The main sculpture is "Horse Treading Xiongnu"
Details:
The stone carvings of Huo Qubing's Tomb 14, including Horse Stepping Xiongnu, Lying Horse, Vaulting Horse, Crouching Tiger, Lying Elephant, Shi Wa, Stone Fish II, Savage, Cow Licking Calf, Lying Cow, Man Bear, Wild Pig, Stone toad, etc. , and two other inscriptions, all carved from granite. By using the artistic technique of stone carving modeling, the author skillfully combines the techniques of round carving, relief carving and line carving, portrays the image with just the right things, which is enough to show the characteristics of the object, and never makes too many naturalistic carvings, thus strengthening the sense of integrity and strength of the work, and can be called an outstanding representative of "Chinese stone carving, deep and heroic".
The main body of this monument sculpture is the stone carving of Huns riding on horses. In this theme sculpture with a height of 168 cm, the author uses fable to symbolize a title of generals in ancient times with a magnificent and proud Li Zhuo war horse. To celebrate the extraordinary achievements of ancient generals in ancient times in the war against Xiongnu with the typical plot of horses trampling on the invaders to the ground; The loser with a bow and arrow in his hand has not laid down his weapon. Isn't this a warning to the people not to let their guard down? The outline of this work is extremely accurate and powerful, and the part from the horse's head to the horse's back has undergone ups and downs, and the image is very eye-catching. In short, the stone carving of the Xiongnu on the horse is a model of the perfect unity of ideology and artistry, and a symbol of the epoch-making achievements of the monument carving in the Western Han Dynasty.
We know that the Qin Terracotta Warriors and Horses are real swords and guns. They were buried in the ground more than 2,000 years ago, and some bronze swords are not rusty at all, but they are still shiny. It is determined that it is composed of copper, lead and tin, and contains more than a dozen rare elements, so its sword is hard, sharp and elastic, reaching the peak of cutting iron like mud and breaking stone like powder. The surface of the sword is chrome-plated, so it shines. This technology was invented by Germany 1937 and mastered by America 1950.
The firing technology of Qin terracotta warriors and horses is also unbelievable. We know that the tall terracotta warriors and horses weigh 300 kg to 500 kg, and the firing temperature ranges from 900' C to1200 C. After firing, they shrink by more than 5%, but we are surprised to find that none of these terracotta warriors and horses have cracks and deformation. It is said that today's craftsmen have tried to copy an original big pottery horse, but they have never succeeded. In addition, people have analyzed the color components of Qin Terracotta Warriors and Horses, and found that the purple component is barium copper silicate, which has never been found in nature. Artificial synthesis was not successful until the early 1980s, and it was not applied until the 1990s. I wonder how this purple was made at that time.
The sculpture art of Qin terracotta warriors and horses has the characteristics of realism. Some of them stare at each other with big eyes and small eyes, some meditate, some are heroic and spirited, some are heroic and spirited, the commanders are indifferent and resourceful, and the soldiers are mighty and strong, simple and generous. Every detail is vividly portrayed. There are all kinds of buttons on shirts, hairstyles and armor. Ma Tao is very meticulous, and each one is strong and strong, which perfectly shows the characteristics of excellent horses and the posture of preparing for war.
Judging from the two large bronze chariots and horses coming out 20 meters west of Qin Shihuang's tomb, its casting art is outstanding. For example, the hood of this large bronze chariot is an ultra-thin, super-large and super-long large workpiece, but it is hard to believe that it was cast at one time. In addition, take the horse's neck ornament as an example. It is made of gold and silver tubes welded alternately. If you look at it with the naked eye, you can't see any seams at all. Even under a magnifying glass of 24 times, only some welds can be seen. I wonder how this technology was completed more than two thousand years ago.
Judging from the number of unearthed cultural relics, the unearthed cultural relics in Qin Terracotta Warriors and Horses Pit are extremely rich and colorful. According to rough statistics, more than 7,000 terracotta figures, 4,000 terracotta horses, 0/00 chariots and hundreds of thousands of weapons were unearthed in the three pits. Such a huge number is amazing and rare in the world.
