What are the characteristics of sculptures in Qin and Han Dynasties?

The sculpture style in Qin and Han dynasties is severe and masculine. On the whole, the figurines, horses and stone carvings in front of the tombs of the Qin and Han Dynasties may not be as delicate as those of later generations, but they are clumsy and rough. However, it is this "objectivity and simplicity" that has become a symbol of the cultural spirit of Qin and Han Dynasties. The sculpture style in Qin and Han dynasties is not accidental, but a vivid portrayal of the tenacious vitality and strong desire to explore and conquer of the Chinese nation in this period. It inherits the lofty spirit of attaching importance to manpower and fighting against nature shown by the Chinese nation since ancient times.

Sculpture in Qin and Han Dynasties pushed China sculpture to its peak with its majestic momentum and strength. The artistic achievements in this period are mainly manifested in the appearance of large commemorative stone carvings, symbolic funerary sculptures and the high development of craft sculptures. The great verve and strong spirit of Qin and Han sculpture left a glorious page in the history of sculpture in China.

The sculpture art of Qin terracotta warriors and horses marks a great leap in the creation of funerary wares. Large-scale, large number, giving people the most prominent feeling is to strive for realism and express the realistic style of the object. Although there are no similarities in the images of each Qin Terracotta Warriors, they are all portrayed through the movements of characters, and their expressions are vivid and vivid. Paying attention to flexible and diverse expression techniques has a strong artistic appeal.

The production of Ming sculptures in Han Dynasty was standardized and institutionalized. Although it is not as high as Qin in form, it has more objects than Qin. Compared with the Qin dynasty, the depiction of characters is more dynamic and their postures have changed greatly. Ming sculptures in the Eastern Han Dynasty have been further expanded in subject matter, production materials and distribution areas, with a large number of figurines, buildings, docks, castles, etc. showing various life scenes, and the subject matter is more realistic and extensive. At the same time, it also shows distinctive regional characteristics and folk styles, such as working women figurines with bamboo rafts reflecting Bashu customs, and "rap fighters" who play drums barefoot.

The large-scale stone carving group of Huoqubing Tomb is the earliest and most complete commemorative carving art treasure in China, and it is a symbol of strong national strength and positive enterprising spirit in the Western Han Dynasty. Its artistic feature is that it pays attention to implication and is good at expressing the ideological content of works by symbolic means. In architecture, it is "like Qilian Mountain" to commemorate his immortal feats. The original comprehensive group is equipped with vertical stones and various animal carvings, which successfully shows the artistic conception of wild animals in the deep mountains and forests. "Horse stepping on Xiongnu" is the symbolic center of the whole group of stone carvings. And skillfully use the expression technique of "pictographic because of the situation", and flexibly use the expression techniques of round carving, relief and line engraving.

Architectural sculptures in this period are also very distinctive. "Qin Zhuan Hanwa" is a wonderful combination of architecture, sculpture and calligraphy, and it is a major feature of architectural sculpture art in China. The art of combining painting, sculpture and masonry has diverse expression techniques and unique national characteristics.

Qin has a long tradition of stone carving. In the Qin cemetery in Fengxiang West Village during the Spring and Autumn Period, two stone statues about 22 cm high were unearthed. During the Warring States Period, Zhao Haoqi of Qin built a cross bridge in Xianyang and carved a stone statue. In addition, in Dujiangyan, Shu county, the town water stone cow was carved. During the Qin Shihuang period, jade carving made remarkable progress. According to Wang Jia's Notes on the Collection of Relics, jade carving and painting were good in Qin Dynasty. "Jade carvings are like beasts, and they are as real as hair." According to "Three Auxiliary Huang Tu", when the Qin Dynasty strengthened and expanded Qiao Heng, it carved an ancient stone statue of Lux Mengben. When the Lishan Cemetery was built, a pair of stone unicorns with a head height of 10 feet and a foot height of 3 feet were carved, which opened a precedent for later generations to carve stone beasts, stone lions or stone spirits in front of the mausoleum.

