Unit 3 is located in the middle, consisting of nineteen chariots, 264 infantry figurines and eight knight figurines. It is divided into three rows. One knight figurine is standing in front of each horse, holding the reins in one hand and making a bow shape with the other. After each ride, in addition to three chariots, there are also eight to thirty-six infantry figurines. Unit 4 is located on the left side of the military formation. One hundred and eight knight figurines and one hundred and eight pottery saddle horse terracotta lined into eleven rows to form a rectangular cavalry formation. The first and third rows are six chariots. In front of each horse, one Hu-clothed knight figurine is standing, holding a horse with the right hand and pulling a bow with the left hand, and one hundred and eight pieces in the figurine pit.The cavalry terracotta is the first time that the number of ancient cavalry has been discovered in the history of archaeology in my country. It strictly simulates the wartime image of ancient cavalry in terms of clothing and height. It is obviously different from the infantry and chariot yards. It wears a round hat, with buckles on both sides of the hat, tight sleeves, cross-collar and right-sided lapel and double-clad tops on the chest, tight-mouthed trousers, short and small boots, and short armor on the shoulders and no guard armor on the hands. The clothes have the characteristics of short and lightness. The armor looks simple and flexible. The special outfit of the cavalry terracotta is also closely related to the tactical characteristics of the cavalry.
The unearth of the copper carriage and horse has made the world a new look. The complexity of the craftsmanship, exquisite workmanship and excellent skills are all amazing. Qinling Second Copper Carriage is a luxury car with a tent cover. The carriage is close to a square. It is 78 cm wide and 88 cm deep. Its width is only four centimeters longer than the carriage No. 1, and it can be 40 cm long. The carriage No. 2 is covered with a tent cover similar to a turtle cover. The tent cover not only covers the carriage, but also covers the cab in front of the carriage to form a closed carriage so that the owner and the driver can pass the command. The 2 copper carriage is a sedan type. The owner can both ride or sit lie down. If you lie in such a spacious, comfortable and luxurious carriage, you can enjoy a soft sleeper carriage.The comfort of the copper plate can eliminate the fatigue of long-distance bumps even if traveling thousands of miles apart. The equipment in the car No. 2 is more distinctive. The car No. 2 has painted soft cushions. Archaeological experts once found a large square copper plate at the bottom of the car, which is almost the same as the size of the public opinion base. The surface of the copper plate is painted with various bright geometric patterns. There are eight three-centimeter-high copper nails supported by the four corners and the middle. This painted large copper plate is undoubtedly the Wenyin on the ancient car, similar to a soft cushion product. If the double Wenyin is laid in the car, it will definitely be more stable and comfortable. Its function is no different from the modern soft sleeper car. It can be said that the second car is one of the earliest soft sleeper car in my country.After careful cleaning, archaeological experts found that No. 2 copper carriage and horse consisted of 3,462 castings, including 1,742 copper castings, 737 gold castings, and 983 silver castings, with a total weight of 1,241 kilograms. Among them, more than three kilograms of gold castings, more than four kilograms of silver castings, the number of No. 1 copper carriage and horse castings will not be too different. The two passengers combined will not be less than five thousand parts. What is particularly applauding is that all the parts here are cast-formed. These more than 5,000 parts, whether it is a tent cover, umbrella cover, carriage, copper horse, copper figurine, etc., or a small Youle tube less than two square meters, are cast-formed in one go.
Take the casting of the tent cover and the umbrella cover for example. It is not only large in area, but also different in thickness. The thick place is 0.4 cm, and the thin place is only 0.1 cm. In addition, the tent cover and umbrella cover have a certain arc. Such a difficult tent cover can be successfully cast at one time. Not to mention that in the Qin Dynasty 2,200 years ago, even in the development of technology and complete equipment, it is not easy. The casting of copper horses and bronze figurines is beyond the reach of our contemporary engineers. We found that the casting of eight bronze horses and two imperial officials figurines reached a vivid level. Whether it is the overall shape, expression, personality, or temperament, they can be compared with the best sculptures of the general figurines in the Qin Warrior Pit. It is rare for the casting of bronze horses and bronze figurines to be so accurate, both form and spirit.
For example, the bridle of a copper horse is connected by 82 small gold pipes and 78 small silver pipes. Each flat gold and silver pipe is only 0.8 cm long. One gold and silver pipe is connected in the form of a mother and mother. Its fineness and flexibility are no less than that of a modern bracelet. What is surprising is the tassel hanging under the horse's neck. These tassels are made of copper wires as thin as hair.
Experts used magnifying glass to observe repeatedly and were surprised to find that there were no forging marks on the surface of the copper wire, and the thickness was even, indicating that it was probably made by the wire drawing method, especially the chain ring composed of copper wire, which was made of butt welding of the two ends of the copper wire, and the butt seam was very tight. What method was used to make such a thin copper wire?
What kind of process is used to weld?
It is still a mystery at this moment. In short, the casting process of copper chariots and horses can be regarded as an amazing miracle in ancient bronze smelting. Imagine that there was no lathe at that time, and there were no modern smelting equipment. It was a great innovation to cast such exquisite chariots and horse parts with different sizes and specifications. Unearthed from the pit No. 2 of the Terracotta Warriors and Horses of Qin Shihuang, in short, archers, light chariots, cavalry yards, etc. unearthed from the pit No. 2 of the Qin Shihuang, for the first time, showed us the image data of ancient cavalry, light chariots and archers 2,200 years ago, which is of great significance in the study of ancient military history.
