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Presented by
China, Qin dynasty (221–06
bCe), Armored Kneeling Archer,
terracotta, excavated from Pit 2
in Qin shihuang tomb complex,
1977; terracotta Warriors and
Horses Museum, 005504

The First Emperor and His
Ghost Army: An Epic Story
by Liu yang, Phd, head of the MIA’s Asian Art department
and curator of Chinese Art
LIKE MOST of China’s amazing archaeological discoveries,
the astounding “Ghost Army” was found by accident.
In 1974, local farmers were drilling a well in a location
almost one mile from the First Emperor’s tomb mound.
They were astonished to discover fragments of terracotta
figures. Shortly thereafter, Chinese archaeologists excavated
three pits containing more than 7,000 terracotta warriors
of different ranks, together with horses and chariots, all
designed to protect an extraordinary man in his afterlife.
The man, Qin Shihuang, was a ruler who has been
described as both a cruel and brutal sovereign, and a hero
and revolutionary. Born in the Warring States period
(475–221 BCE), a time of turmoil in China’s history, Qin
Shihuang is renowned as the founder of a united China and
the short-lived Qin dynasty (221–206 BCE). He forged the
seven warring states into one nation and rose from stately
king to Qin Shihuang, the First Emperor. He left a legacy
of a centralized and bureaucratic China, which would be
carried onto successive dynasties over the next two millennia.
Driven by his eagerness for immortality, the First
Emperor began to plan his burial from the moment he
ascended the throne at the tender age of 13. Building the
tomb took almost 38 years. Bordered by a protective outer
wall extending over a mile from north to south and nearly a
mile from east to west, the complex mausoleum, as gradually
revealed by the ongoing archaeological excavations, is far
beyond anyone’s imagination.
One by one remarkable discoveries have emerged,
including two meticulously cast bronze chariots, dozens
Above: China, Qin dynasty (221–06 bCe), Chariot Horse (detail), terracotta,
excavated from Pit 1, in Qin shihuang tomb complex, 1978; terracotta
Warriors and Horses Museum, 002545
below: China, Qin dynasty (221–06 bCe), Crane, bronze, excavated from
Pit K0007 in Qin shihuang tomb complex, 2002; terracotta Warriors and
Horses Museum, 005970
of life-sized bronze water birds, thousands of stone armors
and helmets, and more than 10 terracotta acrobats and civil
officials. It is clear the First Emperor planned his tomb as an
elaborate subterranean palace, a parallel world comprising
stables, offices, an armory, and an imperial zoo, which
would enable his rule into the afterlife.
Every day new finds reveal the wealth of China’s ancient
past. This is an epic story that is far from fully told. The
exhibition, “China’s Terracotta Warriors: The First Emperor’s
Legacy,” opening October 28 in Target Galleries, presents the
renowned “Ghost Army,” including a kneeling archer with
well-preserved pigments on his armor and face. It also displays
significant recent finds from the First Emperor’s mausoleum
and from other sites around the Qin capital, Xianyang, thus
telling the evolving story of China. Marvelous key objects
include a group of four bronze water birds—a crane, a swan,
and two geese—all life size. These are masterworks of bronze
casting that, like the pottery warriors, herald a new era in
the material arts of China. A bronze bell with inlaid gold and
silver designs was unearthed from a location near the First

Emperor’s tomb mound. The works from the latest excavation
(2005) possibly reveal the tomb of the First Emperor’s
grandmother. Weapons and other objects relating to the Qin
dynasty’s government provide the most tangible evidence we
have of the First Emperor’s achievements and vision in unifying
a country and its politics.
The content of the exhibition is not limited to the
findings from Qin Shihuang’s tomb complex. It further
explores the period of Chinese history preceding the Qin
dynasty. When Qin Shihuang came to the throne, the Qin
state, surrounded by six strong states that annexed others
to consolidate their power, had been in existence for over a
half-century. The rulers of this kingdom played their parts
in developing a small kingdom into a superpower. In the
absence of substantive and reliable written sources, it is
archaeological evidence that provides us with clues about the
history and evolution of the state of Qin.
While the ritual and burial practices of the Qin
state retain distinctive characteristics, they also reveal a
fundamental adherence to the spiritual tradition of the
previous Western Zhou (11th century–771 BCE) dynasty.
This is demonstrated by the Qin’s use of ritual bronzes. Like
the aristocrats of the early dynasties, Qin rulers used the
bronzes in ceremonies and sacrifices performed to please
“China’s TerraCoTTa Warriors:
The FirsT emperor’s LegaCy ”
Presented by
October 28, 2012, through January 20, 2013
Target Galleries
Ticketed exhibition (free for MIA members)
This exhibition was organized by the Minneapolis Institute of Arts
in partnership with the Asian Art Museum and the Shaanxi Provincial
Cultural Relics Bureau and Shaanxi Cultural Heritage Promotion
Centre, People’s Republic of China.
Lead Sponsors:
Additional support provided by Christie’s and the E. Rhodes and
Leona B. Carpenter Foundation.
Media Partner: Official Airline:
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ancestors and heavenly deities and
to maintain the order from the
heavens. Bronze ritual vessels and
paraphernalia, even those used in
earthly ritual and ceremony, were
also placed in the tombs and burial
sites of deceased rulers and nobility.
These furnishings were intended to
support and sustain the deceased in
the afterlife.
While the production of bronze
vessels shows Qin’s adherence
to mainstream Shang and Zhou
traditions, the achievements of its goldsmiths distinguish its
art. Gold and silver were sparingly used for objects of special
and often personal value, such as ornaments, fittings, belt
buckles, and ritual accoutrements. Gold was also used for
luxuries such as horse-and-chariot decorations. These castgold
objects include animal masks and serpentine patterns
similar to those on the bronzes and jades. One excellent
example in the exhibition is an iron sword with an openwork
gold hilt ornamented with inlaid turquoise (above).
Archaeological revelations indicate a steady eastward
movement of the Qin people from their original homeland in
the western frontier of Gansu, relocating the capital several
times. A group of architectural materials in the exhibition
gives a hint of the palaces and buildings that once graced the
Qin capital cities.
The exhibition features more than 120 rare objects
drawn from 13 museums in China, presenting a panoramic
view of the Qin dynasty.
Above: China, spring and Autumn period (770–476 bCe), sword blade
with Inlaid Openwork Hilt, iron and gold with inlaid turquoise, excavated
from tomb 2 at yimen Village in baoji, shaanxi, in 1992; baoji Municipal
Archaeological Institute byM2:15
below: China, spring and Autumn period, duke Wu’s reign (697–678 bCe),
bo bell, bronze, excavated at taigongmiao village, yangjiagou in baoji,
shaanxi, 1978; baoji bronze Museum, shaanxi, 02755/IA5.4

