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The terra cotta figurines unearthed at the Qin Shi Huang
Mausoleum reveal the essence of China's sculptural art which has a long history and a fine
national tradition.
The
Sculpture Art of the Terra Cotta Warriors
The terra cotta figurines
unearthed at the Qin Shi Huang Mausoleum represent a distinguished peak in the fruitful
history of ancient Chinese sculpture, with their elegant demeanor truly representing a
major chapter in the history of Oriental sculpture.
The numerous
significant achievements of the Qin terra cotta figurines are readily discernible.
However, the most significant achievement is perhaps the huge size and imposing manner of
figurines representative of the powerful Qin army. The vast majority of awe-struck
visitors leave the Qin Mausoleum overwhelmed by such a large number of terra cotta giants
which form such a magnificent scene. The well over 7,000 terra cotta warriors and horses
in full battle array spread over the more than 20,000 square meters appear to be prepared
to confront the enemy at a moment's notice. Little imagination is required to visualize a
massive swirling dust cloud which would blot out the sun and envelope the earth as they
charged.
The height of the sculpted
warriors averages around 1.8 meters, with some as tall as two meters. The horses are more
realistically sized at 1.7 meters in height and 2 meters in length. While clay figurines
dating to other historical periods have been unearthed in numerous other archeological
digs, the Qin terra cotta figurines represent most significant find in terms of sheer
numbers and size.
Yet another significant
achievement rests with the realistic depictions of Qin terra cotta figurines. Some
archeologists theorize that the differing features and expressions resulted from the fact
that separate models posed for each figurine.
The accurately proportioned
figurines vividly depict life as if they could breathe on their own. The same applies to
muscular horses which stand with forelegs straight and hind legs slightly bent. The
horses, with nostrils open wide, ears standing erect and eyes flaring, seemed to be ready
to charge into battle at any moment.
The dress
and facial expressions of Qin army figurines enables one to discern generals from
the ranks of' soldiers and warriors. For example, dignified and strongly built generals
are adorned in double-layered robes covered by colored plate armor. They also wear brown
caps and shoes curved upward. The long robes of soldiers are covered with armor, while
their caps are taller and each is grasping a weapon. Their fearless look reveals countless
life-and-death battle experience. War6ors, on the other hand, are depicted according to
the branch of service for which they were trained. Some archers holding bows are depicted
in a kneeling position with their right knee on the ground and left leg bent. Other
archers are in a standing position with their left foot half step in front of their right
foot. In addition, they assume a shooting posture holding the bow in their extended left
hand and arrow in the right hand close to their chest. They indeed appear ready to shower
arrows on the enemy. The most impressive aspect of the figurines is perhaps the unique
expressions on their faces. No two figurines have been found to have the exact same
features, with some appearing to be frank and open men, while others appear to be solemn.
Still others stare angrily ahead with knotted brow, some with tight lips and lowered eyes
appear to be in deep thought, and others seem cheerful and naive.
Some archeologists suggest that
facial features reveal the origins of the soldier. For example, one might have been a
farmer from the Central Shaanxi plain, another a young man from Sichuan, and yet another a
shepherd from the grasslands in northern China.
The coloring of Qin
terra cotta figurines was another major achievement. Despite the peeling of brightly
colored paint due to over 2,000 years of corrosion and a major fire, the flakes of
remaining paint indicated the figurines were formerly covered with various bright colors
such as red, green, blue, white, black and yellow. The imposing terra cotta figurines must
have presented a magnificent scene prior to being buried in the trenches!
The
greatest level of effort and indeed the most monumental achievements can be found on the
faces of the figurines. The long recognized fact that Qin Dynasty artists were highly
skilled at depicting facial features was further ve6fied by the Qin terra cotta figurines.
Artists vividly depicted the foreheads, superciliary fidges, nose bridges, chins, cheeks
and hair on all figurines. Various aspects such as superciliary ridges, lips, mustaches
and ears were obviously exaggerated. However, the exaggerated parts perfectly matched
other features and the faces appeared natural following the application of paint. The
method revealed the perfect integration of coloring and sculpturing. Careful analyses have
revealed that at least three layers of paint were applied to the faces of figurines. The
first layer consisted of a brownish raw lacquer, with pink or a similar color added as the
second layer, and a thin layer of white paint applied as the final touch. The technique
truly brought out the shine and color of human skin. However, the greatest attention was
paid to the eyes. The readily distinguishable black pupils in the yellowish brown irises
of figurines reflected the fact that traditional Chinese sculpture and painting considered
the eyes to the most important factor required to make a statue appear lifelike.
A combination of
molding and sculpturing were employed to fashion the terra cotta figurines in the
Qin Mausoleum. Traditional sculpturing methods used included layering, pinching, pasting,
carving and painting. Long strips of clay were layered to form the rough outline of the
body, with the pasting, pinching and carving methods employed to add robes and armor.
Fashioning heads represented a comparatively complicated process. Facial features were
achieved using a mold, with piling and sculpting used to form the back of the head. Ears
were pasted to the heads prior to adding sculpted or molded hair buns. Refinements such as
eyes, eyebrows, mouths, mustaches and ears were carefully carved to reveal the desired
personality for the figurine.
Examinations of the Qin terra
cotta figurines also revealed the excellence of clay figurine firing techniques. Analyses
of broken pieces revealed that the figurines were baked at temperatures ranging between
950-1059 degrees Celsius. The pure luster, high density and hardness level of clay in most
figurines is readily apparent. Modem attempts to duplicate the ancient baking process
have, in fact, failed to produce figurines of equal quality.
Armorclad general with a sword unearthed in
the No. I Trench: This particular figurine, standing some I 97cm in height, is wearing two
layers of' robes covered by a small armor covering his shoulders, and shin guards
protecting his legs. His square-toed shoes curve upwards and he is wearing brown headgear.
The general's arms are crossed, with his hands appearing to be resting on the handles of a
sword.
Armor: This
particular kind of armor designed for generals protects the chest, back and shoulders. The
front section of the armor cape, Which is 96.5cm in length, covers the chest and abdomen,
with the 61 cm long rear section covering the back and waist. Some 160 pieces of 4cm
square bronze pieces were used to fashion the cape. The shoulders and edges of the armor
cape are decorated with geometrical patterns, with eight flowers made of ribbon used to
decorate the front plate, three flower patterns the back plate and one flower each for the
upper arm plate.
Junior officer
unearthed in No. 2 Trench: This junior officer is wearing trousers and a high-collar shirt
under an armor cape. His square-toed shoes curve upwards and he is wearing a flat bun on
his head. The special armor, which covers the chest but not the back or shoulders, was
fashioned from a piece of leather inlaid with pieces of bronze in various shapes. The
eight lines on the chest include 11 pieces of bronze each, with three lines on the lower
section including five pieces of bronze each. The leather is inlaid with square,
rectangular and irregularly shaped pieces of bronze.
Armorclad infantryman:
Armorclad infantrymen unearthed in No.3 Trench, between 182-186cm in height, wear robes
covered by turtleneck armor capes. They also wear short trousers.
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