The Art of Terracotta Warriors and Horses Sculpture

The Mausoleum of the First Emperor of Qin is massive and took thirty-eight years to build. Among them are more than 8,000 terracotta warriors and horses, more than 100 chariots and more than 100 horses. These terracotta warriors are as big as a real person, standing upright, calm and lifelike. The realistic nature of their shape represents the peak of realistic sculpture in ancient China. These terracotta figurines are sculpted using a variety of sculpting techniques such as plastic, pile, pinch, paste, carving and painting. Each terracotta figurine achieves the ideal effect in terms of the body, volume, shape, spirit, color and quality.

(1) Typical portrayal and overall expression of Qin figurines

The artisans of the Qin Dynasty achieved a realistic and godlike state through the detailed treatment of the terracotta figures’ postures, especially the subtle changes in their expressions and other features. For example, the face of the general is portrayed with a torch-like gaze, calm and serene; his figure is shaped to be tall and full, with a sense of lofty standing; the expression of the statue is in a state of concentration and meditation, with determination and majesty.

Qin terracotta general body full and overall, shoulders chest, part of the abdomen volume thick and full, solid armor. The two arms appear thicker under the armor’s protective lining. The hands are strongly intertwined. Its head carries a double-tailed swallow crown, with the crown band tightly knotted at the lower jaw and fluttering on both sides in a figure of eight. In the shape of the face, the eyebrows are raised high and the corners of the eyes are raised. Eyes like torchlight, gleaming eyes gazing ahead. The two beards are also slightly upward, echoing the upward momentum of the hair.

The general figurine looks calm and composed, with a full spiritual temperament of calmness, planning, and victory. The ancient artisan in shaping the general figurine body, highlighting the characteristics of majestic tall, broad and full body shape. In addition, the back of the general is much wider and thicker than that of a general, and the shoulders are thicker, the legs are stronger, and the feet are square-mouthed. The general’s majestic and courageous appearance is dynamically portrayed.

The common features of the middle-ranking military officials figurines are a long crown with double plates on the head, a long jacket with outer armor, and square oral footwear. They are like combat staff officers, and their portrayal highlights their calm and intelligent, rather than brave, character traits. The military official figurines have an air of idle fixed eyes looking into the distance and a broad forehead. Long round face with a pointed chin, vaguely thin eyebrows, a wide distance between the two eyebrows, collapsed nose, wide flat nose, thick mouth volume, eight small beards, the crown of the band at the chin natural bundle up a bundle, the whole attitude seems to be observing the battle ahead while thinking about countermeasures.

The standing archer figurine is a kind of lightly armed soldier, holding a crossbow with both hands in place of a shot. The face of the figurine is heroic, calm and fearless. The forehead is square and prominent, the face is long and square, the chin is square and thick, and the eyebrows are open. The eyes stare sternly ahead, the nose is flat, two eight-sided mustaches, and the mouth is thick. The head dynamic side look, frontal body shape side head, upper body movements rely on the waist of the clothing pattern towards the manifestation of dynamic, head hair braid tightly tied. The upper side of the right ear pigtail is pulled to the back of the head, the face volume line undulation overall generalization. Shoulder dynamics left shoulder high right shoulder low. The right arm is raised to draw the bow, the left hand holds the crossbow. The left leg strides forward and the right leg is tensed. The upper body arm dynamics are right flexion and left extension, while the leg dynamics are left leg bow and right leg extension. Both arms and legs are separated, and the upper and lower dynamics are balanced and harmonious. The facial expression is calm and heroic, with the eyes looking forward and concentrated. The lips are slightly curved, with slight southern characteristics. It can be seen that the craftsmen at that time were realistic and meticulous in portraying and expressing the character traits of different characters.

(2) The unique expression of linear volume processing combined with painting and sculpture

The realistic modeling of the terracotta warriors utilizes the unique realistic expression of the Qin people at that time. In terms of volume treatment, it adopts the combination of painting and modeling and linear volume treatment. This approach not only achieves a certain effect of volume but also conveys the characteristics of the figure distinctly so that the figure can be presented clearly. This technique is unique and creative to the sculptural techniques of the pre-Qin period in China. As can be observed from the shaping of the eyebrows in the head of the Qin figurine, the ancient craftsmen shaped the thin and flat volume of the eyebrows into a linear volume with prominent peaks that converge into a line. This approach, when observed from the front, connotes the line effect of the eyebrows expressed in the painting. When viewed from the side, the volume of the eyebrows is brought together at an acute angle, like a mountain beam. This linear expression of the combination of painting and plastic is very unique. The linear volumetric treatment of the beard and mouthparts are also evident in the head of the terracotta warriors. The beard form of the terracotta warriors is treated as a thin square or two-skinned thin eight-character beard shape. The outer contours of the beard structure are distinctly linear when viewed from the front and side.

(3) Artistic techniques of vividness, form and spirit, and rigorous structure

In terms of appearance, the Qin artists portrayed the inner temperament of the terracotta figures through their image and gestures, such as the kneeling posture of the kneeling archer, the twisting posture of the standing archer, and the typical movements of the horse-holding figurines holding the reins. It is noteworthy that the Qin artists also used different face shapes of the figurines to portray different characters. For example, the kneeling archers have long, square faces, which appear to be fierce. The military officials have long, pointed faces, which portray their strategic abilities. The figurines of generals are shaped into square and thick faces to portray the character traits of the generals’ fortitude.

Through the half-kneeling posture of the kneeling terracotta figures, the quiet and wise posture of the military officials, the twisting posture of the standing terracotta figures, the powerful posture of the general terracotta figures, and the plain and simple posture of the horse-holding terracotta figures, the posture and expression of each figure are unique and charming. The different sizes of the figures also reflect the identity characteristics of the figures. For example, the general figurine is tall, full and strong, with a sense of majesty. The figures of military officials are long and thin. The standing figurines are tall, and the kneeling figurines are dynamic in their posture, with a strong and capable figure. In the facial portrayal of the figurines, the artisan expresses the character of the figures through the detailed portrayal of their features, such as the corners of the mouth and the corners of the eyes, the subtle expression dynamics of the flat and uplifted eyebrows, the rounded and triangular eye treatment of the eyes, the flat or rounded expression of the mouth, and the upward or downward movement of the beard. The rich and diverse expressions of the Qin figurines enable us to feel the vivid character traits of that era.