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Vivid Facial
Expresstions
The essence of the art of the terra-cotta warriors, which
are combination of realistic style and individual characteristics is highly revealed
by the facial expressions of the warriors.
A
Great Variety of Vivid Facial Expressions
If you turn to appreciate the
details, they would find that it is the vivid facial expressions and heads of the warriors
that touch you most. There lies the essence of the art of the terra-cotta warriors, which
are combination of realistic style and individual characteristics. The warriors, either
wearing kerchief caps or having their hair worn in a bun with each piece of hair clearly
seen, are lined up according to their grades. Their eyes convey feelings of their mind,
illustrating the tragic but heroic beauty of the short Qin Dynasty. Their characteristics
have something in common the internal surging force.
All potters came from all parts of the country. Because of
different life experiences and feudal tradition of passing technologies from teacher to
student or from father to son, potters from different workshops made sculptures in
different styles. Generally, potters from official workshops under the central government
had more chances to see the powerful military forces in the capital, so their sculptures
were often typical ancient warriors with round faces and strong bodies, and their styles
were strict and unified. Potters from ordinary workshops had more understand about people
from lower classes, and their sculptures, delicate and pretty with faces either round or
oval, showed diversified styles. Although their technological levels were different, they
were all master technicians at that time. To strengthen control upon the potters, rulers
of the Qin Dynasty carried out a system of " those who work hard could have their
names inscribed in the sculptures." That's why archaeologists can find the potters'
names now. 
The most impressive aspect of the
figurines is perhaps the unique expressions on their faces. Facial features were added to
molded heads by employing techniques such as piling, pasting, pinching, carving and
painting. China has a long history of sculpture art which integrated area and stressed
lines. Protruding parts of the faces exhibited are sharply carved, with heavy paint
applied to minimize the sharpness. Traditional techniques, including sculpting, painting
and drawn lines, were used to depict facial features, hair, ears and mustaches. 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. Artists vividly depicted the foreheads,
superciliary ridges, 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.
There are
three groups hairstyles of terra cotta warriors. The first style is featured with parting
hair in the middle of the head and then braiding some with hair above the ears. The back
hair was also braided and integrated with hair on one side of the head to form a bun. The
second involved forming a bun on the top of the head, followed by making six braids which
were then pinned tightly to the back of the head. The final style involved fashioning a
bun on top of the head, followed by adding a tiny cap with a ribbon which could by tied
under the chin. The third style also featured six braids pinned to the back of the
head.(bai 81)
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