The fourth strata of the Ho-mu-tu archeological site has yielded images of birds and wild boars bearing carved designs of heavenly bodies in concentric circles. If we say that the heavenly body borne by the bird is the sun, then is that of the boar the sun as well? The image of the boar, incised on the body of a square earthenware vessel, has eyes that are represented as concentric circles emitting radiance. This suggests a transformation of the eyes of the boar into images of the sun. How is it that the sun, which rises daily in the east and sets in the west, returns to the eastern horizon? Han dynasty legend held that there was a hibiscus tree bearing ten suns, and that each day one of the suns journeyed to the west. However, there is no record of how the suns made it back to the east. Since the suns travel in order, each has to find its way back to its point of origin in the east within ten days. To spend a day out of every ten making such a journey was not an easy task. There were no vehicles, and unlike their journey to the west, the return trip was overland, through uncharted wilds and trackless forests. The most common inhabitant of such terrain was presumably the cild boar. Thus, if one wanted to find a vehicle for the sun, the most natural candidate was the boar, and we can assume that ancient people reached a similar conclusion. When traveling overland, the boar probably followed game trails (in the sense of "a road like the trail of bird and deer." [San-kuo chih, Wei-shu, ch. 30]). The people of the Ho-mu-tu culture were hunters, and thus intimately familiar with the pathways of wild animals such as the boar. They also knew the darkness of these trails at night. Placing the sun in the eyes of the boar, in a sense, gave it headlights. Contemporary to the late period of the Ho-mu-tu culture, in approximately 4000 B.C., the intelligent people of the Ling-chia-nan culture, residing on the northern bank of the Yang-tzu river, believed that the sun was not carried back to the east overland, but rather flown through the sky by a winged boar. Such travel avoided the rugged mountains and other difficulties of land-based travel. The collection of the Tokyo National Museum contains a legless jade boar carved by the Liang-chu culture. The shoulders of the boar bear what appear to be carved representation of wings folded up into square frames. Similar images can be seen on three pronged objects produced by the same culture. These square motifs represent the boxes into which the means of flight were folded when not in use. The Liang-chu culture also produced nephrite carvings of disembodied boar heads, and shallow relief images of boar heads on jade huang pendants and huan rings. These boars are all legless, with serpentine, dragon-like bodies. It was at precisely this moment that the cultures of northern and southern China established regular contact, illustrated by the appearance of similar objects in the material culture of both regions. The well known pig-dragon of the Hung-shan culture also features large eyes and a boar's head situated atop of twisting serpentine body. The similarity of these forms strongly suggests that the Hung-shan pig-dragon was derived from the sun-bearning boar of the Liang-chu culture culture of both regions. The well known pig-dragon of the Hung-shan culture also features large eyes and boar's head situated atop of twisting serpentine body. The similarity of these forms strongly suggests that the Hung-shan pig-dragon was derived from the sun-bearning boar of the Liang-chu culture.