CHINA ARQUEOLOGIA golden-age-chinese-archayeolog

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forces symbolically defending the imperial city against invaders or, alternatively, mounting anaggressive campaign of conquest. The terra-cotta army should in any event be viewed as a complexrepresentation — both a substitute for a "real army" and a theatrical enactment.The sculptures have often been characterized as masterpieces of naturalistic art. However,far from being simply realistic, the significance of the figures lies in the interplay of the stylizedrendering of human body with the close transcription of details of body parts and outfits, suchas belts and belt hooks, boots, armor, and coiffures. The effect of verisimilitude is further enhancedby veristic painting and the real bronze weapons which the figures carried. These componentsliterally transcribed the appearance of each figure s attributes. Together with posturesand gestures, which spatially define and therefore differentiate the function of individualfigures within the entire configuration, they represent the specific rank and function of eachsoldier. 6The First Emperor's terra-cotta army constitutes the first known instance of the massivedeployment of tomb figures in early China. The use of figurines and models in the mortuarycontext developed during the Middle and Late Eastern Zhou periods, particularly within theterritory of Qin state. Small anthropomorphic clay figures have been unearthed from severalQin tombs that predate the Lintong necropolis; pottery models of granaries have been foundin late sixth-century BCE Qin tombs. 7 A separate tradition of wooden tomb figures developedtoward the end of the Eastern Zhou period in another area with distinct cultural traits — thestate of Chu. 8 Such figures and models and other miniature or nonfunctional objects are collectivelytermed mingqi ("spirit articles"), and they have been traditionally viewed as substitutesfor the animals and human victims sacrificed at burials, as well as surrogates for objects ofvalue placed in the tombs. 9 Research based on recent archaeological finds, however, suggeststhat these objects in fact constitute an integral part of the strategy to re-create — in thetomb — the earthly dwelling of the deceased. This concept of a tomb as a living environmentmodeled on the mundane world gained currency during the Late Eastern Zhou period; it mayhave originated within the territory of the Qin state and evolved more quickly in this regionthan in the Zhou territories. 10The replication of the living world in tombs and the widespread use of mingqi models andfigures to furnish and populate that environment have been interpreted by some scholars asreflecting a new religious trend that emphasized the separation of the dead from the living, 11or the material manifestation of new religious ideas motivated by structural changes in LateEastern Zhou society. 12 The Lintong necropolis suggests a slightly different possibility: it madesense for the designer, whoever he was, to use different modes of representation and to employelements with varying degrees of verisimilitude. It contained both "real" things — sacrificedhumans and animals, actual weapons, hay — that were, properly speaking, presented, and elementssuch as the terra-cotta army that were re-presented. The goal of the ritual specialists andartisans responsible for the First Emperor s posthumous abode was not to illustrate or to follow367 | TERRA-COTTA ARMY, LINTONC
Excavation photographs ofthe terra-cotta army pits.Top left and bottom: Pit i;top right: Pit 2.368 | EARLY IMPERIAL CHINA
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THE GOLDEN ACE OFChinese Archaeolog
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The exhibition is sponsored by East
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CHU AND OTHER CULTURESC. 770- 221 B
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THE WHITE HOUSEWASHINGTONJune 24,19
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China offers this important exhibit
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from several continents, whose illu
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AcknowledgmentsFive years ago, when
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Archaeological Sites
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BRONZE AGE CHINACHU ANDOTHERCULTURE
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CHINESE HISTORICAL PERIODS AND DYNA
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since Shen Nong, or Yan Di —the f
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(American, 1870-1946), chief palaeo
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Hardstone owl; height 34.1(i3 3 /s)
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Soon after, two young Chinese schol
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prise with steady, though modest, f
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archaeologists were scarce and supe
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Cultural Revolution (1966-1976). 71
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Bronze spirit tree; height384 (151
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bution, chronology, and behavior; t
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1 The jin shi xue was formally esta
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CATALOGUE
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The Foundation of Chinese Civilizat
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exhibit similarities to those of th
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the first Banpo phase, nearly all o
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kind of graphic notation. These mar
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of triangles pointing outward. The
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3Painted pottery ping flaskHeight 3
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4Painted pottery hu jarHeight 20.8
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65 I YANCSHAO CULTURE: BANPO
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1 Excavated in 1978; published: Lin
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Painted pottery pen basin;height 12
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of the relationships between Majiay
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ing one another and holding between
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7Painted pottery ping containerHeig
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9Painted pottery guan jarHeight 21.
