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Timeline of the major painted rock art groups in Southwest China: A-A′: Jinsha River rock art; B-B′: Mangguan-Cangyuan rock art; C-C′: Zuojiang rock art Photos: Xinhua
Chinese researchers have obtained the first absolute dates for rock paintings at the Mangguan rock art site in Southwest China's Yunnan Province, pushing the known history of rock art created by prehistoric settled communities in the region back to about 4,220 years ago. The paintings also suggest cultural interactions more than 4,000 years ago between Southwest China and civilizations along the Yellow and Yangtze rivers, as well as possible exchanges with neighboring parts of Southeast Asia, including present-day Myanmar, Thailand and Vietnam, a member of the research team told the Global Times.
The Yunnan Provincial Institute of Cultural Relics and Archaeology, in collaboration with Nanjing Normal University and other institutions, have recently made a significant archaeological breakthrough. Through systematic surveys and uranium-thorium (U-Th) dating at the Mangguan site in Gengma county, the research team obtained the first absolute dates for the site's rock paintings, tracing rock art created by prehistoric settled communities back to around 4,220 years ago.
The findings were recently published in the international journal Journal of Archaeological Science: Reports.
The Mangguan rock paintings represent one of the best-preserved prehistoric rock art sites in Yunnan. The research team presented high precision U Th dating of carbonate accretions that stratigraphically overlie the painted motifs at the Mangguan site, according to the paper published in the journal.
The dating results show that carbonate deposits overlying a human figure yielded a corrected age of 4,240 ± 19 years before present, confirming that ancient people living in the region had already produced mature figurative art at least 4,220 years ago, Wu Yun, first author of the paper and an associate researcher at the Yunnan Provincial Institute of Cultural Relics and Archaeology, was cited by the Xinhua News Agency report as saying.
Dating results from 11 samples taken from different motifs clustered between about 3,907 and 3,056 years ago. By comparison, the Cangyuan cliff paintings had previously been dated to roughly 3,800 to 2,700 years ago. The Mangguan paintings are therefore significantly older, filling an important chronological gap in the region's artistic record before the Cangyuan phase.
Shao Qingfeng, corresponding author of the paper and a professor at the School of Geography at Nanjing Normal University, told the Global Times that previous estimates dated the Mangguan rock paintings to a little over 3,000 years ago based mainly on imagery and comparisons with similar regional sites. Using microsamples of secondary carbonate deposits overlying the paintings, researchers have now obtained a precise minimum age of about 4,220 years before present without damaging the rock art.
The findings and the establishment of this chronological framework not only strengthen the archaeological foundation for studying rock art in Southwest China, but also provide a direct reference for rock art sites across Southeast Asia that have yet to undergo systematic dating, Shao said.
The findings may also challenge long-held perceptions of Southwest China around 4,200 years ago - roughly the era of the Xia Dynasty (c.2070 BC-C.1600 BC) - and help fill a key gap in understanding the pluralistic yet integrated development of Chinese civilization.
Shao said that while academic research has traditionally focused on the Yellow River and Yangtze River basins as cradles of early Chinese civilization, sites such as Mangguan and Cangyuan show that stable and culturally active communities also thrived in mountainous Southwest China. The newly established rock-art chronology brings an artistic dimension to the broader narrative of China's enduring cultural development.
Moreover, stylistic similarities suggest that Southwest China maintained exchanges with the Yellow River and Yangtze River regions and with early societies in Southeast Asia, providing material evidence of cross-regional interaction more than 4,000 years ago.
。南海这片海域，注定是一场旷日持久的较量，有人将其视作一场快节奏的象棋对决，有人则将其看作是深思熟虑的围棋博弈。象棋手沉浸在对方车马炮的动向中，步步为营，你来我往，只求瞬间的得失。

