Chapter 9 Section III figurines

In the production of figurines, there are rough and fine, human-like and slightly human-like.The emergence of this image at the initial stage is not only due to the level of craftsmanship of the craftsmen, but also due to different concepts.Figurines are also called puppet, and the so-called "puppet" means to resemble a person and imply a person, and it was originally a substitute for a person in reality. The original meaning of "terracotta figurines" is specific. It refers to dolls made of wood with clear facial features, equipped with organs, and able to dance and make some movements after being fiddled with.Later, the concept changed, and dolls became a specific term for wooden and clay figurines, while figurines took on the original meaning of dolls and became the general term for all living substitutes in tombs.

Figurines are the product of social progress, but also the product of social backward customs.In the Spring and Autumn Period, the use of human sacrifices for burials was opposed by some people, and figurines, clay and wood substitutes imitating humans, came into being. However, the concept of using figurines for burials is still a continuation of the system of human sacrifices in essence.This contradiction of figurines is also reflected in Confucius.Confucius's "cautious end and pursuit of the future" is the starting point of filial piety and the foundation of being a human being.But Confucius emphasized that these material and spiritual contributions to the deceased ancestors are not for the dead to enjoy directly like the living, but as a kind of ritual, as a means of training, so that "the people's morals will be strengthened", Make everyone have a heart of benevolence.In Confucius' view, after death, one should not treat them as dead, and provide them with useless things, which lacks love.But it can't be treated as a living person, and it's too stupid to provide some very practical things.The best way is to provide the dead with "the weapon of the gods".What is a weapon of the gods?It means "preparing things but not usable" ("Book of Rites·Tan ​​Gongxia"), which refers to utensils that are similar in appearance but unusable in function specially processed for the dead.For example, earthenware must be made rough and cannot hold things; musical instruments such as Sheng Yu cannot be played because the sounds emitted by the various sound pipes are not harmonious with each other, and so on.This refers to utensils.When dealing with people, Confucius was obviously much stricter. He favored the use of "chuling" and opposed the use of "terracotta".The cud spirit is a sacrificial object made of grass and made into a human form, which meets the standard of "object of the gods".As for figurines, because they are too imitative of human beings, Confucius believed that this is no different from burying a living person. He criticized this as an inhumane act, and scolded the person who invented such figurines to have their children and grandchildren cut off. ("Mencius · King Hui of Liang 1" records: "Zhongni said: 'The one who made the figurines has no descendants!' He used it to resemble a human being.") As a great man of the age, Confucius had many ideas that were ahead of his time.He opposed figurines "using them like human beings", but he was not recognized by the society.Later, with the development of history, because the ideas of "the soul is immortal" and "ghosts are still begging for food" became popular in society, the production of figurines, instead of becoming more and more blurred, the imitation human image became more and more realistic and more realistic. more vivid.

After the Spring and Autumn Period and the Warring States Period, the contradiction between propriety and indecentness reflected in figurines, in addition to the old problem of resemblance to human beings and not like human beings, is also manifested in the customization and arrogance of scale and quantity.The Han Dynasty dismissed all schools of thought and only respected Confucianism, and Confucianism became the guiding ideology of society.Especially after the White Tiger Temple Conference in the fourth year of Emperor Zhang of the Eastern Han Dynasty (AD 79), the Confucian creed established by the emperor became the ethical creed followed by members of society for self-cultivation, family harmony, state governance, and world peace.As a result, the relationship between high and low among social members was clarified, and various etiquette systems to maintain this relationship were formulated accordingly.Rituals are based on filial piety, and funeral rituals are the concrete manifestation of filial piety.In all dynasties after the Han Dynasty, there were additions and deletions to funeral rites, but there is a principle that must be observed, that is, people of different social status are not treated equally.Specifically, the placement of Ming vessels varies from person to person in terms of quantity, size, material, and content.The regulation of etiquette is one thing, and its use is another.In practice, all dynasties and generations have never cut off the phenomenon of arrogance.In the imperial edict issued in the fourth year of Yongshi (13 BC) by Emperor Cheng of the Western Han Dynasty, it was said that the princes, princes, relatives and close officials of the capital "were overwhelmed by car clothing, marriage and burial. discipline").It shows that this kind of arrogance is very serious in the period when the etiquette system is gradually perfected.Gongqing Liehou did not follow the rules and regulations, resulting in the formation of social arrogance.So who are the ministers and princes influenced by?Of course it is the emperor.For example, Emperor Wen and Emperor Jing of the Western Han Dynasty are two famous frugal emperors in history.When they were in power, on the one hand, they allowed the people to recuperate, on the other hand, they worked diligently and frugally, and carefully governed the country, so that the economy of the Western Han Dynasty turned from exhaustion to prosperity, and the national power from weakness to prosperity, which was called "the rule of Wenjing" in history.According to records, Emperor Wen "governed Ba Ling (Wendi's Mausoleum), all of which were made of pottery and should not be decorated with gold, silver, copper and tin" ("Han Shu · Wendi Ji").In the Jin Dynasty, the people of Sanqin excavated the Ba Tomb and found many treasures, which shows that the Ba Tomb is not "all pottery" ("Book of Jin Suolin Biography").Emperor Jing followed Wendi's generosity and frugality, and was praised by historians. In 1990, a large number of terracotta figurines were found in the burial pit of Jingdi Yangling, and the terracotta figurines were all made of silk.It is estimated that the total number of Yangling pottery figurines is more than 10,000. The amount of silk consumed by these tens of thousands of pottery figurines is astonishing. How can it be related to "frugality"?Although Emperor Cheng of the Han Dynasty criticized the excessive burial of the princes, princes, and relatives and close officials, among the emperors of the Western Han Dynasty, Emperor Cheng of the Han Dynasty was the one who wasted the most on building tombs.He failed to build the Changling Mausoleum for five years. "The country is ruined, the treasury is empty, and it goes down to the common people, and it is hard