Artistic characteristics of Qin figurines
It is not only a rich underground military museum, but also a treasure house of sculpture art. Thousands of tall terracotta warriors and horses are very rare in the history of sculpture in China and the world. Rich and colorful artistic image, but also has a lasting and moving charm. It shows that the ancient sculpture art of the Seven Kingdoms reached a mature stage in the Qin Dynasty, which is a peculiar peak in the history of ancient sculpture in China. It has the unique style of China nationality and shows the outstanding talents of ancient people in China in artistic creation. Its achievements are as follows:
First, the realistic style of Qin figurines. Big, many, true. It is a true portrayal of Qin Jun, showing the profound insight into life and outstanding realistic skills of the Qin figurines. The realistic style of Qin figurines, specifically, is to simulate the real thing. It simulated the formation of the military array and created such a grand military array system composed of the left, middle and right armed forces and a headquarters. All kinds of warrior figures unearthed in the pit, regardless of height, size, face shape and hairstyle, are very rigorous and serious. The army of Qin mainly comes from Qin people in Guanzhong area, but it also includes people from other areas. This is the truth of history. The costumes and armor of Qin Terracotta Warriors and Horses are described in detail, from belts and hooks tied around the waist, hair bands, bun and braids used to tie hair, vines tied to legs, boots and shoes. Pursuing the guiding ideology of forcing Xiao artifacts to become figurines is a prominent feature of his artistic expression, which is inseparable from the will of the first feudal emperor in history. The realistic style of Qin figurines is consistent with the style of the times at that time. In addition to the giant sculptures of Qin Terracotta Warriors and Horses, it is also found that all plastic sculptures in the Qin Dynasty are magnificent and great. Such as casting two bronze statues and two jade unicorns on the mausoleum. The head is one and three feet high, 2.99 meters. The statue of Wei Qiao Hercules Meng Ben. These are consistent with the style, atmosphere and momentum of palace buildings in Qin Dynasty. As the sculpture art of superstructure ideology, it reflects a certain era and is the product of the times.
Second, the image-building of Qin figurines. Qin figurines have the characteristics of portrait sculpture. As far as image building is concerned, it is not a naturalistic imitation of real people. It is a refined and generalized artistic image. For example, the shaping of characters, washing and practicing, do not do tedious carving, just seek their shape. It focuses on presenting the overall situation in an exquisite way. In order to make the image vivid, necessary artistic exaggeration and key description were made. The modeling of Qin terracotta figures generally shows the shape, quantity, shape and quality of objects. I have mastered the proportion of human body, the general proportion of body structure and the general law of body structure. For example, a thick trunk with thick limbs and a wide face with a big head, a tall body with slender limbs and a rectangular face, a thin figure with a long and narrow "eye" shape and so on. Except for a few, they are generally suitable and natural, and the proportion is generally appropriate. The modeling of the Qin figurines embodies the traditional aesthetic requirements of China, and is the unity of external form and internal spiritual temperament. The modeling of Qin figurines can not only successfully grasp the whole, but also pay attention to the description of details. In terms of techniques, it is an organic combination of garden carving, relief carving and line carving. Large-scale three-dimensional images are made into circular sculptures by superposition to show the shape, quantity and shape of the images, while the decorations, details and details on the statues are made into relief effects by superposition, pinching and pasting. The details of three-dimensional image, especially the face, are often represented by carved lines, which has a good effect on expressing details and details.
Thirdly, the expression of Qin Terracotta Warriors and Horses is described. The outstanding achievement of Qin Terracotta Warriors and Horses is to create various typical figures with different identities, ages and personalities. In order to show different identities, we should not only focus on clothes, but also describe them with manners and tolerance, and have different performance priorities for different people. For example, the image of ordinary figurines seems to express its "extraordinary", majesty and solemnity through expressions and costumes. Of course, this is the * * * of ordinary figurines. In addition to sex, there are also its personality characteristics. If some are gentle and elegant, some are mature and steady; Some people aim to show their strength and perseverance.
Fourth, the painting of Qin figurines. The terracotta figures and horses we saw were blue and gray, which was the color of pottery, and it was not the original color. It turns out that all the terracotta warriors are painted. According to the unearthed colors, there are vermilion, red, purple, reddish, dark green, pink green, deep purple, pink purple, blue, pink blue, yellow, orange, black, white, Hertz and other colors. After testing, the pigments are all minerals. The method of coloring is to apply a layer of gelatin as the base material first, and then apply pigments and dyes. Most parts are painted with one layer of color, and most parts such as face, hands and feet are painted with two layers of color. One of the coloring characteristics of Qin terracotta warriors and horses is bright and colorful. The second is to use contrasting colors. Such as a red shirt, with a green or pink purple or pink blue sweatshirt; Green clothes with red or pink purple pants; Ochre black nail plate with white or vermilion nail and vermilion nail belt. This will make the army's lineup more powerful and magnificent. Generally, the painted color is flat, and there is no change of shade and yin and yang in color, but there is a difference between the painted bordeaux and dark green of No.1 pit pottery. It can be seen that using color to express the change of darkness and concave-convex level is the pioneer of vignetting method.