The third pit of the Qin Shihuang Terracotta Warriors and Horses is located on the north side of the west end of Pit No. 1, opposite to Pit No. 2, 25 meters south from Pit No. 1, and 120 meters east from Pit No. 2, with an area of about 520 square meters. It is a concave shape and consists of north and south wing rooms and chariots and horse houses. There is a four-horse chariot and four Terracotta Warriors and Horses in the chariots and horses. There are 68 Terracotta Warriors and Horses in Pit No. 3. Judging from the internal layout of Pit No. 3, it should be the command center of Pit No. 1 and 2. Pit No. 3 is the only one of the three pits that has not been burned by a fire. Therefore, when it was unearthed, there were many paintings on the terracotta figurines and were relatively bright in color. In the wars before the Spring and Autumn Period and the Warring States Period, commanding generals often had to lead the way and charge into battle, so they often had to be in front of the soldiers.During the Chinese period, as the scale of war increased and the mode of combat changed, the position of the commander began to move to the Central Army. The Qin Dynasty war independently separated the command center from the Central Army. This was a major progress in the development of military tactics. The command center independently studied and formulated a strict combat plan. More importantly, the personal safety of the command generals was further guaranteed. This is an important symbol of the maturity of the ancient military tactics. The No. 3 Qinkeng is the earliest military command center discovered in the history of archaeology. The image data, architectural structure, arrangement of pottery figurines, weapon equipment, and unearthed cultural relics all have certain characteristics. It provides precious information on the study of the shape of ancient command centers, divination and war rituals, ordering general systems, clothing, equipment and other issues.
The Terracotta Warriors and Horses of Qin Shihuang is the world's largest underground military museum. The figurine pits are well-designed and have a unique structure. At the bottom of the pit about five meters deep, a load-bearing wall from east to west is set up every three meters. The Terracotta Warriors and Horses are arranged in the empty holes between the walls. There are three Terracotta Warriors and Horses in the Qin Mausoleum, arranged in a shape of a font. The No. 1 terracotta pit in Qin Shihuang is rectangular, 230 meters long from east to west, 62 meters wide from north to south, about five meters deep, with a total area of 14,260 square meters, and there are sloped doorways on all sides. The most of the figurine pits are warrior figurines, with an average height of 1,8 meters.The highest is more than 19 meters, the pottery horse is 172 meters high and 203 meters long. The chariots are the same size as utility vehicles, but the Terracotta Warriors are not restored in the original proportion. According to records, the height of the Qin people is about 165 cm. Most of the Qin terracotta warriors hold bronze weapons, including bows, crossbows, arrowheads, beryllium, spears, spears, spears, swords, scimitars and axes. The bronze weapons have been rust-proofed and buried underground for more than two thousand years, and are still as bright as new. They are practical weapons at that time, wearing armor with fine armor and spikes made of colorful lines on their chests.
Military officials wore long crowns on their heads, and there were more generals than military generals. The Qin Warriors' face shape, figure, expression, eyebrows, eyes and age are different.
After unifying the six kingdoms, the Qin State implemented a national conscription system, and the source of soldiers came from all over the country. This is probably the main reason why there are differences in their face shape, expression, and age. The craftsmen used realistic artistic techniques to express them very realistically. In this huge group of Qin warriors, many obviously different individuals are included, making the entire group more active, real and full of vitality. Looking at these thousands of soldiers, their sculpture art achievements have completely reached a perfect height. Whether it is the image of thousands of officers and soldiers with both form and spirit, or the vivid war horses, they are not mechanical imitations, but focus on showing their inner vitality, motivation, emotional soul, character and spirit.