to suffer" ("Han Shu·Chen Tang Biography").In the funeral ceremony, the example of excessive extravagance is the emperor's mausoleum. It is no wonder that the style of heavy burial in the Han Dynasty was repeatedly prohibited and repeatedly violated, and it became more and more intense.In this atmosphere, it is not surprising that the use of figurines surpassed the system.The system of the Eastern Han Dynasty stipulated that the use of terracotta figures in the emperor's mausoleum was limited to "nine chariots and thirty-six spirits" ("Book of the Later Han Dynasty: Etiquette").Since there is no physical object of the Eastern Han Dynasty mausoleum, it is impossible to confirm whether this regulation has been implemented.However, Wang Fu of the Eastern Han Dynasty said in "Theory of Qianfu·Fashion and Extravagance": "Nowadays, the noble relatives of the capital, the wealthy families of the prefectures and counties, are not very supportive in life, and they are worshiped in funerals...they bury treasures, puppets, chariots and horses. "This record has been confirmed by archaeological excavations in Luoyang today.Another example is the Tang Dynasty, "Tang Liudian·Zhenguan Department" clearly stipulated the use of artifacts (including dolls), "everyone regards the rank of the students as their own."But in real life, "all officials in the royal palace compete for rich burials, and the puppets are carved like horses as if they were alive. They just dazzle passers-by, but they don't cause confusion because of their hearts. They are even more admired and bankrupt. Concubine" ("Old Tang Book" Volume 45). In 1952, in the eastern suburbs of Xi’an, the tomb of Su Sixu (xu Xu), an servant of the Tang Dynasty (745 A.D.), was discovered. About 200 figurines were unearthed from the tomb, far more than the number of sixth-rank officials such as Wailang, the servant, who could only be placed in the Ming Dynasty. The provision of 40 pieces of equipment.A sixth-rank official can still be so ostentatious, those with higher status, I don't know how extravagant they have to go.

It is very unfortunate for the etiquette that the figurines often violate the etiquette within the tolerance range of the etiquette.Unfortunately for Li, it was great luck for art.It is precisely because in the production of figurines, regardless of the constraints of etiquette, to give full play to artistic creativity and imagination, this form of sculpture has become a unique and climax of art. The physical objects of figurines have not been found before the late Spring and Autumn Period, and no earlier "chuling" and moving wooden figurines have been found.In addition to lead figurines, pottery figurines, and silver figurines, most of the figurines from the Warring States period were wooden figurines from Chu, which were either three-dimensional or sheet-shaped and then painted.Since there are only sporadic discoveries of figurines before the Qin Dynasty, and the historical records are unknown, it is impossible to judge their level and the fashion of the entire era.

In the history of the development of terracotta warriors, the first peak is the Terracotta Warriors and Horses of the Mausoleum of Qin Shihuang.How many terracotta warriors and horses there are in the Mausoleum of Qin Shihuang is still an unsolved case.According to the calculation of the density of some of the unearthed terracotta warriors, archaeologists estimate that there are as many as six or seven thousand.Just judging from the more than 1,000 pottery soldiers and horses that have been unearthed so far, which are almost the same size as real horses, it can be concluded that the artistic value of these figurines is very high.In the past, the academic circles believed that the level of sculpture modeling before the Western Han Dynasty was low; modeling ability and realistic ability were still in the naive stage.The emergence of the lifelike images of thousands of troops and horses in the Mausoleum of Qin Shihuang forced these understandings to change accordingly.The emergence of highly realistic terracotta warriors and horses in the Mausoleum of Qin Shihuang is not due to one-sided, but various factors.First of all, it is the reason of ideology.As mentioned above, Confucianism represented by Confucius opposed the realism of figurines from the perspective of "benevolence" and disapproved of human martyrdom.This kind of thinking is just a family opinion.The Spring and Autumn Annals are Confucianism and Mohist schools, and Mohism's "neither burial nor martyrdom", which is exactly the opposite of Confucius' point of view, is the best example.Starting from Duke Xiao (361 BC-338 BC), Qin attached great importance to the rule of law.During Xiaogong's time, Shang Yang "burned (fanfan) poems and books to clarify laws and regulations", which shows that the Qin Dynasty had a long tradition of anti-Confucianism and burning books.During the reign of Emperor Qin Shihuang, Han Fei, a master of legalism, directly proposed that "Confucianism uses literature to disrupt the law, and chivalry uses martial arts to violate the ban." Confucianism is regarded as one of the five beetles.Under the guidance of this anti-Confucian ideology, it is impossible to accept the Confucian view of "a weapon of the gods".The second reason is that the Qin State did not completely abolish human sacrifice.Qin's system of human sacrifice started later than that of the Central Plains countries.However, since Qin Wugong practiced human sacrifice in 678 BC, he has come from behind, and the trend of human sacrifice has intensified.Although in the year of Xiangong (384 BC) "stop following death" and forbid human sacrifices, human sacrifices are still prevalent in subsequent generations.By the time the Mausoleum of the First Qin Emperor was completed, palace officials and craftsmen had been buried "in the tens of thousands", and the burial of human beings had reached its peak.Under this trend of continuing to use human beings for burial, the more human-like the figurines are made, the more harmonious they can be with the entire social environment.The third reason is the great achievement of Qin Ji and Warring States figurine art production.Qin merged with all the great powers of the Warring States Period and established a unified dynasty, which was destroyed in only 15 years.Qin's economy, culture, ideology, and system are all based on the foundations of the Warring States.While destroying the famous cities of the Six Kingdoms, Qin copied the palaces of the Six Kingdoms and rebuilt them in Beiban, Xianyang.The Mausoleum of Qin Shihuang was built in the process of conquering the six countries, and a large number of craftsmen from the six countries must have participated in the construction process.The production of the terracotta warriors and horses in the Mausoleum of the First Emperor can be regarded as the joint work of craftsmen from all over the world.The achievements of the terracotta warriors and horses in the Mausoleum of the First Emperor are a summary of the skills of making warriors and horses in the Warring States Period.To give an example, the method of dividing the pottery horse heads of the terracotta warriors and horses of the Mausoleum of the First Emperor can be seen on a horse head of the bronze horse warriors of the Warring States Period in the Art Exhibition of the Forbidden City in Beijing. Clues related to the Warring States Warriors.