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Aerial view of the femalespirit tem
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of the eponymous female spirit —
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FIG. i. Jade coiled dragon;height 2
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n1 Two-thirds of the mound had been
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13impressive of the Niuheliang tomb
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89 I HONCSHAN CULTURE
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i6i6Jade owlWidth 3.8 (iV 2 )Hongsh
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i8i8Cloudlike jade plaqueHeight 12.
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20FIG. 2. Triple-bi'-shapedjade pen
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vey the impression that she is talk
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THE DAWENKOUAND SHANDONGLONCSHANCUL
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alligator scutes (probably the rema
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groups, each with distinct customs.
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FIG. i. Jade blade incisedwith gogg
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Painted pottery pen basin;height 20
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25Painted pottery pan basinHeight 8
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26a26Two painted pottery hu vessels
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2/a27Two painted pottery pen basins
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28Jade and bone hair ornament inlai
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THE LIANCZHU The Liangzhu culture i
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Of all Liangzhu achievements, jade
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2 9Jade congHeight 10 (3 7s), exter
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the motif by elevating it into reli
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FIG. i. Reconstruction ofthe axe an
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A pair of clawed feet, also represe
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by two winglike shapes covered with
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35Jade zhuo braceletHeight 2.6 (i),
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Cat. 35, incised and carveddecorati
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rated surfaces, spherical beads —
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The Epic of the Three DynastiesBRON
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Yangzi River (cats. 65-75) and Daya
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Conjectural reconstructionof one of
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37interiorouter mold sections would
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FIG. i. Cat 38: inlayand cross sect
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40perforation, the same four segmen
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FIG. i. Plan of Tomb 612 atDadianzi
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the early Shang bronzes did not ari
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42Painted pottery lei jarHeight 30
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43Painted pottery hu jarHeight 40.5
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159 I TOMBS OF THE LOWER XIAJIADIAN
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45Pottery jiao vesselHeight 18 (7 V
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Conjectural reconstructionof the ed
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ing a dedicatory inscription to ano
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Cat 67 from above andside: decorati
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4»Bronze owl-shaped zun vesselHeig
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Cat. 49 from above andside. After Z
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1/3 | TOMB 5 AT XIAOTUN
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51Bronze jue vesselHeight 37.3 (i4
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for binding the axe to the shaft; t
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179 I TOMB 5 AT XIAOTUN
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54a. Jade craneLength 12 (4 3 / 4 )
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Bovid scapulas excavated in1971 fro
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56ancestral sacrifices, so that the
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THE TOMB ATDAYANGZHOU,XIN'GAN,JIANG
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57Bronze two-sided maskHeight 53 (2
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58Bronze tigerHeight 25.5 (10), wid
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59Bronze fangding vesselHeight 97 (
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6oBronze ding tripodHeight 62.4 (24
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6iBronze yan steamerHeight 105 (41
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2OOBRONZE ACE CHINA
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63Bronze helmetHeight 18.7 (/Vs), w
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64Bronze bo bellHeight 33 (13), wei
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SACRIFICIAL PITSAT SANXINGDUI,GUANG
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65Bronze standing figureHeight 262