Most of the images of pottery figurines are full of personality characteristics, appear realistic, natural and lively. The variety of figurine pits was found. The unprecedented number of bronze weapons greatly enriched the field of Qin weapons research. Among them, long beryllium, gold hooks, etc. are the first discoveries in the history of weapon archaeology. The standardized technology of weapon casting and the discovery and research of weapon surface anti-corrosion treatment technology have filled the gap in ancient science and technology research. The designers of Qin warriors fought millions in order to reproduce the Qin army two thousand years ago.They not only pursue the tall shape of a single pottery figurine, but also carefully designed a large military formation system of more than 8,000 tall figurines. On the right is a huge square array, on the front of the left is a large sparse array, and on the back of the left is a command center, thousands of warriors holding weapons, hundreds of war horses dragging cars, rows and rows, forming a magnificent and majestic lineup.Some people wear buns on their heads, wear battle robes, and hold short boots in their feet, and hold crossbows in their hands, which seems to be the savages who charge in battle; some don’t have helmets, wear battle robes, and wear armor on their hands, and carry bronze archers on their backs, and look like archers who are smart and good at shooting; some wear soft hats on their heads, wear armor on their feet, and hold square-mouthed shoes in their hands, and hold long beryllium on their hands, which seems to be the soldiers who are short-soldiers in their hands, and some wear Hu clothes, wear armor on their heads, wear soft hats on their heads, and carry short boots on their hands, and hold horses on the hands of the other hand;
There is a long crown on the head, stretching the arms forward, holding the bun with both hands, and skilled hands; there is a lower-level commander wearing a long crown, a battle robe, a long armor, and a hookless hand, a general wearing a turtle crown, a colorful fish scale armor, and a sword with both hands. This lifelike image of hundreds of officers and soldiers, especially in terms of expression and personality portrayal, looks realistic, natural, and full of vitality, like the image of a general figurine: burly figure, wearing double short brown, outsideWearing colorful fish scale armor, with a long crown with a double curly tail, a tall head and chest, standing tall, with an extraordinary expression and majestic charm, the expression of ordinary warriors: some have their lips crouched up and their horns, and their hearts seem to be filled with anger, some have round eyebrows, and the muscles between their eyebrows are twisted into lumps, which seems to be super brave, some have thick eyebrows, big eyes, broad mouth and thick lips, simple personality, some have relaxed eyebrows, beautiful eyes, slightly lowered heads, and elegant personality; some have sideways and focused, alert and keen;
Some people are thinking with their heads raised, while others are thinking with their heads down. Although the two have to portray a word of thought, due to the different expression techniques, the former gives people the impression that they are majestic and a little arrogant, while the latter is quiet and elegant. The Qin Warriors express ancient military themes. They neither choose the war scenes of two sides fighting and soldiers fighting, nor choose the scenes of soldiers cultivating and defending the soldiers. Instead, they capture the scenes of soldiers wearing armor, straight soldiers lined up their positions, and waiting for the battle. Although I am in this orderly static army camp, the artists still strive to move and stillness in the sculptures of individual pottery figurines., the samurai figurines with sharp armored eyes were raised, standing solemnly, with a firm and brave expression. They seemed to be ready to go, and they seemed to be in a state of war. There were also the samurai figurines driving with their arms forward, holding the bun rope tightly, looking ahead, and standing on standby; the samurai horses dragging the car were fat and strong, with their noses whirling, their eyes wide open, and their ears were erect. The knight figurines, holding the horse with their right hand and holding the bow with their left hand, stood alertly in front of the horse. Once ordered, they would gallop across the battlefield. It was these hundreds of vibrant and different samurai figurines formed an overall static military position, achieving an unexpected artistic effect. The quietness is vivid, the quieter it is, the more moving it is.
Only this static military formation can make people feel the depth of the huge deterrence of the military formation.
Such a magnificent array and magnificent composition are unprecedented and unparalleled
Senior military officer figurines, commonly known as general figurines, are very few in the Qin terracotta pit, and less than ten are unearthed. They are divided into two categories: war robe general figurines and armored general figurines. Their common characteristics are that they wear turtles, tall and burly figures, outstanding temperament, and have the demeanor of generals. The war robe general figurines are dressed simply, but their chests are decorated with floral knots. The front chest, back and shoulders of the armored general figurines are decorated with eight colorful knots, which are gorgeous and colorful, elegant, setting off their level, identity, and majesty in the army.
The chariot, that is, the soldiers in the chariot, except the driver, generally there are two soldiers on the chariot, namely the left chariot figurine and the right chariot figurine. The chariot figurine is wearing a long robes, armor on the outside, legs on the thighs, and a middle thigh on the head. The chariot has a spear, a spear, a halberd, and a halberd in the left hand. The right chariot figurine is the same outfit as the left chariot figurine. In contrast, they are the main forces in the combat operations of the chariot, but according to literature records, they are in the configuration and operation of the weapons.There are certain differences in combat responsibilities. Judging from the weapons found around the remains of the chariots in the Qin Terracotta Warriors Pit, the left and right chariots on the Qin Dynasty warriors both hold long weapons, spears and other long weapons such as long weapons, bows and crossbows, which shows that the division of labor on the left of the chariot is not very clear. On the chariot, in addition to the spear driver and the left of the chariot and the right of the chariot, there are also military officer figurines that command operations. Military officers are divided into high and low, and they are responsible for combat command.
The standing archery figurine is a relatively special type of war among the Qin archery figurines. It was unearthed in the east of Pit No. 2. The weapons it holds are bows and crossbows, and together with the kneeling archery figurines form a crossbow army formation. The standing archery figurine is located on the surface of the formation, wearing a light battle robe, with a bun tied with hair, a leather belt on the waist, and a square mouth and a pointed shoe. The dress is light and flexible. This posture is just as recorded in "Wu Yue Chunqiu". The left foot is vertical, the right foot is horizontal, the left hand is like a tram, and the right hand is like a hug. This is the way to hold a crossbow.
The gestures of the standing archery figurine are consistent with the records of literature, indicating that the shooting skills of Qin Shihuang's era have developed to a very high level, and various movements have formed a standardized pattern and have been inherited by later generations.
Like the standing archery figurine, the kneeling figurine was unearthed in the east of Pit No. 2. The weapons held were bows and crossbows, and together with the standing archery figurine formed a crossbow army formation. The standing archery figurine was located at the top of the formation, and the kneeling figurine was located at the center of the formation. The kneeling figurine was wearing a battle robe, wearing armor, with a bun on the left side of the head, with feet up at the square mouth and pointed shoes, squatting on the left leg, and the right knee was on the ground, turning slightly to the left, and the hands were holding the bow shape on the right side of the body, showing a single soldier holding a bow. In the sculpture art of the kneeling figurine, one is very valuable, that is, their soles, sparse and dense stitches were carefully portrayed by craftsmen, reflecting an extremely strict realistic spirit, allowing future viewers to feel a very strong atmosphere of life from the Qin Dynasty warriors.