The west of Qin is the top, so Qin Shihuang's mausoleum sits west and east.Mausoleum East Gate Avenue is facing the "Qin East Gate Gate" built by Qin Shihuang on the coast of the East China Sea.This conception of the mausoleum shows that even though Qin Shihuang is underground, he must face the east, control the six kingdoms, and rule the world.The terracotta warriors and horses were discovered on the east side of Qin Shihuang's cemetery, which shows that these terracotta warriors and horses are part of the entire cemetery concept, and they are also subject to Qin Shihuang's will to rule the world after his death.From these terracotta warriors and horses who are ready to go and have high morale, it is easy to make people think, "Is it said that there are no clothes? I am in the same robe with my son. The king Yu Xingshi, repairing my spear, and revenge with my son" ("Poetry Qin Feng Wu "clothes"), this kind of military song of the Qin people fighting against the enemy.

The pursuit of greatness is the consistent style of Qin Shihuang.Qin Shihuang has a preference for large-scale works, which is the artistic expression of his remaining prestige sweeping the world of martial arts.For example, he destroyed the world's weapons and made 12 big bronze figures, each weighing hundreds of thousands of catties; he built palaces stretching for hundreds of miles in Beiban, Xianyang; he built the Great Wall;The terracotta warriors and horses unearthed from the Mausoleum of Qin Shihuang are large in size and in large numbers. There were no such warriors before the Qin Dynasty, nor have there been any since the Qin Dynasty.These terracotta warriors and horses are uprooted like flat ground, occupying a unique position in the history of Chinese sculpture.

From an artistic point of view, the terracotta warriors and horses of Qin Shihuang's Mausoleum have two characteristics: grandeur and subtlety. Grand momentum mainly refers to the magnificent momentum formed by the shape and quantity.This momentum is not only caused by the artistic expression of single terracotta warriors or horse warriors, but also caused by group combinations.The terracotta warriors and horse warriors of Qinshihuang's Mausoleum are equal to or exceed the size of real life, and successful techniques are used to represent these huge entities.For example, the terracotta figurines use two different methods of expression: the horse's head and limbs are mainly used to express bones, with sharp edges and corners; the neck, front chest, rear hips, and thighs are mainly used to express muscles, which are full and strong.Coupled with the scent on the demeanor, mouth open, mane and tail raised, the horses are like good horses that are about to explode, and they come to life in front of them.The expressive techniques of the terracotta warriors are bold and bold, rigorous yet chic, realistic and exaggerated, which can be called a masterpiece of masters.This technique was directly inherited and developed by Han figurines.The magnificence of the terracotta warriors and horses in the Mausoleum of Qin Shihuang is most obvious in the overall composition.Hundreds of huge terracotta warriors and horse warriors lined up in arrays are so majestic that they indeed have the prestige of the Qin army sweeping the six countries.And in this kind of majesty, some military formations showed the bravery and invincibility of the Qin army.For example, at the east end of Pit No. 2, there is a phalanx composed of 300 terracotta warriors.There are kneeling and squatting figurines in the middle of the phalanx, and standing figurines on all sides. A general and a military officer stand at the left rear of the phalanx.The vertical figurines arch their left legs forward and stretch their right legs behind, their left arms stretch out to the lower left, and their right arms are raised to the side of their chest; On the right side of the body, the standing and kneeling figurines are all in the shape of holding a crossbow; the generals and military officers stand upright behind the formation, calm and composed.This phalanx, through the different performances of the commanders and soldiers, was integrated into a unified and highly vigilant atmosphere before the battle, which well demonstrated the bravery and combat effectiveness of the Qin army.

Subtle and profound mainly refers to the detailed changes of the terracotta warriors and the delicate reflection of life.Reflecting the changes of the Terracotta Warriors and Horses of the Qin Dynasty, the age, character, region, head style and clothing of each Terracotta Warrior are different.Those different buns, different mustaches, different clothes, different looks, etc., fully reflect the artistic observation and generalization ability of the makers of these figurines.These abilities are also reflected in the nuanced reflection of life.For example, all generals have several wrinkles on their foreheads, which is consistent with the record in "Old Officials of the Han Dynasty" that "the next year's morality is an officer and general" in the five senior officials of Qin State.All the terracotta warriors wear helmets and hair without wearing helmets, which is in line with the description in "Historical Records Biography of Zhang Yi" that the Qin army "juju [tuju] Ketou, Guanyi Fenhalberd" is a portrayal of leaping without helmets and brandishing weapons to fight bravely.There are also horse figurines, which are shaped according to the standards of good horses everywhere, and even the teeth in the horse's mouth are not ignored.Horses begin to grow teeth in the second year after birth, and grow two teeth each year, until eight teeth are the same as the mouth.The six teeth are the prime of life of the horse.There are six teeth in the mouth of the horse figurines from the Mausoleum of Qin Shihuang, which is a great time for galloping on the battlefield.