According to Records of the Historical Records of the First Qin Emperor, the bronze memorial sculpture records: "In twenty-six years, all the soldiers gathered in Xianyang. They were sold as twelve golden men, each weighing thousands of stones and placed in the palace. " Jia Yi's "On Qin" also has the language of "selling the front and casting □, thinking that the golden man is twelve". Referring to 1978 the image of the bell rack of the Warring States period unearthed from the tomb of Zeng Houyi in Suixian County, Hubei Province, we can know that "Zhong □ Ren Jin XII" was cast in Qin Dynasty, and it is a humanoid copper column of two arc-shaped double-layer bell racks in Xianyang Palace.

According to documents such as Records of Five Elements in Han Dynasty, Poems on Xijing, Notes on Shui Jing, and Old Stories of Three Ancient People, after Qin Shihuang unified the six countries, he cast 12 "Di Chin", that is, 12 bronze men dressed in Yidi costumes.

/kloc-in the winter of 0/980, two large bronze chariots and horses were unearthed on the west side of Qin Shihuang's mausoleum. Each carriage includes four horses, a cart and a rider, and the number of horses and chariots is physical 1/2. The total weight of each carriage exceeds 1200 kg. The casting process is excellent and the image is extremely vivid (see Cai Linqing's colorful picture of bronze chariots and horses in Shaanxi (Qin)). No.1 copper car umbrella cover, with hands in a standing position, should be a guiding car in nature; No.2 copper car has a canopy, and the rider is sitting, and the words "Safe Car" are engraved at the end of its metal reins. According to textual research, this car was cast after Qin Shihuang toured the country, to commemorate Qin Shihuang's immortal achievement of "being flat in one place" (see the painted bronze chariots and horses in Qin Shihuang's mausoleum).

The funerary sculpture is a sculpture used for burial, mainly puppet chariots and horses of various materials. There are two kinds of terracotta warriors and horses in Qin dynasty: large pottery figurines and small wood carving waiter figurines. The former is mainly found near the mausoleum of Qin Shihuang at the northern foot of Lishan Mountain in Lintong County, Shaanxi Province. The latter was found in the tomb of Guanzhuang Village, Biyang County, Henan Province at the end of Qin Dynasty on 1978. * * Four wooden figurines, height 1 1 ~ 16 cm, round and plump face, painted surface and simple shape.

According to Records of the Historical Records of Qin Shihuang, when Qin Shihuang ascended the throne, he set out for Lishan Mountain. Before his death, the mausoleum area was full of "palaces, hundreds of officials, strange objects and treasures." Since the 1940s, a kind of terracotta warriors and horses with a height of about 70cm have been unearthed in the northeast corner of Qin Shihuang Mausoleum near Jiaojia Village in Lintong County, with a squat posture and simple and beautiful appearance.

From 1974 to 1976, in the south of Xiyang Village, Lintong County, which is located outside the east wall of the cemetery on the north side of Dongling Road, three burial pits for large-scale pottery terracotta warriors and horses were discovered successively, and thousands of terracotta warriors and horses with the same height as real horses were unearthed. Their bodies are made of clay strips, and their heads are cast by molds and hands. These terracotta warriors and horses marked the outstanding achievements of sculpture art in the Qin Dynasty, reappeared the spirit of Qin Jun's hordes, daring to fight and dare to fight, and feared to fight privately, and embodied the ultimate majesty of kingship. Its main artistic characteristics are: tall, realistic and rigorous; Many types, distinctive personality and vivid image; In the overall layout, the repetition of many upright static bodies creates an unstoppable momentum, which makes people respect and never forget.

Sculpture in Han dynasty

Sculpture works in the Western Han and Eastern Han Dynasties in China mainly include stone carving, jade carving, pottery sculpture, wood carving and bronze casting. At that time, the application scope of sculpture art was very wide, and the performance skills were also rapidly improved. Large-scale commemorative stone carvings, garden decorative sculptures, various funerary sculptures and practical decorative sculptures have all developed significantly, and the remains of sculptures in the Han Dynasty are extremely rich.

