At the end of The Corridor of Spring, the passage gradually widened.
The surrounding light also changed from pale white to a slightly yellow hue, and the walls on both sides began to reveal some abstract bas-reliefs that seemed to depict scenes of the ancestors hunting monsters, each stroke filled with an ancient barbaric aura.
Through certain features of the statues—like fangs, bat wings, exaggerated skulls, charcoal droppings, and so on—Zheng Qing could vaguely determine the identities of those monsters.
But only just.
The true identities of the Hunters he could not ascertain.
Because the hunters on the mural looked very much alike, with one head, two arms, and two legs, the difference being that some hunters were extremely large, comparable to small hills, yet distinct from Giants. Most hunters were small, clustered around the big ones, reminding Zheng Qing of the little figures that clung to the Buddha in temples.