Warrior figurines are ordinary soldiers. As the main body of the military formation, the number of unearthed in the Qin terracotta pit is the most unearthed in the Qin terracotta pit. They can be divided into two categories according to their clothing, namely war robes and armored warriors. They are the main combat forces distributed throughout the entire military formation. Most warrior figurines are distributed on the array table and are flexible and mobile; armored warrior figurines are distributed in the array. Both types of warriors hold practical weapons, with high temperament and moving in quietness.
In terms of identity, the military officer figurines are lower than the general figurines, and they are divided into intermediate and inferior ones. From the appearance, they wear double-type long crowns or single-type long crowns. There are several different forms of armor. In addition to the clothing of the military officer figurines, the mentality is also slightly different. The figure of the military officer figurines is generally not as plump and magnificent as the general figurines, but overall they are tall, with wide shoulders, standing upright with a solemn expression.
More shows their hard-working and brave side, and some miss their hometown
The cavalry terracotta was unearthed in Pit No. 2, and there are 116 pieces, mostly used for surprise attacks during wartime. Due to the special military service, the cavalry's outfits are obviously different from those of infantry and chariots.
They wore round hats, tight sleeves, cross-collar, right-sided lapel and double-padded tops on their chests, tight-mouthed trousers, short boots, short armor, no arms on their shoulders, no armor on their hands, short clothes were short and light, holding horses in one hand and bows in the other. From this special outfit, we can clearly see that from ancient cavalry tactics, the knight's agility was a basic requirement. The image of the cavalry unearthed from the No. 2 floor is the earliest physical cavalry discovered in the history of archaeology in my country, so it provides very precious archaeological data for the study of cavalry clothing and equipment at that time.
The chariots are those who drive chariots, and they are unearthed in the three pits. They are wearing long robes and armors, with long arms and wrists, with hand armor on their hands, legs on their shins, neck armor around their necks, scarves and long crowns on their heads, and driving postures with both arms in front of them. Because the chariots were extremely lethal in ancient wars, the chariots were particularly important in ancient wars, and even directly related to the victory or defeat of the war. After all, this was the case in the war in the cold weapon era.
The bronze chariot and horses of Qinling Mausoleum were unearthed twenty meters west of Qin Shihuang Mausoleum. In 1980, when the copper chariot and horse pit were partially excavated, two large copper chariots and horses, one in front and one behind were unearthed in a wooden coffin. They were broken when unearthed and restored to their original state. The main body of the copper chariot and horses was cast in bronze, and some parts were gold and silver jewelry. Each component was cast separately. Then, various mechanical connection processes such as inlay casting, welding, bonding, riveting, mother-child buckle, button ring buckle, pin connection, etc. were assembled into one. The whole body was painted and the horse was white. The pigments used in the painting were all mineral pigments mixed with glue. The concentration of glue was used to shape three-dimensional lines. The size of the carriage, horse and figurine was about half of the real carriage, real horse, and real person. It was completely meticulously made into real objects, and truly reproduced the style of the Emperor Qinling carriage.
The main colors of Qin Warriors are red, green, blue, yellow, purple, brown, white, and black. If you add different colors of darkness, shades, shades, darkness, such as vermilion, pink, maroon, medium yellow, pink purple, pink green, etc., there will be less than a dozen colors. Tests show that these colors are minerals. Red is made of cinnabar, lead elixir, and ochre. Green is malachite, blue azure copper ore, purple is lead elixir and azure copper ore, brown is limonite, white is lead white and kaolin, and black is amorphous charcoal. These minerals are the main pigments of traditional Chinese paintings. The Qin Warriors used such rich mineral pigments, indicating that my country's labor more than two thousand years agoThe people have been able to produce and widely use these pigments in large quantities. This is of great significance not only in the history of painting art, but also in the history of world science and technology. The painting technology of Qin terracotta warriors also has many unique features. The surface of the terracotta warriors is generally treated first before painting. Because the terracotta warriors are plain pottery without glazing, they have many pores and cannot be smooth on the surface. The painting requires that the pores are not easy to be too many, not too few, the surface is not too slippery or too astringent. In order to meet this requirement, the surface of the terracotta warriors seems to be evenly applied with extremely fine mud before firing, and calendering, reducing pores and improving finish. At the same time, the terracotta warriors are burned.Afterwards, chemical physics was performed. From the section of the pottery figurine, it was also proved that the surface of the pottery figurine was painted with fine mud before it was burned. Some parts were applied not only once, but the surface of the pottery figurine was also coated with a thin layer of substance similar to the glue. The surface of the figurine reduced the tight bonding of the pottery figurines, making it difficult to fall off. The painting technique is to adopt different methods according to different parts. Generally, the face of the figurines, hands and feet, first use a layer of ochre to base them, then paint a layer of white, and then paint a layer of pink, so as to make the tone close to the skin tone of the human body as much as possible. The painting of the robes, shorts, shoes, etc. is to paint a color flat.It is just that different colors are used to compare the sleeves and cuffs, armor and armor strips, which further shows the texture of the armor. Some beards and eyebrows are treated with black to paint thin hairs. In short, the painting process is complex, the techniques are diverse, and the coloring is exquisite, which fully displays the layers and texture of the painting, so that the sculpture and painting achieve a complementary artistic effect. Some of the painting techniques were inherited by the Han Dynasty. Pottery figurines and pottery horse paintings strictly simulate real objects, but in the mastery of color, warm colors are mainly used, and cold colors, red, blue, green and other colors are rarely used, which cleverly shows the invincible majesty of the Qin army.
