The Terracotta Army: Qin's Eternal Guard

Summary

Sources

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The Terracotta Army is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first emperor of China. These sculptures serve as a form of funerary art, intended to protect the emperor in his afterlife. The figures date back to approximately the late two hundreds BCE and were discovered in nineteen seventy-four by local farmers in Lintong County, outside Xi'an, Shaanxi, China. The discovery was made when the farmers, while digging a well, stumbled upon fragments of the terracotta figures. This monumental find led to extensive archaeological investigations, revealing a vast army of over eight thousand soldiers, along with one hundred thirty chariots with five hundred twenty horses, and one hundred fifty cavalry horses. These sculptures vary in height according to their rank, with the tallest being the generals. The collection not only includes military figures but also non-military terracotta figures such as officials, acrobats, strongmen, and musicians. The primary purpose of the Terracotta Army was to serve as a form of protection for Emperor Qin Shi Huang in the afterlife. This reflects the ancient Chinese belief in an afterlife where the deceased would require the same resources and protection as they did in their earthly life. The army was meticulously crafted to ensure that the emperor would continue to be safeguarded and maintained his authority even in death. The construction of Qin Shi Huang's tomb is a testament to the emperor's ambition and the immense resources at his disposal. According to the historian Sima Qian, in the "Records of the Grand Historian," work on the mausoleum began in two hundred forty-six BCE, soon after Qin Shi Huang ascended to the throne at the age of thirteen. This monumental project required the labor of seven hundred thousand conscripted workers, a staggering number that underscores the scale and complexity of the endeavor. The location of the tomb was strategically chosen at the foot of Mount Li, favored for its auspicious geology. Geographer Li Daoyuan, writing six centuries after the first emperor's death, noted that Mount Li was renowned for its jade mines and rich deposits of gold on its northern side and beautiful jade on its southern side. This strategic location was believed to bring good fortune, making it an ideal site for the emperor's final resting place. Sima Qian's account provides a detailed description of the tomb's elaborate construction. He wrote that the tomb was filled with palaces, towers, valuable artifacts, and wondrous objects. The most intriguing aspect of his description is the simulation of one hundred flowing rivers using mercury, which was believed to create a lifelike representation of China's vast waterways. The ceiling above these rivers was adorned with celestial bodies, representing the stars and constellations, while the lands of China, which the emperor had unified, were depicted below. For many years, these descriptions were considered to be more myth than reality. However, modern archaeological findings have lent credibility to Sima Qian's account. High levels of mercury have been detected in the soil at the mausoleum site, suggesting that the legendary rivers of mercury may indeed have existed. Additionally, Qin Shi Huang's known penchant for monumental statues, such as the Twelve Metal Colossi, aligns with the grand scale of the tomb's construction. The mausoleum complex, with its intricate designs and vast scale, reflects not only the emperor's desire for protection in the afterlife but also his vision of immortality and eternal rule. The discovery of the Terracotta Army in nineteen seventy-four was a serendipitous event that captured the world's attention. On March twenty-ninth, a group of local farmers, including Yang Zhifa and his five brothers, along with their neighbor Wang Puzhi, were digging a well approximately one and a half kilometers east of the Qin Emperor's tomb mound at Mount Li. As they dug, they unearthed fragments of terracotta figures, which prompted the involvement of Chinese archaeologists, including Zhao Kangmin, to investigate the site further. What emerged from these investigations was the largest pottery figurine group ever found, revealing a vast necropolis. The Terracotta Army is part of a much larger funerary complex, with ground-penetrating radar and core sampling measuring the area to be approximately ninety-eight square kilometers. The necropolis is a microcosm of the emperor's imperial palace, complete with offices, halls, stables, and an imperial park, all constructed around the tomb mound. The main pits containing the warriors are located east of the tomb, strategically placed to protect it from the direction of the conquered states. Four main pits have been uncovered, each approximately seven meters deep. The largest of these, Pit One, measures two hundred thirty meters long and sixty-two meters wide, containing over three thousand figures. This pit is designed with eleven parallel corridors, each more than three meters wide, resembling palace hallways. The wooden ceilings of these corridors were covered with reed mats and layers of clay for waterproofing, then mounded with soil. Pit Two contains cavalry and infantry units, along with war chariots, representing a military guard. Pit Three serves as the command post, housing high-ranking officers and a war chariot. Pit Four, interestingly, is empty, leading to speculation that it was left unfinished by its builders. Excavating the site presented significant challenges. The painted surfaces on some terracotta figures began to flake and fade almost immediately upon exposure to Xi'an's dry air. The lacquer covering the paint could curl in fifteen seconds and flake off in just four minutes. Efforts to preserve these delicate surfaces required innovative conservation techniques. Additionally, evidence of historical disturbances and looting was found. Some figures in Pits One and Two show fire damage, and burnt ceiling rafters were discovered, indicating that the site had been looted and set ablaze, likely by Xiang Yu, a contender for the throne after Qin Shi Huang's death. The roof's collapse due to the fire crushed many of the army figures below, necessitating meticulous restoration work to piece together the fragments. Despite these challenges, the discovery and excavation of the Terracotta Army have provided invaluable insights into the grandeur of Qin Shi Huang's reign and the remarkable artistry of ancient Chinese craftsmen. The terracotta figures stand as a testament to the artistic and technical prowess of ancient China. Each figure is