Established in the Qin Dynasty in the Han Dynasty, Guozuo lasted for more than 400 years.A unified country and a prosperous economy make the development of culture and art climax after climax.The creation of figurines has also reached its peak.The Han terracotta warriors are not as large as the Qin terracotta warriors, but it is the Han terracotta warriors that really show the artistic charm of the terracotta warriors. Judging from the existing objects, the figurines of the Han Dynasty can be roughly divided into five stages of development.In the early Western Han Dynasty, there were mostly terracotta warriors and warriors; in the middle Western Han Dynasty, there were mostly horse warriors, riders, carts, waiters, dancers, immortals, etc.; in the late Western Han Dynasty, a hundred opera warriors appeared; Among them, chariot and horse figurines, living figurines, and animal figurines are of the highest level; in the middle and late Eastern Han Dynasty, figurines were mostly combined with architectural models in sets and groups.Judging from the distribution area of ​​figurines, the Western Han Dynasty centered on the capital Chang'an, and produced a large number of figurines with a high level.Outside of Chang'an, Liu Bang's hometown Xuzhou area is also more abundant.Other areas, such as Hunan, Hubei, Guangxi, Shandong, Henan, Hebei and other places, also unearthed different numbers of very distinctive copper, wooden and pottery figurines.The figurines of the Eastern Han Dynasty are distributed in a wide area, and have been unearthed all over the country.Luoyang, the capital of Kyoto, should be the center, but judging from the unearthed objects, it is far inferior to other places.The Sichuan area was very prominent in the Eastern Han Dynasty, with a large number of terracotta figures, rich in content and vivid images.Outside of Sichuan, the Hexi region on the Ancient Silk Road is also one of the main representative areas of Eastern Han Dynasty figurines.

Han figurines are characterized by large number, wide distribution, rich content and various materials.These achievements are mainly manifested in three aspects: chariot and horse figurines, figure figurines, and animal figurines. At the beginning of the founding of the Han Dynasty, the society was not very stable, and there were rebellions in the vassal states from time to time. After Wenjing, the society tended to be stable.This history is clearly reflected in the form of the terracotta warriors and horses, that is, the transformation from the terracotta warriors and horses to the chariot warriors.The terracotta warriors and horses of the Han Dynasty are currently known to have been unearthed in Yangjiawan, Xianyang, Shaanxi and Xuzhou, Jiangsu.According to textual research, the former is the tomb of Jianghou Zhoubo and Tiaohou Zhou Yafu and his son.The Yangjiawan tomb was discovered in 1965 next to the Changling Mausoleum, and more than 2,500 figurines of knights and civil and military attendants about half a meter high were unearthed.Among them, there are 538 cavalry terracotta figurines and 1965 other human figurines.Like the terracotta warriors and horses of Qin Shihuang's Mausoleum, these terracotta warriors are neatly placed in 11 burial pits.These figurines are painted with red, green, yellow, white, black, purple and other costumes.Some are holding objects, and some are carrying quiver, which vividly reflects the military power of the central government in the early Han Dynasty.Zhou Bo was Liu Bang's main general who conquered the world. After the death of Liu Bang and Empress Lu, he led troops to exterminate Zhu Lu and returned the Han Dynasty to Liu's family. ), the army was strictly governed, which was deeply appreciated by Emperor Wen.During the reign of Emperor Jing, he led troops to quell the rebellion of the seven kingdoms of Wu and Chu, and made outstanding military achievements.The terracotta warriors and horses in Yangjiawan are reorganized, especially the more than 500 cavalry are mighty and vivid, like a majestic cavalry force.This tomb is identified as Zhou's father and son, so there is a certain reason.However, this assertion is not without problems.In his later years, Zhou Yafu resigned as prime minister and returned home because he was not trusted by Emperor Jing of the Han Dynasty.Later, his son bought 500 sets of armor and shields for him from the royal factory as funeral utensils, and Zhou Yafu sent Ting Wei to punish him when he was accused. "Tingwei blamed and said: "The king wants to rebel?" Yafu said: "The utensils that I bought are burial utensils. What do you mean by rebelling against evil?" ...'...(Yafu) died of vomiting blood due to not eating for five days." ("Historical Records Jianghou Zhoubo Family") A courtier who fell out of favor bought 500 sets of military equipment (armor shields) for Ming weapons, He was charged with treason and died in prison unjustly.His family members buried more than 2,500 terracotta warriors and horses in his tomb. Don't they really want to plot against the underground?Therefore, it is contrary to reason to say that the Yangjiawan Unknown Tomb is the tomb of Zhou Bo and Zhou Yafu's father and son.Even so, there is no doubt that the Yangjiawan Han Tomb is regarded as the tomb of the military officials of the early Han Dynasty.The Xuzhou area is the hometown of the Western Chu Dynasty, and it was a place of economic prosperity in the Western Han Dynasty.The tombs of several Chu kings discovered