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6666sideBronze human head with gold
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67213 I SACRIFICIAL PITS AT SANXINC
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68215 I SACRIFICIAL PITS AT SANXINC
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6969sideBronze mask with hooked-clo
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masks, some of which are pieced at
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7iBronze figure with headdressHeigh
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73by strong modeling; the surface i
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74Bronze lei vesselHeight 54 (21 y
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227 I SACRIFICIAL PITS AT SANXINGDU
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FIG. i. Remains of chariotsin the s
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76Bronze ding tripod with five hand
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Zhou bronzes, the motif is delibera
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single head — or, alternatively,
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(c. 1045 BCE) and was rewarded with
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79these two neighboring families; o
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8oFeng bronze zun vesselHeight 16.8
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Reverent and illustrious was the St
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245 I BRONZES FROM ZHUANCBAI
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six animals climb its sides, and tw
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body of the dead and his or her pos
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85Jade pel pectoralLength c. 50 (19
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86Jade pel pectoralLength c. 150 (5
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256 I BRONZE ACE CHINA
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88Hare-shaped bronze zun vesselHeig
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8 9Bronze he vesselHe vessels of th
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90Cylindrical bronze vessel with pe
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CHU AND OTHER CULTURES
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Cat. 95, detailcates the pervasiven
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CHU TOMBS ATXIASI, XICHUAN,HENAN PR
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9iChime of twenty-six bronze zhong
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ful and am at ease and composed. I
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cat. 105), numerous lacquered wood
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92Bronze huoding tripod, pair of li
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28O I CHU AND OTHER CULTURES
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94Bronze dou vessel inlaid with tur
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284 I CHU AND OTHER CULTURES
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generally believed to have been one
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traditionally associated with the h
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97without lidFIG. i. Profile and cr
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98Bronze filterHeight 88.5 (34 3 /
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scribed with the name of King Yichu
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to hold the wings, and a crown of d
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1O1Bronze drum standHeight 54 (2i l
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1O2Bronze triple ji halberdLength (
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104Two bronze mat weightsHeight 8.0
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than hammered from sheets, the conv
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in common use in the central plains
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advances in joinery techniques, gav
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complement on the left is portrayed
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FIG. i. Cat. 108: profile;lid and h
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315 I CHU LACQUERS FROM HUBEI
Page 318 and 319: and secured within the wooden frame
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Page 322 and 323: FIG. i. Brocade bandssecuring the w
Page 324 and 325: 1123detail112a. Embroidered luo gau
Page 326 and 327: FIG. i. Weave structureof four cros
Page 328 and 329: FIG. 2. Drawing of woodfigure cloth
Page 330 and 331: TOMB 2 ATBAOSHAN,JINGMEN,HUBEI PROV
Page 332 and 333: ii3Painted lacquer coffinHeight 45
Page 334 and 335: behind the bird-over-dragon scheme
Page 336 and 337: ii4Lacquer cabinet and vesselsHeigh
Page 338 and 339: FIG. i. Bronze zun inlaidwith lacqu
Page 340 and 341: BRONZE EJUN Ql)IE TALLY FROMQIUJIAH
Page 343 and 344: FIG. i. Five joined talliesin cross
Page 345 and 346: command the Jiyin [?] official Dao
Page 348 and 349: FIG. 1. Painted lacquerbird with an
Page 350 and 351: 119Ten bamboo slipsLength 64-71 (25
Page 352 and 353: Pan Cheng employed several turtle a
Page 354 and 355: FIG. i. Conjectural reconstructiono
Page 356 and 357: 12OTwo bronze three-pronged objects
Page 358 and 359: 121Bronze winged mythical animal in
Page 360: 122Bronze mythical animal inlaid wi
Page 364 and 365: The Grandeur of EmpiresEARLY IMPERI
Page 366 and 367: of the First Emperor's army (cats.