The bottom of Huo Qubing's tomb is105m long from north to south and 73m wide from east to west. The top is15m long from north to south, 8m wide from east to west and 25m high. There is a 16 stone carving in front of the tomb. There are 14 recognizable elephants, 3 of which are carved into two shapes, with a total of 17 creatures; The different object is 12. There are weirdos, monsters who eat sheep, lying cows, people who lead animals, lying pigs, prancing horses, "riding on Huns", lying horses, crouching tigers, lying elephants, short-billed fish, long-billed fish, otters, bats, left sikong stone carvings and plain stone carvings. The stone carving is shaped according to the stone, slightly chiseled, concise in technique, outstanding in personality and vigorous in style. They are the earliest and best preserved large stone carvings in China. Among them, "Horse Treading Xiongnu" is the main stone statue in front of the tomb, with a length of 1.9 m and a height of 1.68 m. It is carved from fine gray sand, with a stone horse standing with its head held high, its tail mopping the floor, the image of a struggling Xiongnu on its back, and a bow and dagger carved under its abdomen. This is the most representative immortal work. This group of stone carvings is carved from a whole stone by means of line carving, round carving and relief. The choice of materials and carving techniques match the form, some pay attention to the form, some highlight the performance, and have both form and spirit. The beast is fierce, the horse jumps and stares ahead, and the cow and elephant are docile and have different expressions. Inferred from the inscriptions, these stone carvings were made by Zuo Sikong of Shaofu. Stone statues, horses, statues, Shi Hu and other stone carvings in front of the tomb have had a far-reaching impact on the stone carvings of tombs in China, and have been inherited by the stone carving art of tombs in the past dynasties after the Han Dynasty.
The total number of original stone carvings in Huo Qubing's tomb has not been verified. During the Jiajing period of the Ming Dynasty, due to the earthquake, some fell down and some were buried. Before 1949, 9 pieces were originally placed in front of the tomb, and 7 pieces were newly discovered in 1957.
1956 Maoling Cultural Relics Protection Center was established in front of Huo Qubing's tomb, 1957 moved the open-air stone carvings to the newly built two corridors in front of the tomb. 1979 Maoling Cultural Relics Management Office was changed to Maoling Museum.
Huo Qubing's Tomb is located in the northeast of Maoling, Emperor Wu of the Han Dynasty in Xingping County, Shaanxi Province 1 km, and it is one of the tombs buried with Maoling. There are 0/6 stone carvings/kloc-,such as stepping on Xiongnu, stone man, lying horse, prancing horse, lying cow, crouching tiger, lying elephant, toad, frog, wild boar, demon eating sheep, savage fighting bear and two fish, which are scattered on the enclosed land to symbolize the natural environment of Qilian Mountain. Horse stepping on Xiongnu is1.68m high and1.9m long, which shows that a standing horse steps on it, holding a bow and arrow and looking at the enemy who is dying, symbolically praising Huo Qubing's meritorious military service. This idea became the theme of this group of stone carvings. The rest of the stone carvings vividly show the different expressions of various animals in their activities in an exaggerated way, such as the sudden leaping action of the prancing horse (height 1.5m, length 2.4m), the moment when the lying horse (height 1. 14m, length 2.6m) is about to stand up, and the lying cow (length 2.6m, width 656m). Another part of the stone carvings, such as the sheep-eating monster (2.74 meters long and 2. 15 meters wide) and the fierce fighting bear (2.27 meters high and 0/0.72 meters wide), symbolize the magical animals that haunt Qilian Mountain, thus setting off the hardships of soldiers' expedition. Stone carving is carved with giant stone carving, and relief and line carving techniques are applied. Part of it is to use the natural form of natural stones to process them slightly, highlighting the main characteristics of animal form and being full of vitality. The style is simple and naive, and the spirit is deep and heroic. It is an excellent masterpiece of large stone carvings in Han Dynasty. There are two inscriptions in the stone carving, which are "Zuo Guan Fu" and "Bo Zao in the Plain Leling", indicating that they were carved by official craftsmen at that time.