in the past 10 years are so large that they are rare in the whole country.These tombs are all built on mountains, and many side chambers have been dug in the tombs. Without a strong economic backing, they cannot be competent for this kind of construction project. In 1984, 3,000 terracotta warriors and horses were found in Lion Mountain, Xuzhou. They were funerary objects of a certain generation of Chu kings and were neatly placed in a pit.Among them, there are few terra cotta warriors, mainly terracotta warriors; there are standing and kneeling ones, and the height of the terracotta warriors ranges from 25 to 52 centimeters.Because it is a local armed force, there are some images that are not seen in other places.For example, the Qin terracotta warriors in Lintong and the Han terracotta warriors in Yangjiawan have beards, while the Xuzhou terracotta warriors have no beards; and warriors wearing wind helmets are also rare in other places.Yangjiawan terracotta warriors and horses and Xuzhou terracotta warriors reflect the state of the central and local armed forces in the early Han Dynasty from different angles.The placement of so many terracotta warriors and horses in the tomb just reflects the stability of the country in the early Han Dynasty, which relied on armed forces everywhere. From the middle of the Han Dynasty until the Eastern Han Dynasty, terracotta warriors and horses unearthed in tombs were rarely seen. Instead, there were many warriors of horses, chariots and horses, cavalry warriors for ceremonial guards, and so on.These show that after the middle of the Han Dynasty, the society has entered a peaceful and stable environment from frequent wars in the past; the emphasis on conquest in the past has changed to showing off the wealth during life.With economic development, replacing oxen and carts with horses has become a symbol of prosperity; the horse-loving hobby represented by Emperor Wu of the Han Dynasty also led to the formation of a society that loves horses.These are the backgrounds where chariot figurines and horse figurines frequently appear in tombs.Chariot and horse figurines existed as early as the Qin Dynasty. For example, the two sets of bronze chariots and horses unearthed in the No. 3 pit of the Mausoleum of the First Emperor in 1980 are four horses and one chariot, with realistic techniques and exquisite craftsmanship.The chariot and horse warriors after the middle Han Dynasty mostly represent the vehicles on which officials travel, even if there are armed cavalry, they are also used as honor guards or guards, not soldiers and horses that symbolize conquest.The chariot and horse figurines of the Han Dynasty, especially the horse figurines, are vivid in shape, exquisitely crafted and imposing.These chariot and horse figurines have been unearthed in all provinces, cities, and districts across the country, and the level of modeling is relatively high. There is not much difference between those made in central areas and those made in remote areas.For example, the gilt horses unearthed in Maoling, the bronze galloping horses unearthed in Wuwei, the bronze chariots and horses in Guizhou and Guangxi, and the many pottery horses in Henan, Sichuan, Lushun, Guangzhou, Xuzhou and other places are all placed together, except for the different materials. In addition, the level of modeling is difficult to distinguish.Of course, in terms of artistry, there is no difference at all.For example, the galloping horse (horse riding on a flying swallow) from Leitai in Wuwei is perfect from artistic conception to specific image processing. It is a model of galloping horses in the Han Dynasty. (Fig. 10) Another example is the pottery horse in Pengshan, Sichuan and Xuzhou, with its ears and eyes open, its head bowed and neighing, and its front hooves scratching the ground, vividly showing the momentum of a steed about to gallop forward; a slender head and The neck, with the exquisite lines and block surface treatment, gives people a sense of beautiful rhythm. The gilt bronze horse unearthed in 1981 in the unnamed tomb on the east side of the Maoling Mausoleum of Emperor Wu of the Han Dynasty is an excellent work of bronze horses in the Western Han Dynasty.Judging from the demeanor of Zhangkouxiang, it undoubtedly inherited the technique of the bronze horse figurines from Qin Shihuang's Mausoleum.But in other aspects, it already has the characteristics of the Western Han Dynasty.This terracotta warrior no longer has the plump and thick muscles of the Terracotta Warriors, but is very lean and agile, full of explosive power.In the treatment of muscles, the technique of lines is cleverly used.For example, the intersection of some muscle groups and other muscle groups in the chest and legs does not rely on the transition of curved surfaces, but uses lines to make fast-paced transitions, so that the block surface is concentrated and refined.The direct effect of this technique is to reduce the thickness of the muscles without weakening the sense of strength of the muscles.The whole horse is more well-proportioned in proportion, coupled with the exquisite workmanship and the smoothness of the gilt, the horse looks dazzling and intriguing. Emotional in the middle is a major feature of the figure figurines of the Han Dynasty.When expressing these expressions, figurines in different eras and regions have different artistic styles and tastes, and different characters reflect different aesthetics and customs.Judging from the