Product Description

The ancient people in china thought that death was another form of living, holding a view that the soul was inextinguishable when a person passed away, supposing that he still live on in another world as did in this world. And so when a people died people would make by imitation on environment to suggest what used to be when the dead was still alive, keeping him company with figures or some other articles for use. From western zhou dynasty when the lord died, the real persons and houses were often used for accompanying the lord, but when the warring states came into existence, using terracotta or wooden ones to take the place of real persons and houses shows the development of social civilization at that time. So it is beyond doubt that the formation system of the Qin terracotta warriors and houses is not only a main component part of the Qin burial system, but an aspect of the Qin culture as well. The three pits for the Qin terracotta warriors and houses are laid out in a way looking like a chinese character pin character. The total coverage being over 20, 000 square meters. Located on the north of the city gate avernue outside the mausoleum of the first empera of Qin.

The 8000 pieces and more Qin terracotta figures and horses represent the mimicry of garrison troops outside xianyang, the capital city of qin dynasty. The sculpture figures show a moment in which they are in battle formation, heady for setting out to the battlefield, giving visitors quite a lot to think over or muse upon. All pieces of terra cotta figures and horses, all are the size of a real man and horses. The cavalryman and soliders are all tall and robuse. Some of them are in war robes and others in armor, all with weapons in hand, and still some are holding dagger-axes and spears while others long-shaft axes and haberds, standing vigorous and powerful in battle-array. With different postures and expressions, each and every of the 7000 and more terracotta figures have their own vivid individuality. Persons of different ages in different social statuses bear different characters. The figures and horses in the qin terracotta pits are certainly moldeled after real persons and horses. Therefore, it brings forward a sense that thousands of figures have thousands of different facts and varied characteristics. The making of the qin terracotta figures is a combination of sculpturing and moulding but with sculpturing as a main method. The moulding of the torso is simple and terse but rich in the lasting appeal of freehand expressions. For instance, the head of terracotta figure is first moulded into a certain shape and then carved with a meticulous care and flawless artistry. The armors of the terracotta figures and the five facial organs are all carved in a way as if they were something real. However, the beards or whiskers of the terracotta warrios are done in an extravagant way. So far as the technique is concerned, such way as moulding, piling, patching, kneading, carving and painting are used to combine sculpture and relief line carving, moulding and drawing into one. Thereby forming the special craftsmanship of the chinese nation.

Cloisonne, in which china excels, is known as jingtailan in the country. It first appeared toward the end of the yuan dynasty in the mid-14th century, flourished and reached its peak of development during the reign of the Ming emperor Jingtai. And as the objects were mostly in blue color, cloisonne came to be called by its present name jingtailan.

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