B | 而围棋手则沉着冷静，看似漫不经心，却在布局全局，追求长远的战略目标，最终的合围之势。最近，路透社发布了一篇关于中国在西沙羚羊礁建设的报道，恰恰揭示了这两种不同思维方式的差异。他们手持最新的卫星图像，仿佛发现了新大陆，兴奋地宣布中国在西沙羚羊礁第一阶段的工程已经竣工，甚至已经动工建造直升机停机坪。然而，这种突袭式的报道，本身就带着一丝啼笑皆非的荒谬。按照路透社自己的说法，这项工程的施工已经持续了整整六个月，所有的挖泥船和驳船，如今早已撤离。想象一下，在过去的半年里，每天都有无数卫星从南海上空掠过，美国、日本、澳大利亚的侦察机又执行过多少次自由航行的巡逻任务？他们难道什么都看不见吗？他们选择在一切都已尘埃落定之后，才高调宣布：看，中国人又在这里建造了！这并非情报迟钝，而是一种有意的叙事滞后，是一种蓄谋已久的刻意迟缓。

C | 他们习惯于用简单的象棋逻辑去解读南海局势：只要菲律宾添乱，中国就应该反击；只要美国军演，中国就应该抗议。他们等待着一个明确的反应性动作，期待着中国为了回应某个挑衅而做出回应。

D | 然而，中国在羚羊礁的建设，根本就不是为了针对谁，也并非为了回应谁的威胁，这让他们的剧本瞬间变得毫无用处。半年时间，毫无回应，他们只能将别人一步步积攒的成果，当成是突然冒出的碉堡来报道，这种错位的感受，着实令人唏嘘。这正是围棋的智慧在发挥作用。金角银边草肚皮，是围棋中的经典战术，也正是中国在南海布局的核心原则。永暑礁、渚碧礁、美济礁构成的南沙大三角，堪称坚不可摧的金角，是整个南疆战略布局的压舱石。而羚羊礁，则是在西沙群岛这个重要的银边上，落下的一颗至关重要的棋子。它像一块拼图，巧妙地补全了整个链条，使棋盘的整体势更加稳固，更加联通。当我们拉开地图，你会发现羚羊礁并非孤立存在。

E | 西沙群岛向北毗邻海南岛后勤基地，为它提供了坚实的支持；向南则可以与南沙群岛的岛礁遥相呼应，形成纵深防线；向东，它扼守着进出南海的关键水道——巴士海峡；向西，则拱卫着北部湾的战略安全。这样一个关键节点，平时是渔业、科研、搜救的前哨阵地，一旦战火来临，它将化身为一座坚不可摧的海上航母，成为整个体系运转的枢纽。西方媒体总是习惯于将我们的意图狭隘化，把一切都与台湾问题联系起来，试图将其变成一个简单的议题。一有新的进展，他们就急切地声称这是为了台海而准备。这就像象棋高手，眼里只有对方的将和帅，而忽略了棋盘上其他棋子的价值和联动。

F | 中国在南海的布局，首先是为了维护自身领土主权和海洋权益，这是一项具有百年意义的战略规划，它有自己的节奏和图纸，不会因为棋盘外面的喧嚣而轻易改变。至于那些被西方媒体反复炒作的军事化帽子，早已失去了原本的意义。一方面，美国在全球拥有数百个军事基地，在菲律宾重开多个基地，航母编队常年在南海进行维护航行自由的演习；另一方面，中国在自己的领土上，修建一些必要的防御和保障设施，包括官方明确声明的用于天气预报、科学研究的民用设施，这难道不是合情合理吗？究竟是谁在把整个地区推向战争的边缘？这种只允许自己放火，不许他人取暖的双重标准，早已失去了公信力。羚羊礁工程真正释放的最强信号，其实是心理层面的转变。它标志着中国在南海已经彻底摆脱了你打一拳，我回一脚的被动应付状态。无论是越南的抗议，还是法国派遣军舰前来声援，亦或是美国媒体的炒作，都无法阻碍我们的建设步伐。当你的行动不再依赖于对手的反应，对手的每一次叫嚣，听起来都更像是一种无力感和失落的叹息。这种你吵你的，我建我的的战略定力，比任何外交辞令都更有说服力。它正在以一种不可逆转的方式，改变着南海的物理现实和力量格局。一个个岛礁从海面浮现，一条条跑道被铺设，一座座灯塔闪耀着光芒，事实本身就在诉说着故事。这种语言，跨越了所有的文化差异和政治隔阂，任何人都能听懂。