era, the figure figurines of the Western Han Dynasty generally appear to be tall and tall, and there is quite an ancient style of pursuing "a big man with a tall [qi flag]"; the dynamics are generally small; the reflection surface of the figurines is not wide.The terracotta figurines of the Eastern Han Dynasty are just the opposite of those of the Western Han Dynasty. They are generally not tall and have various identities, postures and movements. This is the period when the figurines were created to the fullest.Due to these differences, the styles of the early and late Han Dynasties were different.The Western Han Dynasty is represented by figurines in the Guanzhong area, which are very finely crafted. The kneeling figurines appear quiet and elegant; the arched figurines appear calm and respectful;These moods and appearances are related to the influence of the Kyoto culture and the constraints of the capital system in the Gyeonggi area.The Eastern Han Dynasty is represented by Sichuan figurines, which are rough and refined in production, large in number, dynamic, vivid in shape, vigorous in image and strong in overall effect.For example, rap figurines, dance figurines, back figurines, guillotine figurines, etc. After watching, I feel a strong breath of life rushing towards my face. (Figure 11) These characteristics are related to the economic prosperity of Sichuan, the "no worries in the year of evil" and the strong sense of cultural humor of "good writing and ridicule" ("Hanshu · Geographical Chronicles").From the perspective of regional characteristics, even in the same era, there are great differences.As in the Western Han Dynasty, the terracotta warriors in the Guanzhong area and the Xuzhou area are very different.In addition, in addition to the common feature of tall stature, the shapes of some figurines of male and female waiters have many unique features in color painting and hair style.For example, a figurine of a female statue of the Western Han Dynasty unearthed in Xi'an in the collection of Wang Ziyun, wearing a hood, wide sleeves and thin waist, long sleeves spread out on the floor, standing upright with hands folded, with a dignified and demure appearance; bright lipstick is painted on the small lips, which looks very delicate. beautiful outside. In 1986, more than 200 pottery figurines were unearthed from the tomb of King Chu in Beidong Mountain, Xuzhou. The dynamics of the characters are relatively monotonous, but the color paintings are very particular about the setbacks of the brushwork.In the outline of the eyebrows, eyes, and beards of the male servant figurines, the brushwork is steady and free, especially the sharp edge of the eyebrows, which makes these figurines show a heroic spirit in the brows; in dealing with some details , For example, some figurines painted with double eyelids are also very interesting.Among the 136 figurines of maidservants in the Beidongshan Han Tomb, 11 are called Type II, which is a very unique type of hair style: the hair style on both sides of the head is outward, in the shape of horns, and there is a lock protruding from the bun And the drooping hair is the so-called drooping hair [shao tip] bun.This long curly hair hanging behind the head is very feminine.The different styles in different regions at the same time were most prominent in the Eastern Han Dynasty.For example, if the figurines are dancers, the left hand holds the clothes, the right arm bends the elbow, turns the body and raises the head, showing a warm atmosphere; Luoyang's hair is combed in three high buns, the waist is long and the neck is wide, and the long sleeves are loose, and the performance is singing and dancing; Cantonese wear flower crowns, earrings decorated with gemstones, and flake-like sleeves curled on the chest and behind, which is quite exotic.As for the figurines of life, figurines of a hundred operas, figurines of servants, etc., they are even more colorful and too numerous to enumerate. At the turn of spring and summer in 1990, the unearthed pottery figurines from the Congburied Pit of the Yangling Mausoleum of Emperor Han Jing in Xianyang, Shaanxi Province may be the most important discovery of pottery figurines after the Terracotta Warriors and Horses from the Mausoleum of Qin Shihuang.These pottery figurines represent the highest level of figurine making at that time because they are figurines from the emperor's mausoleum.The Yangling pottery figurines unearthed are about 60 centimeters high, and they are all naked. Judging from the silk fragments found in the figurine pit, these figurines were dressed in silk when they were buried.Without the naked figurines without clothes, there are no things that disturb people's eyes, and its sculptural level can be clearly reflected.Although the human body of the Yangling pottery figurines is only made as a model for dressing, the human body is slender and in proportion, with smooth lines and plump skin, showing the beauty of the human body.Even the male sexual organs are clearly molded in these figurines, which shows the seriousness and truth-seeking in the production.The figurine heads of these figurines have their own characteristics. Some faces are duck-egg-shaped, with delicate features, upturned mouth corners, and smiles; Plump, broad forehead, level eyes, calm and happy.The production of these individual head portraits fully demonstrates the sculptors' familiarity with life in the early Han Dynasty and the ability to sculpt flexibly