Terra Cotta Warriors Go Back In Chinese History
Terra-cotta Warriors Over View🐎
The Terra cotta Army, also known as the Terracotta Warriors, refers to the life-sized sculptures buried with China’s first emperor, Qin Shi Huang, to accompany him in the afterlife. They are part of the Mausoleum of the First Qin Emperor, located in Lintong District, Xi’an, Shaanxi Province, China, about 1.5 km east of the emperor’s tomb.
The Terra cotta Warriors site is one of China’s most famous archaeological finds and has been visited by over 200 foreign heads of state. The site is considered one of the world’s greatest ancient wonders and is often called the “Eighth Wonder of the World.”
The terra cotta Warriors figures, including soldiers, horses, and chariots, were originally intended as burial objects. In ancient times, human sacrifices were often used to accompany rulers in death, and the terra cotta figures symbolized this practice without the actual loss of human life.
*Xi’an Terra cotta Warriors Exhibition Area
*Xi’an Terra cotta Warriors Information Display Area
Architectural Structure🏠
The Terra cotta Warriors Army burial pits are oriented west to east, with three pits arranged in a T-shape. The first pit discovered, Pit One, is rectangular and contains over 8,000 warriors, with sloped entrances on all sides. Pits Two and Three are located on either side of Pit One.
The burial pits feature an underground tunnel structure, created by digging a deep pit of about 5 meters and constructing parallel earthen walls in the center. Wooden pillars were placed on either side of these walls, covered with beams and densely laid wooden slats, topped with a layer of reeds and covered with yellow earth, creating a roof that rose about 2 meters above the surface.
The bottom of the pits is paved with blue bricks, and the internal height from roof to floor is 3.2 meters. After the figures were placed inside, wooden supports sealed off the entrances, creating a closed underground structure.
Archaeological Findings🪜
From 1974 to 1977, the Terra cotta Warriors Army was excavated about 1 kilometer east of the Qin Shi Huang Mausoleum. Pit One, located to the south, measures 230 meters in length and 62 meters in width, covering an area of 14,260 square meters. Pit Two measures 124 meters in length and 98 meters in width, covering 6,000 square meters, while Pit Three covers 520 square meters.
A total of 800 warrior figures, 18 wooden chariots, and over 100 ceramic horses have been unearthed. Based on current formations, it is estimated that there may be 7,000 warrior figures across the three pits, along with 100 chariots and 100 horses. The figures are generally around 1.8 meters tall.
*Middle-ranking military officer figurine.
The First Pit 🕳
The discovery of the first pit dates back to March 1974, when local farmers were digging a well, inadvertently finding it at the southeastern corner. In mid-July 1974, an archaeological team from the Shaanxi Provincial Museum, the Cultural Relics Bureau, and the Lintong County Cultural Center arrived to begin excavation work.
As the work progressed, the team grew to include more experts in archaeology, preservation, photography, and restoration. The excavation of the first pit was fully underway from 1976 to 1978, with multiple restoration teams engaged in large-scale repairs of the terra cotta Warriors.
The eastern end of the first pit contains 210 fully armored warrior figures arranged as a rear guard, while the remaining figures are arranged in rows of 68, forming a phalanx. In the center, there is a formation of 38 chariots and infantry, making up the bulk of the army.
From 2009 to 2022, the Qin Shi Huang Mausoleum Museum conducted a third official excavation of the first pit. The excavation focused on areas T23, T24, and various sections of the northern wall, covering about 430 square meters. Over 220 terra cotta Warriors were discovered, which were categorized into different ranks based on their crowns, armor, and attire. Preliminary analyses suggested that the previously identified lower-ranking officers could be further classified, providing new insights into the arrangement of the army formations.
Archaeologists also found remnants of Qin shields, which were twice the size of those found on bronze chariots, marking the first discovery of such shields in Qin archaeological work. Additional artifacts included bronze swords and crossbows, confirming the methods of manufacturing and preserving bows and crossbows.