Large stone carvings highlight the new achievements of sculpture art in Han Dynasty. The earliest existing 1 pair of large stone carvings in China are the morning glory stone statue in Changjiazhuang, Chang 'an County, Shaanxi Province and the Weaver Girl stone statue in Doumen Town, which are about 3 kilometers apart. According to the records of Emperor Wu of the Han Dynasty, they were established in Shanglinyuan in the third year of the founding of the People's Republic of China (120 BC), and were set on the east and west sides of Kunming Pool in the form of left morning glory and right weaver girl, so they were also called Kunming Pool Stone Carvings in the Han Dynasty. The morning glory stone statue is 258 cm high, with his right hand on his chest and his left hand on his abdomen, sitting in a squatting position; The stone statue of the Weaver Girl is 228 cm high, showing a cage sleeve shape. This group of stone carvings is based on the fairy tale of Cowherd and Weaver Girl. They are all carved with granite. The stone statue is tall, which is the representative of early garden decoration sculpture in China.

Sculpture in Qin dynasty

Sculpture of the Qin Dynasty, the first unified and centralized feudal country in the history of China. In 22 1 BC, after Qin Shihuang unified China, he used sculpture art to serve the political purpose of promoting the achievement of unification and showing the majesty of kingship, and made epoch-making brilliant achievements in architectural decoration sculpture, bronze memorial sculpture and tomb vessel sculpture.

Architectural Decoration Sculpture After Qin Shihuang unified the six countries, he highly concentrated manpower and material resources and built a large-scale building. First of all, build the six-nation palace on the site of Beisakamoto in Xianyang, the capital; Secondly, the horizontal bridge across the Weihe River was strengthened and expanded, and a new dynasty palace, Afangqian Hall, was built on the south bank of the Weihe River. Finally, a large-scale cemetery was built at the northern foot of Mount Li. These huge construction projects are decorated and beautified with sculptures.

Ceramic tile is a kind of architectural decoration component that strongly reflects the artistic style of the times. A circular tile embossed with deer, birds and insects was unearthed at the site of Qin Gong near Yaodian Town in the eastern suburb of Xianyang City. Four deer patterns, four animal patterns and a round tile with mother-child phoenix patterns were unearthed in the ruins of Afanggong near Jujiazhuang in the western suburbs of Xi. In the mausoleum of Qin Shihuang in Lishan, a big tile with a phoenix pattern was unearthed; They are all famous for their gorgeous decorative patterns and fresh styles.

In addition, two kinds of large hollow bricks were unearthed in the site of Qin Gong in Xianyang Old Town. One is a hollow brick with dragon pattern, phoenix pattern and water god pattern, and the other is a hollow brick with palindrome and diamond pattern, all of which are laid on the pedestal of the palace steps, which shows the general development of architectural decoration carving in Qin Dynasty.

Another famous group of large-scale stone carvings in the Western Han Dynasty is the stone carving of the tomb of Huo Qubing, a general of the Han Dynasty in Daochang Village, Xingping County, Shaanxi Province, which was carved by masons in the "left" department of Shaofu House in the sixth year of Yuanshou. By using the method of stone modeling, the author integrates the techniques of round carving, relief carving and line carving, making the works both realistic and freehand. Existing works 14, including immediately, lying horse, prancing horse, crouching tiger, lying elephant, Shi Wa, stone fish, stone toad, lying cow, wild boar, savage, savage fighting bear, licking calf, etc., and two carved stones. Originally scattered around the tomb, it is now displayed in the east-west corridor in front of the tomb. The stone carving of Lima, also known as the horse stepping on the Xiongnu, is 168 cm high and is the main part of the group carving. The author used fable to trample the invaders on the ground with a war horse, praising Huo Qubing's great achievements in fighting back against the invasion of Xiongnu, which is an important masterpiece of tablet carving in Han Dynasty.