I don’t know it’s late and that is the only title I could come up with. As awkward and forced as it sounds I would like to think the title is appropriate at least in setting the stage for some of the context surrounding the Incense burner found in Prince Liu Sheng of the Han dynasty’s tomb. While his father Emperor Jing had to settle the Rebellion of the Seven States, Prince Liu Sheng’s reign of Zhongsan followed in lieu of the era of unrest and therefore he had the luxury of a mostly uneventful era. With nothing better to do Prince Liu Sheng lived a life of excess indulging in alcoholism and prostitutes. Statistical proof of his life of indulgence is his estimated one-hundred-twenty sons. Whereas other exalts of the early Asian period graced their imperial tombs with monuments to their military might, Prince Liu Sheng preferred to celebrate his life of excess with a tomb with a floor plan reminiscent of a household, an area appropriate for a great supper was included. Very similarly to the Egyptians, Liu Sheng’s tomb was furnished with the necessities of life that one might find in everyday use. The Incense Burner pictured below was not an uncommon for of illumination in the Han period or thereafter. This particular incense burner is extensively stylized and depicts the Taoist myth of the immortal isles of the East Sea. The gold inlay is indicative of the pompous lifestyle that Liu Sheng had. The fluid lines of the gold inlay also effectively compliment the waves that surround the mountainous inner island complete with man and animals celebrating their immortality on the isle of immortals. The taoist legend became more of an allegory for spiritual journey. The motif of a spiritual journey is a rather fitting inclusion in one’s tomb as they prepare for the afterlife.

Another artifact from the early Asian era was the camel carrying the three musicians.. Camels are obviously not native to China and therefore speaks to the extent of Chinese cultural contact along the Silk Road

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