In January 2023, the Shaanxi Provincial Cultural Heritage Bureau announced important archaeological discoveries from 2022, highlighting new finds from the third excavation of the first pit, which revealed insights into the arrangement of the army formations and the production processes of the terra cotta Warriors.
*Kneeling figurine of the Xi’an Terra cotta Warriors.
*Xi’an Terra cotta Warriors Exhibition Area
The Second Pit 🕳
The first pit was discovered by chance during well digging, while the second pit was identified through deliberate drilling by archaeologists. In April and May 1976, a targeted drilling operation to the northeast side of the first pit led to the discovery of the second pit.
On March 1, 1994, the protective hall for the second pit was completed, and a formal ceremony was held to commence the excavation. The National Cultural Heritage Administration established an expert group specifically for the excavation to ensure scientific and standardized practices.
The second pit is L-shaped, located northeast of the first pit and east of the third pit, measuring 96 meters long and 84 meters wide, with a total area of about 6,000 square meters. Its construction mirrors that of the first pit but features a more complex arrangement of troops and a fuller range of military units, making it the most spectacular of the three pits.
It consists of a special multi-unit force comprising cavalry, chariots, and infantry, including crossbowmen. The second pit contained over 1,300 terra cotta figures, more than 80 chariots, and tens of thousands of bronze weapons, with generals, cavalry, and kneeling archers identified for the first time.
The pit layout is divided into four units. The first unit, located at the eastern end, includes 60 standing crossbowmen in a corridor, with 160 crouching crossbowmen forming the center of the unit. The second unit on the right side consists of a formation of 64 chariots, each pulled by four terra cotta horses. The third unit, positioned centrally, comprises 19 chariots, 264 infantry figures, and 8 cavalry figures, arranged in three columns.
The fourth unit on the left side features 108 cavalry figures and 180 terra cotta horses arranged in rows. The 108 cavalry figures are the earliest large-scale representations of ancient cavalry found in Chinese archaeology, providing vital insights into ancient military history.
*Terra cotta Warriors Exhibition Area
*Terra cotta Warriors Chariot Driver Figurine
The Third Pit 🪅
The third pit was discovered through drilling, similar to the second pit. On May 11, 1976, a burial pit was found 25 meters north of the western end of the first pit, designated as the third pit.
The third pit is located to the north side of the first pit and east of the second pit, covering an area of about 520 square meters and has a concave shape, consisting of side chambers and a chariot area, which contained a four-horse chariot and four terra cotta Warriors. A total of 68 terracotta figures were unearthed from this pit.
Its layout suggests it served as a command center for the other two pits. Notably, it is the only pit that has not suffered significant fire damage, allowing many of the painted figures to retain vivid colors.
The establishment of independent command units for military leadership marked an important development in ancient military tactics, as it provided better protection for commanders during battles. The third pit provides valuable data for studying ancient command structure, ceremonial practices, and military organization.
*Terracotta War Horse of Xi’an.
The Fourth Pit
The fourth pit is empty, containing only backfilled earth, and is believed to have remained unfinished due to factors like the peasant uprisings at the end of the Qin Dynasty.
*Terra cotta Warriors Buried in the Earth.
Unearthed Artifacts🧱
The terra cotta figures are primarily categorized into two main types: soldiers and officers, with officers further divided into lower, middle, and higher ranks. Typically, soldiers do not wear crowns, while officers do, and there are distinctions in their armor as well. The figures include infantry, cavalry, and charioteers, with different armaments reflecting the requirements of battle.
The majority of unearthed figures are warrior figures, often depicted wielding bronze weapons like bows, crossbows, and swords, wearing finely detailed armor adorned with colorful knots. Officers wear distinctive crowns, and their numbers are significantly lower than those of the warriors.
Charioteer Figures
Charioteers are the soldiers found in the chariots, with each typically including two soldiers positioned to the left and right. The left charioteer wears a long robe, armor, and leg protectors, holding long weapons, while the right charioteer has a similar outfit but with a reversed posture. They are essential to the power of ancient war chariots, directly influencing the outcome of battles.
*Charioteer Figures.