Page 370: some precise metaphysical idea but
Page 373 and 374: Cross section of one ofthe pits, sh
Page 376: vidual physiognomies is not merely
Page 379 and 380: The figure exemplifies the key styl
Page 382: thigh, holds the arm of the crossbo
Page 385 and 386: status during the Western Zhou peri
Page 387: Excavation photograph ofPit i, with
Page 390 and 391: Excavation photograph ofDou Wans ja
Page 392 and 393: 11 R12FIG. i. Schematic drawingof t
Page 394 and 395: 130earlier face coverings. Liu Shen
Page 396 and 397: FIG. i. The top, underside,and two
Page 398 and 399: fierce creatures." In western regio
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Page 402 and 403: The pregnant female figure, however
Page 404 and 405: to Mount Kunlun, a peak that reache
Page 406 and 407: hands of servants or immortals and
Page 408 and 409: FIG. i. Cat. 136 from above.After Z
Page 411 and 412: THE TOMB OFTHE KING OFNANYUE ATXIAN
Page 413 and 414: Indeed, the contents and constructi
Page 415 and 416: 414 I EARLY IMPERIAL CHINA
Page 417 and 418: stronger state to the north. His ja
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141Jade pei ornament with dragonand
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142Jade monster mask with bi diskHe
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H3Jade belt hookHeight 6.2 (2 ! / 2
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The second ring is also an unusual
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146Jade dancing figureHeight 3.5 (i
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H7Jade boxHeight 7.7 (3'A), diam. 9
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148Jade beaker with bronze basin st
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149Bronze mounted jade cupHeight 14
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1503150Three gilt bronze fittings f
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150cdetail
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BUDDHISTSCULPTURE FROMMONASTERYSITE
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i5iPainted stone standing Buddhawit
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first using a white base, then fles
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usnisa—the seat of his transcende
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terminating in an elegant pattern,
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their bronze vessels, abandoned Cha
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155Parcel-gilt silver pan dish with
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cal examples of Tang decorative tre
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tongue the other; four rectangular
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stone survives on one of the ducks
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tions. Empress Wu Zetian entertaine
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The Famen Monasterypagoda prior to
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i6oParcel-gilt silver khakkhara (mo
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467 I FAMEN MONASTERY AT FUFENC
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pies, such as the Famen Monastery's
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just 11.8 by 8.4 centimeters — co
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generally bowl-shaped, with a cover
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164Parcel-gilt silver casket with t
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Like the scenes on the side, these
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links the cover to the handle. Side
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The principle of its construction,
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circles of spur marks, fourteen in
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at Dunhuang (Gansu province), a key
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487 I FAMEN MONASTERY AT FUFENC
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The great cosmopolitan city of Xi'a
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tend to be somewhat less freely scu
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1/1A group of five painted pottery
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1/2A group of twelve painted potter
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173A group of six painted pottery f
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over the intervening decades the el
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South wall and ceiling ofthe antero
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J/4Painted marble relief of attenda
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V4175Painted marble relief of music
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the better-known developments in th
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AfterwordSU BAI | Most of the treas
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New Understandings of Chinese Prehi
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the relationship and chronology of
Page 524 and 525:
Objects in this exhibition from the
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remains an issue, most scholars hav
Page 529 and 530:
Cat. 68, detailjects and the writte
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culture at Yinxu and thus the late
Page 533 and 534:
tionship between the Shang and the
Page 535 and 536:
ARCHAEOLOGY OF THE DISTANT REGIONST
Page 538 and 539:
Issues Concerning the Formation, De
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of the Shang. 7 The Shi ji (Records
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state, although they were regarded
Page 544 and 545:
The Chu absorbed elements of other
Page 546 and 547:
Several other discoveries testify t
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1 Karlbeck 1926.2 ¥019853,262-269.
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acter, ao ("concave" or "sunken"),
Page 553 and 554:
Yuan (the Emperor Gaozu of the Tang
Page 555 and 556:
the tunnel outside the stone door o
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ConcordanceCHINESE TEXTSBai Qi zhua
Page 559 and 560:
MiaodigouMiaopingMinheMogaokuMopan
Page 561 and 562:
Empress TaimuEmpress WuEpang (Afang
Page 563 and 564:
wuren dongwu wenWushier bingfangYao
Page 565 and 566:
BibliographyAllan 1991. Allan, Sara
Page 567 and 568:
Zhou Studies, A Review Article,"Ear
Page 569 and 570:
Zhongguo lishixue nianjian (1979)(1
Page 571 and 572:
Liang and Gao 1968. Liang Siyongand
Page 573 and 574:
Reischauer 1955. Reischauer, EdwinO
Page 575 and 576:
Pierre, and C.C. Young. "On theMamm
Page 577 and 578:
Xia and Wang 1986. Xia Nai andWang
Page 579 and 580:
shisi niandai shujuji 1965 - 1991.B
Page 581 and 582:
IndexNote: Catalogue numbers are in
Page 583 and 584:
Jian-fou cooler and ladle, [97] 290
Page 585:
Yaoshan, Yuhang, Zhejiangprovince,
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