The unearth of the copper carriage and horse has made the world a new look. The complexity of the craftsmanship, exquisite workmanship and excellent skills are all amazing. Qinling Second Copper Carriage is a luxury car with a tent cover. The carriage is close to a square. It is 78 cm wide and 88 cm deep. Its width is only four centimeters longer than the carriage No. 1, and it can be 40 cm long. The carriage No. 2 is covered with a tent cover similar to a turtle cover. The tent cover not only covers the carriage, but also covers the cab in front of the carriage to form a closed carriage so that the owner and the driver can pass the command. The 2 copper carriage is a sedan type. The owner can both ride or sit lie down. If you lie in such a spacious, comfortable and luxurious carriage, you can enjoy a soft sleeper carriage.The comfort of the copper plate can eliminate the fatigue of long-distance bumps even if traveling thousands of miles apart. The equipment in the car No. 2 is more distinctive. The car No. 2 has painted soft cushions. Archaeological experts once found a large square copper plate at the bottom of the car, which is almost the same as the size of the public opinion base. The surface of the copper plate is painted with various bright geometric patterns. There are eight three-centimeter-high copper nails supported by the four corners and the middle. This painted large copper plate is undoubtedly the Wenyin on the ancient car, similar to a soft cushion product. If the double Wenyin is laid in the car, it will definitely be more stable and comfortable. Its function is no different from the modern soft sleeper car. It can be said that the second car is one of the earliest soft sleeper car in my country.After careful cleaning, archaeological experts found that No. 2 copper carriage and horse consisted of 3,462 castings, including 1,742 copper castings, 737 gold castings, and 983 silver castings, with a total weight of 1,241 kilograms. Among them, more than three kilograms of gold castings, more than four kilograms of silver castings, the number of No. 1 copper carriage and horse castings will not be too different. The two passengers combined will not be less than five thousand parts. What is particularly applauding is that all the parts here are cast-formed. These more than 5,000 parts, whether it is a tent cover, umbrella cover, carriage, copper horse, copper figurine, etc., or a small Youle tube less than two square meters, are cast-formed in one go.
Take the casting of the tent cover and the umbrella cover for example. It is not only large in area, but also different in thickness. The thick place is 0.4 cm, and the thin place is only 0.1 cm. In addition, the tent cover and umbrella cover have a certain arc. Such a difficult tent cover can be successfully cast at one time. Not to mention that in the Qin Dynasty 2,200 years ago, even in the development of technology and complete equipment, it is not easy. The casting of copper horses and bronze figurines is beyond the reach of our contemporary engineers. We found that the casting of eight bronze horses and two imperial officials figurines reached a vivid level. Whether it is the overall shape, expression, personality, or temperament, they can be compared with the best sculptures of the general figurines in the Qin Warrior Pit. It is rare for the casting of bronze horses and bronze figurines to be so accurate, both form and spirit.
For example, the bridle of a copper horse is connected by 82 small gold pipes and 78 small silver pipes. Each flat gold and silver pipe is only 0.8 cm long. One gold and silver pipe is connected in the form of a mother and mother. Its fineness and flexibility are no less than that of a modern bracelet. What is surprising is the tassel hanging under the horse's neck. These tassels are made of copper wires as thin as hair.
Experts used magnifying glass to observe repeatedly and were surprised to find that there were no forging marks on the surface of the copper wire, and the thickness was even, indicating that it was probably made by the wire drawing method, especially the chain ring composed of copper wire, which was made of butt welding of the two ends of the copper wire, and the butt seam was very tight. What method was used to make such a thin copper wire?
What kind of process is used to weld?
It is still a mystery at this moment. In short, the casting process of copper chariots and horses can be regarded as an amazing miracle in ancient bronze smelting. Imagine that there was no lathe at that time, and there were no modern smelting equipment. It was a great innovation to cast such exquisite chariots and horse parts with different sizes and specifications. Unearthed from the pit No. 2 of the Terracotta Warriors and Horses of Qin Shihuang, in short, archers, light chariots, cavalry yards, etc. unearthed from the pit No. 2 of the Qin Shihuang, for the first time, showed us the image data of ancient cavalry, light chariots and archers 2,200 years ago, which is of great significance in the study of ancient military history.
