Terracotta warriors and horses in armor
At first, the terracotta warriors and horses all had bright and harmonious colored paintings. During the excavation, it was found that some terracotta warriors and horses were brightly colored when they were first unearthed, but they were oxidized by oxygen after being unearthed, and their colors disappeared in less than ten seconds and turned into white ash. All you can see now are traces of painting. [27]
Pottery figurine craft
The production of pottery figurines is divided into three steps:
The first step is to mold the clay into a large figurine (rough tire or first tire); The second step, on the basis of the larger size of the clay figurines, the clay figurines are re-slimed for the second time, and decorated and detailed; The third step is to assemble the head, hand and trunk made separately to complete the large-scale pottery figurines. [28]
Generally, large pottery figurines are dried in the shade and fired in a kiln at a firing temperature of about 1000℃. After the pottery figurines were burned out of the kiln, they were painted one by one, and finally the pottery figurines were made. As far as the whole pottery figurine is concerned, the production method is the combination of plastic and mold, with plastic as the main method. The terracotta warriors and horses were fired on the spot near the pit of the terracotta warriors and horses. The soil used was local loess mixed with quartz sand.
According to the information provided by the broken terracotta figures, it can be inferred that the heads and hands of the terracotta figures are made into rough tires with molds, and then the details are carved. The head of the figurine is usually made by clamping, that is, the head of the figurine is divided into the first half and the second half, which are roughly equal, and made by a single mold, and then the two single-mode combinations are bonded together to form a large head. Most of the clamping lines are located behind the ears, which are generally neat and have no traces of staggered structure. The necks connected with the heads of the figurines are all hollow. After the head of the figurine is made into the first child, the mud is piled up and pasted on the ear, bun, braid and crown to describe the five senses in detail. The focus of head carving is facial features, beard and hair. On the basis of molding, the five senses are carefully carved and decorated to show the different personality and psychological characteristics of the characters. The beard and hairstyle of pottery figurines are also important aspects of expressing characters' personalities, and the carving techniques are also varied. Although the heads of pottery figurines are shaped, the significance of shaping has become weak after careful carving, and it is difficult to find two identical faces. In addition, there are many different faces in the mold for making the head of the figurine, which makes the image of the figurine more colorful. Based on the field investigation of the damaged pottery figurines, some scholars put forward that thousands of figurines are not made by molds, but directly formed by craftsmen, thus putting forward the view that the modeling of figurines is not standardized production.
The trunk of the terracotta figures is made of pure handmade plastic. It is to make a rough tire with mud first, and then carve details such as clothing lines, armor, belts and hooks. The green body of the terracotta figures is made up of debris from bottom to top, and its technological process can be roughly divided into six steps:
The first step is to make the pedals for the Terracotta Warriors to stand on; The second step is to shape the feet of the figurines; Step 3, grafting plastic legs and shorts; The fourth step is to shape the trunk of the terracotta figures; Step 5, dry the trunk of the terracotta figures in the shade, and then glue the arms of the terracotta figures; The sixth step is to insert the hand of the figurine.
After the above six steps are completed, the details of the figurines will be carved. Covering a layer of fine mud on the rough tire of the trunk of the pottery figurine, carving the pattern of the clothes of the pottery figurine; Armor, belt, hook, etc. Carved directly on the rough tire of the figurine. After carefully carving the trunk and limbs of the pottery figurine, and then installing the head made separately, the overall shape of the pottery figurine is completed.