Liu Yang, PhD, is the MIA’s curator of Chinese Art and head of the Asian Art
Department. He studied in China and Great Britain, and was most recently
senior curator of Chinese Art at the Art Gallery of New South Wales, Sydney.
Working for so long on this project, both in Australia and in the States, Liu
said, “I feel I had almost become the commander of the Terracotta Army
myself!” When the exhibition closes, he would like to stand in front of the
alignment and give an authoritative order: “Dismissed!”
China, Qin dynasty
(221–06 bCe), View
of Pit 1 showing the
terracotta army
lined up at attention
facing east

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The MIA Thanks Sponsors of
“China’s Terracotta Warriors”
BRINGING ICONIC WORKS of art from China to the Twin Cities is no easy feat.
Consider the time and care needed to transport 8 ancient terracotta warriors, gold
and silver ornaments, ceremonial vessels, and other rare artifacts. These are coming
to the Minneapolis Institute of Arts this fall as part of “China’s Terracotta Warriors:
The First Emperor’s Legacy,” opening October 28 in Target Gallery.
Through the help of several generous corporate partners,
the MIA is able to present this spectacular exhibition to our
community—giving visitors the chance to experience more
than 120 archaeological discoveries, some of which have
rarely been seen outside of China.
The MIA thanks JPMorgan Chase, Fredrikson &
Byron P.A., and Delta Air Lines for sponsoring this special
exhibition and for helping the museum provide insight into
one of history’s most remarkable cultures and time periods.
Conducting business throughout the world, these companies
understand the importance of both enhancing cultural
understanding within local communities and encouraging
diverse worldviews through art.
“It’s important to help our community learn first-hand
about cultures around the world and their histories,” said
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Michele Martin, managing director for JPMorgan Chase,
the presenting sponsor for “China’s Terracotta Warriors.”
“We’re thrilled to partner with the MIA on this once-ina-lifetime
exhibition, which tells an amazing story that
continues to develop to this day.”
Fredrikson & Byron President John Koneck also sees
great significance surrounding this exhibition. “We’re
fortunate that the MIA, a world-class institution, can bring
renowned works of art from around the globe to Minnesota,”
he said. “Fredrikson & Byron is proud to support such a
remarkable show.”
Along with the exhibition, visitors can take advantage
of public tours, lectures, educational resources, and other
programs developed to enhance their experience of “China’s
Terracotta Warriors.” At the same time, they are able to
take in the MIA’s world-renowned permanent
collection of Chinese art.
“This exhibition is sure to intrigue and
inspire those who experience it,” said Bill
Lentsch, senior vice president of Minnesota
operations for Delta Air Lines. “Helping to
make exhibitions like this possible is a vital
part of supporting strong communities where
our employees and customers live and work.”
The MIA is grateful to these corporate
partners, who make exhibitions like this
possible.
Above: China, Qin dynasty (221–06 BCE), Armored
General (detail), terracotta, excavated from Pit 1, Qin
Shihuang tomb complex, 1980, Terracotta Warriors and
Horses Museum, 000847
At left: From left, Bill Lentsch, senior vice president
of Minnesota operations for Delta Air Lines; Liu Yang,
the MIA’s Chinese art curator; John Koneck, president,
Fredrikson & Byron; and Michele Martin, managing
director for JPMorgan Chase.