The third pit of the Qin Shihuang Terracotta Warriors and Horses is located on the north side of the west end of Pit No. 1, opposite to Pit No. 2, 25 meters south from Pit No. 1, and 120 meters east from Pit No. 2, with an area of about 520 square meters. It is a concave shape and consists of north and south wing rooms and chariots and horse houses. There is a four-horse chariot and four Terracotta Warriors and Horses in the chariots and horses. There are 68 Terracotta Warriors and Horses in Pit No. 3. Judging from the internal layout of Pit No. 3, it should be the command center of Pit No. 1 and 2. Pit No. 3 is the only one of the three pits that has not been burned by a fire. Therefore, when it was unearthed, there were many paintings on the terracotta figurines and were relatively bright in color. In the wars before the Spring and Autumn Period and the Warring States Period, commanding generals often had to lead the way and charge into battle, so they often had to be in front of the soldiers.During the Chinese period, as the scale of war increased and the mode of combat changed, the position of the commander began to move to the Central Army. The Qin Dynasty war independently separated the command center from the Central Army. This was a major progress in the development of military tactics. The command center independently studied and formulated a strict combat plan. More importantly, the personal safety of the command generals was further guaranteed. This is an important symbol of the maturity of the ancient military tactics. The No. 3 Qinkeng is the earliest military command center discovered in the history of archaeology. The image data, architectural structure, arrangement of pottery figurines, weapon equipment, and unearthed cultural relics all have certain characteristics. It provides precious information on the study of the shape of ancient command centers, divination and war rituals, ordering general systems, clothing, equipment and other issues.
The Terracotta Warriors and Horses of Qin Shihuang is the world's largest underground military museum. The figurine pits are well-designed and have a unique structure. At the bottom of the pit about five meters deep, a load-bearing wall from east to west is set up every three meters. The Terracotta Warriors and Horses are arranged in the empty holes between the walls. There are three Terracotta Warriors and Horses in the Qin Mausoleum, arranged in a shape of a font. The No. 1 terracotta pit in Qin Shihuang is rectangular, 230 meters long from east to west, 62 meters wide from north to south, about five meters deep, with a total area of 14,260 square meters, and there are sloped doorways on all sides. The most of the figurine pits are warrior figurines, with an average height of 1,8 meters.The highest is more than 19 meters, the pottery horse is 172 meters high and 203 meters long. The chariots are the same size as utility vehicles, but the Terracotta Warriors are not restored in the original proportion. According to records, the height of the Qin people is about 165 cm. Most of the Qin terracotta warriors hold bronze weapons, including bows, crossbows, arrowheads, beryllium, spears, spears, spears, swords, scimitars and axes. The bronze weapons have been rust-proofed and buried underground for more than two thousand years, and are still as bright as new. They are practical weapons at that time, wearing armor with fine armor and spikes made of colorful lines on their chests.
Military officials wore long crowns on their heads, and there were more generals than military generals. The Qin Warriors' face shape, figure, expression, eyebrows, eyes and age are different.
After unifying the six kingdoms, the Qin State implemented a national conscription system, and the source of soldiers came from all over the country. This is probably the main reason why there are differences in their face shape, expression, and age. The craftsmen used realistic artistic techniques to express them very realistically. In this huge group of Qin warriors, many obviously different individuals are included, making the entire group more active, real and full of vitality. Looking at these thousands of soldiers, their sculpture art achievements have completely reached a perfect height. Whether it is the image of thousands of officers and soldiers with both form and spirit, or the vivid war horses, they are not mechanical imitations, but focus on showing their inner vitality, motivation, emotional soul, character and spirit.
Most of the images of pottery figurines are full of personality characteristics, appear realistic, natural and lively. The variety of figurine pits was found. The unprecedented number of bronze weapons greatly enriched the field of Qin weapons research. Among them, long beryllium, gold hooks, etc. are the first discoveries in the history of weapon archaeology. The standardized technology of weapon casting and the discovery and research of weapon surface anti-corrosion treatment technology have filled the gap in ancient science and technology research. The designers of Qin warriors fought millions in order to reproduce the Qin army two thousand years ago.They not only pursue the tall shape of a single pottery figurine, but also carefully designed a large military formation system of more than 8,000 tall figurines. On the right is a huge square array, on the front of the left is a large sparse array, and on the back of the left is a command center, thousands of warriors holding weapons, hundreds of war horses dragging cars, rows and rows, forming a magnificent and majestic lineup.Some people wear buns on their heads, wear battle robes, and hold short boots in their feet, and hold crossbows in their hands, which seems to be the savages who charge in battle; some don’t have helmets, wear battle robes, and wear armor on their hands, and carry bronze archers on their backs, and look like archers who are smart and good at shooting; some wear soft hats on their heads, wear armor on their feet, and hold square-mouthed shoes in their hands, and hold long beryllium on their hands, which seems to be the soldiers who are short-soldiers in their hands, and some wear Hu clothes, wear armor on their heads, wear soft hats on their heads, and carry short boots on their hands, and hold horses on the hands of the other hand;
There is a long crown on the head, stretching the arms forward, holding the bun with both hands, and skilled hands; there is a lower-level commander wearing a long crown, a battle robe, a long armor, and a hookless hand, a general wearing a turtle crown, a colorful fish scale armor, and a sword with both hands. This lifelike image of hundreds of officers and soldiers, especially in terms of expression and personality portrayal, looks realistic, natural, and full of vitality, like the image of a general figurine: burly figure, wearing double short brown, outsideWearing colorful fish scale armor, with a long crown with a double curly tail, a tall head and chest, standing tall, with an extraordinary expression and majestic charm, the expression of ordinary warriors: some have their lips crouched up and their horns, and their hearts seem to be filled with anger, some have round eyebrows, and the muscles between their eyebrows are twisted into lumps, which seems to be super brave, some have thick eyebrows, big eyes, broad mouth and thick lips, simple personality, some have relaxed eyebrows, beautiful eyes, slightly lowered heads, and elegant personality; some have sideways and focused, alert and keen;