Painting process
The pottery figurines unearthed from the Terracotta Warriors and Horses Pit were originally colored, but most of the colors had fallen off when they were unearthed, leaving only mottled remnants on the pottery figurines, and some of the remaining portraits with more colors were intact. Through the analysis of the color of pottery figurines, we can get a general understanding of the characteristics of various costume colors of Qin figurines, which provides a valuable example for studying the costume color and military uniform equipment in Qin Dynasty. [28]
Through the preliminary statistics and analysis of the colors of the colorful clothes of the unearthed pottery figurines, it is known that there are many colors of the clothes of the Qin figurines, such as pink green, vermilion, bordeaux, pink, pink purple, sky blue, white and ochre. The collar, sleeves and lapels are also inlaid with colored edges. The color of trousers is generally pink green, and there are red, sky blue, pink purple, white and so on. In a word, the clothes of Qin Terracotta Warriors and Horses are colorful, but there is no uniform color. Among many colors, pink green, vermilion, pink purple and sky blue are the most commonly used, so these four colors should be the main colors of Qin figurines. Tests show that these colors are minerals. Red is made of cinnabar, red lead and ochre. Green is malachite, blue is azurite, purple is the synthesis of lead and azurite, brown is limonite, white is lead white and kaolin, and black is amorphous carbon. These minerals are the main pigments in China's traditional paintings. The use of such rich mineral pigments in the Terracotta Warriors shows that the working people in China were able to produce and widely use these pigments more than 2,000 years ago. This is of great significance not only in the history of painting art, but also in the history of world science and technology.
Judging from the costume color of the pottery figurines unearthed in this pit, there is no obvious difference between officers and ordinary soldiers, and there is no difference in the costume color of different arms. Therefore, it can be said that all arms of the Qin Dynasty have no exclusive clothing color, and many members of each arm have various clothing colors, and there is no uniform color regulation. This situation continued until the early Western Han Dynasty. This is because, although the old system was destroyed, the new feudal clothing hierarchy has not been fully established. Therefore, from the Warring States Period through the Qin Dynasty to the early years of the Western Han Dynasty, the color and texture of clothing showed diversified characteristics, and there was no strict grade restriction on the color and texture of clothing among people from all walks of life. The characteristics of this historical period are also reflected in the Terracotta Warriors.
The painting techniques of Qin terracotta warriors also have many unique features. Generally, the surface of pottery figurines is treated before painting. Because pottery figurines are plain pottery without glaze, there are many capillary holes, and the surface can't be smooth. But painting requires that the pores should not be too many or too few, and the surface should not be too slippery or too astringent. In order to meet this requirement, it seems that the surface of pottery figurines is evenly coated with very fine mud before firing, and after calendering, the pores are reduced and the smoothness is improved. At the same time, the fired pottery figurines seem to have undergone chemical and physical treatment. From the observation of the cross section of the pottery figurines, it is also proved that the surface of the pottery figurines was coated with fine mud before firing, and some parts were coated more than once. The surface of the pottery figurines is also coated with a thin layer of colloidal substance, which reduces the close adhesion between the pottery figurines and makes the paintings difficult to fall off. Painting techniques adopt different methods according to different parts. Generally, the faces, hands and feet of pottery figurines are painted with a layer of ochre, then with a layer of white, and then with a layer of pink, so that the color tone is as close as possible to people's skin color. Colorful paintings of robes, shorts, shoes, etc. The plane painting of one color is adopted, but different colors are used for comparison between sleeves and cuffs, and between nail plates and nail belts, showing the texture of nail clothes. Some beards and eyebrows are treated with fine black hair. [29]
In short, the painting process is complex, the techniques are diverse, and the coloring is exquisite, which fully shows the level and texture of painting, so that sculpture and painting can achieve the artistic effect of complementing each other. Some of these painting techniques were inherited by the Han Dynasty. Painted pottery figurines and horses strictly simulate real objects, but warm colors are the main colors in the mastery of color tones, and cold colors are rarely used. The use of red, blue, green and other colors subtly shows the power of Qin Jun.
How did the "Chinese purple" on the Terracotta Warriors come out in the Qin Dynasty without chemical pigments?
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Ma Tao craft
/kloc-Pottery horses unearthed in pits 0/,2/and 3 include chariots and pommel horses for cavalry. The manufacturing process of these horses is as follows: first, the head, neck, trunk, limbs, tail and ears of horses are made separately, and then assembled and bonded to form coarse tires; Secondly, it is decorated with mud, carved, dried in the shade, fired in a kiln, and finally colored to complete the production of pottery horses.