after understanding the structure of the human head.Compared with the pottery figurines of the Mausoleum of Qin Shihuang, the heads of Yangling's figurines are softer and their expressions are more natural, so they are closer to real people. The animal figurines of the Han Dynasty are very rich in the beauty of materials.In the Han Dynasty, he was more familiar with copper casting. Bronze, brass, and gold and silver inlaid copper were all commonly used by the Han people; for the understanding of stone, a lot of experience was accumulated due to the production of a large number of portraits; for soft materials such as mud, they were used. I am more proficient in making smooth and vivid works; for wood, in addition to inheriting the traditional color painting, I can carve directly on it more concisely.Due to familiarity with materials, many animal figurines often complement each other with image characteristics and material characteristics.For example, the pigs, dogs, and hens made of pottery unearthed in Sichuan and Huixian County, Henan Province all have a naive look, which is very harmonious with pottery.Another example is the wood-carved monkey unearthed in Wuwei, Gansu Province. It is light, dexterous, and very suitable for the characteristics of wood and monkeys.Another example is the copper-cast bear unearthed in Hefei, Anhui Province. It is round and bulky, and can fully reflect the characteristics of bears as an animal and copper as a metal material. The Three Kingdoms, Two Jins, and the Southern and Northern Dynasties were a period of frequent change of dynasties and continuous wars, and the importance of armed forces was highlighted again.This is also a period of national integration, so the multi-ethnic images naturally appear in the figurines.Some figurines of this period are naive and frank, but the most representative of this era are those highly realistic figurines.Officials, warriors, cavalry, noble ladies, musicians, servants, etc., are all expressed accurately and delicately in terms of proportion, structure, image, dynamics, as well as the variety and pattern of clothing. (Figure 12) For example, a black slave unearthed from the Yuanshao Tomb in the Northern Wei Dynasty had curly hair, squatted on the ground with his knees bent, and fell asleep with his head resting on his knees, looking exhausted.This vivid image makes people feel compassion immediately after seeing it.Another example is the female figurine unearthed in Shashishan, Nanjing. She has a slender and soft figure, with her hands in her sleeves and placed on her chest. She has a beautiful smile on her face, which gives people a very friendly feeling after seeing it. The achievement of realistic figurines in the Three Kingdoms, Jin and Southern and Northern Dynasties firstly benefited from the experience and techniques accumulated in the production of Qin and Han figurines, and also benefited from the widely disseminated Buddhist art at that time.There is another important reason, which may be the change in the composition of the craftsmen who made the figurines, and craftsmen from outside the region participated in the work.Under the "Zhenguan Office" of the Northern Wei Dynasty, there was a "Grotographer", and the production of Ming wares and the opening of caves were in the same management organization, which provided the possibility for the exchange of skills in the two industries and the flow of craftsmen. Unearthed in 1966 in the tomb of Sima Jinlong and his wife of the Northern Wei Dynasty in Datong City, the seated figurines are basically the same as the heads of some Bodhisattvas in the Northern Wei Dynasty in the Yungang Grottoes in Datong, which is very illustrative.The realistic figurines of the Three Kingdoms, Two Jins, and the Southern and Northern Dynasties (mainly the Southern and Northern Dynasties) are exquisitely crafted and exquisitely crafted. They are a supplement to the magnificent style of the Han figurines and fully prepared for the last climax of the figurines, the Tang figurines. The development of terracotta figurines ended in the Tang Dynasty, and sporadic terracotta figures were discovered in various generations after the Tang Dynasty, but it was only the aftermath of the Han and Tang Dynasties and could not reach a climax.The main carrier of figurines is pottery. After the Tang Dynasty, porcelain rose, and the pottery industry shrank, and the manufacture of figurines also shrank.Another important reason is the emergence of a large number of paper-bar Mings, which overwhelmed the market for traditional figurines. The types of Tang figurines mainly include powder painted pottery figurines, celadon figurines, and white porcelain figurines.But it is the three-color figurines that truly embody the achievements of Tang figurines.The three-color figurines appeared in the period of Emperor Gaozong and Wu Zetian of the Tang Dynasty, flourished in the Tang Dynasty, and gradually withered after the Anshi Rebellion.Looking at the evolution of the artistic style of the three-color figurines is like looking at a history of the rise and fall of the Tang Dynasty.The existence of the three-color art form is only a short moment in the long art history of China, but it is a representative of an era.Tang Sancai is the general term for pottery and figurines hung with lead glaze in the Tang Dynasty.Sancai does not mean that there are only three colors. There are actually many colors such as yellow, green, white, blue, and