life-sized, typically ranging from one hundred seventy-five centimeters to about two hundred centimeters in height, with the tallest figures representing the generals. The attention to detail is extraordinary, with each figure possessing individualized facial features that convey a sense of realism and uniqueness. Scholars have identified ten basic facial forms, which were further refined to give each statue its own distinct appearance. The types of figures found within the Terracotta Army are diverse, reflecting the hierarchical structure of a military force. The armored infantry, equipped with protective gear, represent the bulk of the army. Cavalrymen, often adorned with a pillbox hat and riding terracotta horses, depict the mobility and strength of mounted units. Charioteers, who are helmeted and more heavily armored, are portrayed driving intricate war chariots. The kneeling crossbowmen or archers, either armored or unarmored, add to the variety, showcasing different combat roles. High-ranking officers and generals are distinguished by their height and more elaborate uniforms, signifying their elevated status. The construction of these figures involved sophisticated techniques that suggest a high level of organization and expertise. The statues were manufactured in workshops by government laborers and local craftsmen using local materials. Heads, arms, legs, and torsos were created separately and then assembled by luting the pieces together. The faces were crafted using molds, with additional clay added to individualize each figure. This process resembles assembly line production, ensuring efficiency and consistency across the thousands of figures. The legs of the warriors were made similarly to terracotta drainage pipes, a method that provided stability and strength. After assembly, the figures were painted with vivid colors, including reds, blues, greens, and blacks, derived from ground precious stones and other pigments. However, the dry climate of Xi'an caused the paint to flake off rapidly once exposed, leaving most figures in their natural terracotta hue today. Debates on the possible influences on the artistic style of the Terracotta Army have intrigued scholars. The exceptional realism and individuality of the figures have led some experts to speculate on Hellenistic influences. This theory suggests that contact with Western cultures may have inspired the naturalistic portrayal of the soldiers. Duan Qingbo, a site chief archaeologist, noted similarities with later Central Asian statuary. Li Xiuzhen, a senior site archaeologist, acknowledged the potential for Greek influence while asserting the unique craftsmanship of the Chinese artisans. However, this idea is not without controversy. Critics argue that such speculations are rooted in outdated Eurocentric views, which underestimate the capabilities of ancient Chinese artistry. They emphasize that the realism seen in the Terracotta Army is a testament to the indigenous development of sophisticated sculptural techniques in China. The figures' advanced construction methods and artistic style reflect the ingenuity and creativity of the craftsmen who brought Qin Shi Huang's vision to life. The Terracotta Army remains a symbol of the emperor's power and the remarkable achievements of ancient Chinese civilization. The lifelike figures continue to captivate and inspire, offering a glimpse into the rich cultural heritage and artistic legacy of China. Modern research on the Terracotta Army has significantly advanced our understanding of these ancient masterpieces and the techniques used to create them. Scientists and archaeologists have employed a range of advanced technologies to study the figures in greater detail. One such technology is X-ray fluorescence spectrometry, which has allowed researchers to analyze the chemical composition of the pigments and materials used in the statues. This non-destructive method provides insights into the manufacturing processes and the origins of the materials, revealing the sophisticated craftsmanship behind the Terracotta Army. Ongoing studies have also focused on the preservation and restoration of the figures. Given the challenges posed by the fragile painted surfaces, researchers are continually developing new conservation techniques to prevent further deterioration. The use of 3D scanning and digital modeling has enabled the creation of detailed replicas and virtual reconstructions, aiding in both preservation efforts and public education. The Terracotta Army has captivated audiences worldwide through numerous exhibitions, significantly impacting public interest and cultural appreciation. These exhibitions have allowed millions of people to experience the awe-inspiring craftsmanship and historical significance of the figures up close. One of the most notable exhibitions was held at the British Museum in London from September two thousand seven to April two thousand eight. Titled "The First Emperor: China's Terracotta Army," the exhibition featured one hundred twenty objects from the mausoleum, including twelve terracotta warriors. It became the museum's most successful exhibition, drawing the highest number of visitors since the King Tutankhamun exhibition in nineteen seventy-two. Similarly, the Metropolitan Museum of Art in New York City hosted an exhibition from April to July two thousand seventeen titled "Age of Empires: Chinese Art of the Qin and Han Dynasties." This exhibition featured several terracotta figures and other artifacts, offering a comprehensive overview of the artistic and cultural achievements of the period. The exhibitions have not only brought the Terracotta Army to a broader audience but have also highlighted the importance of preserving and studying these invaluable cultural relics. Other notable exhibitions include those at the National Gallery of Victoria in Melbourne, the Asian Art Museum in San Francisco, and the Royal Ontario Museum in Toronto. These exhibitions have traveled extensively, showcasing the Terracotta Army in locations such as Madrid, Santiago de Chile, and Liverpool. Each exhibition has played a crucial role in raising awareness about the historical and cultural significance of the Terracotta Army, fostering a deeper appreciation for ancient Chinese civilization. The global fascination with the Terracotta Army underscores the universal appeal of these artifacts and their significance as a symbol of China's rich cultural heritage. Through continued research and international exhibitions, the legacy of the Terracotta Army will continue to inspire and educate future generations, preserving the memory of Qin Shi Huang and the remarkable achievements of ancient Chinese artisans.