When Ma Tao was unearthed, the horse's head had broken from the joint, and there were traces of mud on the joint surface, which proved that the horse's head was made of mold. There are two kinds of horseheads, wide and narrow, each with different methods. Narrow horse's head, the suture line is located in the middle of the horse's head, and the left and right pieces are the same size. There is a concave hole on the inside of each piece, which shows that they are made of molds, and then the two pieces are bonded together to make a horse's head. All horses hiss with their mouths open. The mandible of the horse's mouth is formed separately, and the tongue and teeth are carved and then stuck under the horse's head. The wide-bo-shaped horse's head is made of five pieces of mud, one on the left and right cheeks, and three pieces of horse's head are hand-shaped. After the above five pieces are spliced and bonded together, the internal joints are generally covered and reinforced with soil. [28]
Accessories on the horse's head, such as horse ears and flying bristles, vary in size, length and thickness, and there are scratches on them with a knife, indicating that these accessories are all pinched separately and then connected with the horse's head. Ma Tao's neck is hollow, and so is his body cavity. Judging from the broken joints, these are all made up of mud pieces with different shapes. All the joints of mud pieces are covered with a layer of hard mud, which is hammered to make the grafting firm. In Ma Tao's body cavity, pieces of flax thread and thin rope thread were left, and there was a round hammer nest with a diameter of about 5 cm, indicating that the woven fabric lined with flax or hemp rope was hammered.
Horse legs and ponytails are also handmade. All the components of Ma Tao will be assembled and combined when they are completed separately. Its sequence is from the leg to the body cavity, and then connected to the neck, head and tail, thus forming a huge horse body. Each pottery horse weighs 245 kilograms, and needs the support of a bracket to prevent the horse from being deformed during assembly.
After the combination, Ma Tao should also make some details in appearance. The outside of the trunk is coated with a layer of fine mud, and the polished surface is smooth and flat, which makes the horse's muscles plump: the mud is piled on the horse's chest to carve out the protruding pectoral muscles; Gao Dakuan Bo, whose shoulders are covered with thick mud and shoulder blades are exposed; The horse's vertical mane is a high relief, on which a fine mane is drawn with a grid tool.
The pommel horse of cavalry is slightly more complicated than the carving of horses and chariots. The saddle bridge with high relief, the saddle with shallow relief, the tassel on the saddle, the belly belt, the shovel and other details are carved by reducing the land or sticking mud strips. Rows of saddle nails and details on the saddle are indicated by negative lines. Due to the use of different carving techniques, the shape of saddle is very realistic. Ma Tao's limbs have been carefully carved and polished. The round place is smooth and shiny, and the flat place is angular. The relationship between flesh and joints is very clear. [28]
Characteristics of Qin terracotta warriors
The shaping of Terracotta Warriors and Horses is basically based on real life, with delicate and vivid techniques. Every clay figurine has different clothes and manners. There are many kinds of hairstyles, different gestures and different facial expressions. From their costumes, expressions and gestures, we can tell whether they are officers or soldiers, infantry or cavalry. Generally speaking, all the faces of the Qin figurines reveal the unique majesty and composure of the Qin people, with distinctive personality and strong characteristics of the times.
Terracotta Army
Terracotta warriors and horses sculpture is a combination of painting and plastic. Although it has a long history, when it was first discovered, the colors painted on people's faces and clothes were still faintly visible. The technique is vivid, the composition is ingenious, and the technique is flexible, which is both authentic and decorative. Because of this, Qin Terracotta Warriors and Horses occupy an important position in the history of sculpture in China. From the unearthed 1000 pieces of pottery figurines and pottery horses, almost none of them are the same. [ 18]
After Qin unified the six countries, Qin implemented the national conscription system, and soldiers came from all over the country, which is probably the main reason for their differences in face, expression and age. Craftsmen use realistic artistic techniques to express very realistically, and this huge group of Qin figurines contains many obviously different individuals, which makes the whole group more active, real and full of life. [30]
Thousands of pottery figures and horses are carefully drawn. The face, hands and feet of the terracotta figures are all pink, showing the texture of muscles. Especially the face painting is particularly wonderful. White eyes, black eyes, and even the pupils of the eyes are vividly painted. The bun, beard and eyebrows of pottery figurines are all black. The overall color is gorgeous and harmonious. At the same time, the painting of pottery figurines also pays attention to the contrast of colors, and there are differences among individuals as a whole. Different colors of clothing form a sharp contrast, which enhances the artistic appeal. Ma Tao also has bright and harmonious paintings, which make the static image of Ma Tao more vivid.