weird House Cinema.

0:48:26.200 --> 0:48:30.040
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

0:48:30.360 --> 0:48:32.160
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0:48:32.200 --> 0:48:34.760
<v Speaker 3>with feedback on this episode or any other, to suggest

0:48:34.760 --> 0:48:36.719
<v Speaker 3>a topic for the future, or just to say hello,

0:48:36.920 --> 0:48:39.560
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0:48:39.640 --> 0:48:48.520
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0:48:48.600 --> 0:48:51.520
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