Some people are thinking with their heads raised, while others are thinking with their heads down. Although the two have to portray a word of thought, due to the different expression techniques, the former gives people the impression that they are majestic and a little arrogant, while the latter is quiet and elegant. The Qin Warriors express ancient military themes. They neither choose the war scenes of two sides fighting and soldiers fighting, nor choose the scenes of soldiers cultivating and defending the soldiers. Instead, they capture the scenes of soldiers wearing armor, straight soldiers lined up their positions, and waiting for the battle. Although I am in this orderly static army camp, the artists still strive to move and stillness in the sculptures of individual pottery figurines., the samurai figurines with sharp armored eyes were raised, standing solemnly, with a firm and brave expression. They seemed to be ready to go, and they seemed to be in a state of war. There were also the samurai figurines driving with their arms forward, holding the bun rope tightly, looking ahead, and standing on standby; the samurai horses dragging the car were fat and strong, with their noses whirling, their eyes wide open, and their ears were erect. The knight figurines, holding the horse with their right hand and holding the bow with their left hand, stood alertly in front of the horse. Once ordered, they would gallop across the battlefield. It was these hundreds of vibrant and different samurai figurines formed an overall static military position, achieving an unexpected artistic effect. The quietness is vivid, the quieter it is, the more moving it is.
Only this static military formation can make people feel the depth of the huge deterrence of the military formation.
Such a magnificent array and magnificent composition are unprecedented and unparalleled
Senior military officer figurines, commonly known as general figurines, are very few in the Qin terracotta pit, and less than ten are unearthed. They are divided into two categories: war robe general figurines and armored general figurines. Their common characteristics are that they wear turtles, tall and burly figures, outstanding temperament, and have the demeanor of generals. The war robe general figurines are dressed simply, but their chests are decorated with floral knots. The front chest, back and shoulders of the armored general figurines are decorated with eight colorful knots, which are gorgeous and colorful, elegant, setting off their level, identity, and majesty in the army.
The chariot, that is, the soldiers in the chariot, except the driver, generally there are two soldiers on the chariot, namely the left chariot figurine and the right chariot figurine. The chariot figurine is wearing a long robes, armor on the outside, legs on the thighs, and a middle thigh on the head. The chariot has a spear, a spear, a halberd, and a halberd in the left hand. The right chariot figurine is the same outfit as the left chariot figurine. In contrast, they are the main forces in the combat operations of the chariot, but according to literature records, they are in the configuration and operation of the weapons.There are certain differences in combat responsibilities. Judging from the weapons found around the remains of the chariots in the Qin Terracotta Warriors Pit, the left and right chariots on the Qin Dynasty warriors both hold long weapons, spears and other long weapons such as long weapons, bows and crossbows, which shows that the division of labor on the left of the chariot is not very clear. On the chariot, in addition to the spear driver and the left of the chariot and the right of the chariot, there are also military officer figurines that command operations. Military officers are divided into high and low, and they are responsible for combat command.
The standing archery figurine is a relatively special type of war among the Qin archery figurines. It was unearthed in the east of Pit No. 2. The weapons it holds are bows and crossbows, and together with the kneeling archery figurines form a crossbow army formation. The standing archery figurine is located on the surface of the formation, wearing a light battle robe, with a bun tied with hair, a leather belt on the waist, and a square mouth and a pointed shoe. The dress is light and flexible. This posture is just as recorded in "Wu Yue Chunqiu". The left foot is vertical, the right foot is horizontal, the left hand is like a tram, and the right hand is like a hug. This is the way to hold a crossbow.
The gestures of the standing archery figurine are consistent with the records of literature, indicating that the shooting skills of Qin Shihuang's era have developed to a very high level, and various movements have formed a standardized pattern and have been inherited by later generations.
Like the standing archery figurine, the kneeling figurine was unearthed in the east of Pit No. 2. The weapons held were bows and crossbows, and together with the standing archery figurine formed a crossbow army formation. The standing archery figurine was located at the top of the formation, and the kneeling figurine was located at the center of the formation. The kneeling figurine was wearing a battle robe, wearing armor, with a bun on the left side of the head, with feet up at the square mouth and pointed shoes, squatting on the left leg, and the right knee was on the ground, turning slightly to the left, and the hands were holding the bow shape on the right side of the body, showing a single soldier holding a bow. In the sculpture art of the kneeling figurine, one is very valuable, that is, their soles, sparse and dense stitches were carefully portrayed by craftsmen, reflecting an extremely strict realistic spirit, allowing future viewers to feel a very strong atmosphere of life from the Qin Dynasty warriors.
Warrior figurines are ordinary soldiers. As the main body of the military formation, the number of unearthed in the Qin terracotta pit is the most unearthed in the Qin terracotta pit. They can be divided into two categories according to their clothing, namely war robes and armored warriors. They are the main combat forces distributed throughout the entire military formation. Most warrior figurines are distributed on the array table and are flexible and mobile; armored warrior figurines are distributed in the array. Both types of warriors hold practical weapons, with high temperament and moving in quietness.