ocher.When these colored glazes are used, they are matched and matched, and under the action of the naturally flowing lead glaze, they infiltrate each other to present different color levels with different shades, virtual and real.With the accumulation of experience, the craftsmen who make the three-color glaze can use the colored glaze according to the expected effect, so that the produced works are subtle and fantastic.Strictly speaking, tricolor figurines are handicrafts rather than sculptures, and the value of tricolor figurines is first reflected in the glaze.Judging the sculpture level of the tricolor figurines is not based on the glaze color, but on the plain body that has been stripped of the glaze color.Through this method of investigation, it is found that the production of pottery figurines in the Tang Dynasty was of a very high level. These figurines are not only accurate in shape, but also express emotions, emotions, and movements.These characteristics of the three-color figurines are concentrated in the types of female figurines, civil servants, warriors, horses, and tomb towns. (Figure 13) The three-color female figurines mainly include noble figurines, servant figurines and musician figurines.The female figurines are generally dressed in fashion, and they appear in different dresses and shapes according to their ages and identities.For example, women's fashion in the Tang Dynasty was mostly long skirts with waists, and tops with open chests.If it is aristocratic women, standing or sitting, their movements are relatively leisurely, and their clothes are also exquisite and luxurious, and they are often wrapped in silk; Music figurines usually hold musical instruments in their hands, or dance with their sleeves stretched out. Apart from being simple and unadorned, most of the clothes also have wide sleeves.In addition, there is also a kind of Fufu (fufu) bearded clothing that represents nobility, which is a fashionable fashion in the palace, such as a figurine playing with a hawk in the Shanghai Museum.From the point of view of body shape, the fatness of the whole body and face is only one type of female figurines. The more common type is plump face and slender figure. In addition, there is a delicate and thin type that is more common unearthed in the south.In the Tang Dynasty, because Concubine Yang Guifei was obese, it became a social fashion to regard obesity as beauty.But this fashion may only exist within a certain range and for a certain period of time.Its most important meaning is probably to indicate a kind of identity and status.Those with plump faces and slender bodies were the most universal beauty standards in the Tang Dynasty.Tang Li Deyu's "Old News of the Ciliu Family" records that Tang Xuanzong ordered Gao Lishi to choose a concubine for Prince Li Heng, and the standard was "slender and white".It can be seen that Li Longji, who is fond of Yang Yuhuan, does not regard obesity but slimness as the standard of beauty.This type of beauty can be seen everywhere not only in the statues of Bodhisattvas in the Tang Dynasty, but also in the three-color figurines.For example, in 1955, a figurine of a sitting woman unearthed from Tang Tomb No. 90, Wangjiafen, Xi'an, has a round face, a slender figure, a powder-faced high bun, and is wearing a topless red-colored narrow-sleeved Ru (ruru) shirt, covered with persimmon stalks. The patterned light green long skirt is high on the chest, holding a mirror in the left hand, and stretching out the index finger of the right hand as if smearing.This image with a leisurely look and gorgeous clothes is obviously a lady.在侍俑和伎乐俑中，基本上都是这种身材苗条的形象。唐代三彩女俑的服装式样和女俑体型，可以加深我们对唐代社会的认识，同时这些形象的彩俑都是以写实为基础，因此又成为我们今天研究唐代服饰和审美观念不可多得的材料。 唐代的舞女特别婀娜多姿。那些苗条的身材，最宜舞蹈语言的表现。比之汉舞俑，唐代女舞俑不只是作“楚袖折腰”式的古典舞姿，而且作体现唐人精神的新舞姿。这些舞俑或立身，或俯身，或亭亭玉立，或几个俑在组合中顾盼生姿，有的还加进旋转动态，都是用形体在说话，表达出某种情绪或气氛。有人曾将唐代的楷书比为舞蹈，说是中宫收得很紧而四肢特别地舒展开放，自由潇洒。唐代的舞蹈今天已看不到了，但唐代的女舞俑可提供这方面的形象材料，特别是那些舒展广袖的舞俑，扭曲的细长身体与飞动的广袖所形成的各种线条感，真给人一种书法的韵律美。 唐人爱马与皇帝爱马不无关系。唐太宗去世，陵上陈放了他最喜欢的六匹骏马的石刻，这就是有名的昭陵六骏。至唐玄宗，此风更甚。唐人张彦远《历代名画记》说：“玄宗好大马，御厩至四十万。”生活于开元、天宝时的唐代三位画马高手曹霸、陈闳〔hong洪〕、韩干，均以御厩中马为绘画对象。御厩中如玉花骢〔cong聪〕、照夜白这些名马，筋骨壮、蹄甲厚、骨力追风、毛彩照人的形象，也随着这些画马名家的手追心摹记录下来而流传于世。三彩马，头小颈长，腰肥体壮，骨肉停匀，毛色光鉴照人，其原型也可能来自御厩之马。特别是那种被称为“官样”的三花饰马，则直接取像于宫廷之中。唐在开元后，西域名马累至，汇集长安。在喜欢西域马这一点上，汉唐是一致的。因此，汉唐俑中所表现出来的马，都高大雄壮。所不同的是，能穷尽马态的，则只有三彩马。三彩马表现了生活中马的各种形态，如漫步、伫立、踢腿、狂奔、长啸、饮水等，生动逼真，极有个性。这种种动态，配以马身上的各种器具和饰物，以及马本身鬃与尾所编织出的各种花样，更是仪态万千，丰富多彩。如洛阳出土的踢腿马，上举的前蹄，披散到前胸梳理整齐的卷曲长鬃，飘举的绒毯障泥(垂于马腹两侧防泥防尘的织物)，向后平伸的尾和扭头后坐的动态，给人以活泼生动、充满力度的综合印象。看这件作品，既可感受到马的活力，又可看到雕塑手段的丰富，还可联想到马以外的其他内容。三彩马中，还有许多与人组成的乘骑形象，也甚多精彩之作。如1972年陕西乾县懿德太子墓出土的一件骑马射猎俑，马上武士腰挎宝剑，正扭身弯弓搭箭指向天空。这种姿态非常优美生动，在以前的俑类艺术品中很少见到。这件作品在人与马的关系上，形成强烈的动静对比。与马背上发力拉弓的武士相反，这匹肌肉饱满结实的骏马，好像奔跑后骤然停下，四足撑地，给人以安稳平静之感。而安稳，正是武士射箭命中率高的条件。从马背上驮负的累累猎物，可以看出制作者的确是暗喻了这一创作目的。 镇墓俑的出现，是为了驱赶墓中邪恶，使死者得以安宁。这种观念的产生，起自原始社会。而这种类型的俑，战国时期的实物现已有出土。如河南信阳战国墓中出土的木雕“强梁”，就是能吞噬鬼怪、镇墓驱邪的神怪。两汉时，常以“方相氏”(黄金四目)、“神荼”、“郁垒”为基本形象雕塑出许多变体形象作为镇墓之用。三国两晋南北朝时，出现了人首兽身的镇墓兽。这类墓俑发展到唐代，终以成熟的艺术手段表现了出来。从三彩俑中可以看到，唐代的镇墓俑主要是神王俑和怪兽俑的组合形式。神王俑一般体形硕大，肌肉发达，身披铠甲，足踏厉鬼，张口怒目，铁拳高举，真有压倒一切的气势。这种形象，与佛教造像中的护法天王非常相像，都是艺术家根据生活中勇猛的武将为模特创造出来的。怪兽俑是在前代镇墓兽的基础上，发展成直立的人面兽身或兽面人身的狰狞形象。它以脚踏凶猛的野猪这一形式来反衬自己的凶猛。在塑造上，怪兽俑都是张牙舞爪的；头上的角和双臂后的羽翼概括成熊熊燃烧的火焰状，更显出它们驱邪的威力。从艺术形象来看，神王俑比较写实，力量感是内涵的；怪兽俑夸张强烈，开张的动态和怪诞的形象，看起来尤为生动。 (Figure 14) 三彩俑在釉色烧成后，还有一道“开相”工艺。三彩俑的头部不施釉，仅涂以白粉，烧成了后再用手工绘出须发、巾帽、眉眼等。与此相同的还有足部，也是烧成后用手绘的办法解决。这种手绘克服了模型化，给三彩俑注入了新的艺术生命。三彩俑的个性，往往就靠作为最后一道工序的手绘来表现。 三彩俑全面反映了唐代的生活。如车马仪仗，家居娱乐，辟邪压胜等。在这些内容中，又有多民族的成员形象，还有相当数量域外之物。这些，都是无言的史书，述说了唐代文化风格，述说了大唐帝国如何通过吸收各种文化成就来繁荣自己的文化。