The terra-cotta horses also use real horses as models. The horses are about 2 meters long, 1.3 meters tall at the shoulder and 1.5 meters tall at the head. Their two eyes look at the front with their long mouths open slightly and four legs jumping out, ready to go out to battle. Some fore legs seem like pillars, some hind legs look like bows and the ankles are slim, showing the characteristics of racehorses. They are the biggest terra-cotta horses unearthed in China to this day.
The curves of the body are harmonious between hard and soft and the muscle is full of strength. Although the terra-cotta horses are static, they seem very vigorous. Even the teeth were designed very carefully. If a horse has six teeth, it indicates that the horse is young. These vivid terra-cotta horses remind people that the horses that accompanied Emperor Shihuang were used in battle. They have fair-sounding names, such as Zhuifeng (drive the wind), Zhutu (chase the rabbit), Nieying (chase the shadow). Each horse displays overwhelming strength.
Another important archeological discovery of Qin Dynasty sculpture are the bronze chariots and horses. After the Qin terracotta warriors and horses were unearthed, two sets of large painted bronze chariots and horses were unearthed in 1980 near the tomb of the first Emperor of the Dynasty. Each set has four horses and one driver. The size of the horses and chariot is about one third of the real size.
These chariots were gorgeously adorned and no detail was overlooked. The facial colored drawing is well preserved. The carving technique is better than the pottery figures. The structure is complicated and accurate, and truly represents the characteristics of the Qin Dynasty.
Chinese realism
The realistic characteristic of the Qin terra-cotta warriors is a kind of Chinese realism: Although the basic pattern is realistic, it breaks through the limitation of realism. It combines the imagination of the sculptor of the Qin Dynasty. They don’t pursue the minor details blindly but make every effort, including manner portrayal, to grasp the characteristic and make suitable exaggerations. These exaggerations do not make people feel false, but give each piece a sense of clear refinement and make the characters more distinct. For example, the warriors’ thumbs are longer to increase the sense of strength. The sculpture of terra-cotta horses is also the same. The head is square, the eyes are big, the noses and mouths are wide and the body is round, which are designed realistically but a little exaggerated. Therefore, the horses seem very strong.
The hairstyles of Qin warriors are also based on the true features of the time. Styles include the helical line, wave type and so on. The armor is also shaped very delicate and exactly like the true armor. Even the band connecting the armor, belt hook, bandage and bootlace are carefully engraved. We can imagine the true appearance of the warriors in the Qin Dynasty from these clothes and the ornament of the terra-cotta warriors.
Manner Portrayal
In China, the criterion of “manner por trayal” was established in Wei, Jin and the Northern and Southern dynasties. At that time, there was a famous painter named Gu Kaizhi who not only made great achievements in painting but established an important theory related to painting. He held that the most important aspect in terms of portraying a person lies in the delivery of their manner and temperament, and that this manner mainly shows itself in the portrayal of the eyes. His view exerted a profound influence over the following generation. There were no writings about the artistic criterion of “manner portrayal” in the Qin Dynasty, but we can feel the importance of “manner portrayal” in the sculpture of the Terra-cotta Warriors. In fact, the artistic criterion with “manner portrayal” as the goal has always existed in China’s artistic tradition over 1,000 years.
Qin Dynasty sculpture shows realism and majesty. Unlike the terra-cotta figures of the Han Dynasty, they encourage a military spirit, while the Han Dynasty worshipped Confucianism. Sculpture from the Qin Dynasty inherited earlier realism and expanded it in terms of style and skills. It underlines how Chinese sculpture became mature and begun to form its unique style.