In terms of identity, the military officer figurines are lower than the general figurines, and they are divided into intermediate and inferior ones. From the appearance, they wear double-type long crowns or single-type long crowns. There are several different forms of armor. In addition to the clothing of the military officer figurines, the mentality is also slightly different. The figure of the military officer figurines is generally not as plump and magnificent as the general figurines, but overall they are tall, with wide shoulders, standing upright with a solemn expression.
More shows their hard-working and brave side, and some miss their hometown
The cavalry terracotta was unearthed in Pit No. 2, and there are 116 pieces, mostly used for surprise attacks during wartime. Due to the special military service, the cavalry's outfits are obviously different from those of infantry and chariots.
They wore round hats, tight sleeves, cross-collar, right-sided lapel and double-padded tops on their chests, tight-mouthed trousers, short boots, short armor, no arms on their shoulders, no armor on their hands, short clothes were short and light, holding horses in one hand and bows in the other. From this special outfit, we can clearly see that from ancient cavalry tactics, the knight's agility was a basic requirement. The image of the cavalry unearthed from the No. 2 floor is the earliest physical cavalry discovered in the history of archaeology in my country, so it provides very precious archaeological data for the study of cavalry clothing and equipment at that time.
The chariots are those who drive chariots, and they are unearthed in the three pits. They are wearing long robes and armors, with long arms and wrists, with hand armor on their hands, legs on their shins, neck armor around their necks, scarves and long crowns on their heads, and driving postures with both arms in front of them. Because the chariots were extremely lethal in ancient wars, the chariots were particularly important in ancient wars, and even directly related to the victory or defeat of the war. After all, this was the case in the war in the cold weapon era.
The bronze chariot and horses of Qinling Mausoleum were unearthed twenty meters west of Qin Shihuang Mausoleum. In 1980, when the copper chariot and horse pit were partially excavated, two large copper chariots and horses, one in front and one behind were unearthed in a wooden coffin. They were broken when unearthed and restored to their original state. The main body of the copper chariot and horses was cast in bronze, and some parts were gold and silver jewelry. Each component was cast separately. Then, various mechanical connection processes such as inlay casting, welding, bonding, riveting, mother-child buckle, button ring buckle, pin connection, etc. were assembled into one. The whole body was painted and the horse was white. The pigments used in the painting were all mineral pigments mixed with glue. The concentration of glue was used to shape three-dimensional lines. The size of the carriage, horse and figurine was about half of the real carriage, real horse, and real person. It was completely meticulously made into real objects, and truly reproduced the style of the Emperor Qinling carriage.
The main colors of Qin Warriors are red, green, blue, yellow, purple, brown, white, and black. If you add different colors of darkness, shades, shades, darkness, such as vermilion, pink, maroon, medium yellow, pink purple, pink green, etc., there will be less than a dozen colors. Tests show that these colors are minerals. Red is made of cinnabar, lead elixir, and ochre. Green is malachite, blue azure copper ore, purple is lead elixir and azure copper ore, brown is limonite, white is lead white and kaolin, and black is amorphous charcoal. These minerals are the main pigments of traditional Chinese paintings. The Qin Warriors used such rich mineral pigments, indicating that my country's labor more than two thousand years agoThe people have been able to produce and widely use these pigments in large quantities. This is of great significance not only in the history of painting art, but also in the history of world science and technology. The painting technology of Qin terracotta warriors also has many unique features. The surface of the terracotta warriors is generally treated first before painting. Because the terracotta warriors are plain pottery without glazing, they have many pores and cannot be smooth on the surface. The painting requires that the pores are not easy to be too many, not too few, the surface is not too slippery or too astringent. In order to meet this requirement, the surface of the terracotta warriors seems to be evenly applied with extremely fine mud before firing, and calendering, reducing pores and improving finish. At the same time, the terracotta warriors are burned.Afterwards, chemical physics was performed. From the section of the pottery figurine, it was also proved that the surface of the pottery figurine was painted with fine mud before it was burned. Some parts were applied not only once, but the surface of the pottery figurine was also coated with a thin layer of substance similar to the glue. The surface of the figurine reduced the tight bonding of the pottery figurines, making it difficult to fall off. The painting technique is to adopt different methods according to different parts. Generally, the face of the figurines, hands and feet, first use a layer of ochre to base them, then paint a layer of white, and then paint a layer of pink, so as to make the tone close to the skin tone of the human body as much as possible. The painting of the robes, shorts, shoes, etc. is to paint a color flat.It is just that different colors are used to compare the sleeves and cuffs, armor and armor strips, which further shows the texture of the armor. Some beards and eyebrows are treated with black to paint thin hairs. In short, the painting process is complex, the techniques are diverse, and the coloring is exquisite, which fully displays the layers and texture of the painting, so that the sculpture and painting achieve a complementary artistic effect. Some of the painting techniques were inherited by the Han Dynasty. Pottery figurines and pottery horse paintings strictly simulate real objects, but in the mastery of color, warm colors are mainly used, and cold colors, red, blue, green and other colors are rarely used, which cleverly shows the invincible majesty of the Qin army.
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