Standing Archer Figures
This specialized infantry type, unearthed in the eastern part of the second pit, holds bows and works alongside kneeling archers to form an archer unit. The standing archers are positioned at the front of the formation, dressed in lightweight garments for agility. Their hand gestures and poses align with ancient shooting techniques, indicating a high level of skill.
*Standing Archer Figures.
Kneeling Archer Figures
These figures represent archers who typically operate from a kneeling position, often used in specific battle formations. They hold their bows drawn, ready to release arrows at opponents.
*Kneeling Archer Figures.
Warrior Figurines
These are ordinary soldiers, with an average height of about 1.8 meters. As the main body of the army formation, they were unearthed in the largest numbers in the Qin terra cotta pits. Based on their attire, they are divided into two types: robe-wearing warriors and armored warriors.
They serve as the main fighting force and are distributed throughout the army formation. The robe-wearing warriors are mostly located at the front of the formation, quick and mobile, while the armored warriors are positioned in the center. Both types carry real combat weapons, exuding a powerful, poised energy, ready to spring into action at any moment.
*Warrior Figurines.
Military Official Figurines
These figurines represent military officials ranking below the generals, divided into mid-level and lower-level officials. Their numbers are extremely limited, with fewer than ten discovered in the Qin pits. They are categorized into two types: robe-wearing general figurines and armored general figurines. The armored generals wear distinctive long crowns and several forms of armor, while the robe-wearing generals have a simpler appearance, adorned only with a decorative flower knot on the chest.
The armored generals, on the other hand, have colorful flower knots on the chest, back, and shoulders, symbolizing their rank and status. These figures not only differ in attire but also in demeanor, as they are typically not as physically imposing as the general figurines, yet they appear tall, broad-shouldered, and solemn, embodying qualities of thoughtfulness, bravery, and skill. Some figurines also appear to be longing for their homeland.
*Military Official Figurines.
Cavalry Figurines
Unearthed from Pits 1 and 2, a total of 116 cavalry figurines were discovered, representing troops used in surprise attacks during battle. Due to their specific role, their attire differs from that of infantry or chariot soldiers. Cavalrymen wear small round caps, short close-fitting armor, and trousers that allow for mobility, along with short boots.
They hold the reins in one hand and carry a bow in the other, emphasizing agility, a crucial aspect of cavalry tactics. These cavalry figures from Pit 2 represent the earliest known physical evidence of cavalry in Chinese archaeological history, providing invaluable insight into the uniforms and equipment of the time.
*Cavalry Figurines.
Charioteer Figurines
These figures, responsible for driving war chariots, were unearthed in all three pits. They wear long robes with armor over the top, bracers that extend to the wrists, and protective leg armor. Their necks are shielded by neck guards, and they wear long crowns with scarves. Their hands are positioned as if pulling reins, ready to drive the chariot. In ancient warfare, chariots were highly destructive, and the skill of the charioteer could determine the outcome of a battle, highlighting their critical role in ancient military strategy.
*Charioteer Figurines.
Chariot Horses🐴
In the terracotta pits, each war chariot was driven by four terra cotta horses. These horses are lifelike, measuring approximately 2.10 meters in length and standing 1.72 meters tall. All four horses are similarly modeled, with clipped manes and tied tails, their heads raised as if neighing. The two middle horses look straight ahead, while the outer horses slightly twist their necks outward, eager to charge forward.
The terra cotta horses resemble real horses found in the Emperor’s burial stables, indicating that they were modeled after actual horses. These horses are of the River Bend breed, known for their small size, short necks, and broad heads, originating from the Tao River region in modern-day Gansu province.
*Chariot Horses.
Saddled Horses🐎
Discovered in Pit 2, these horses stand 1.72 meters high with a shoulder height of 1.33 meters. They are small in stature, with large heads, pronounced nasal bones, thick short necks, broad backs, and well-developed limbs, making them ideal for both pulling carts and riding. Based on records from the Qin Dynasty, these saddled horses came from the government stables, where they were trained and selected by officials responsible for managing the military’s horses.
The Qin state was famous for horse breeding, and by the time of the Qin Empire, horse breeding had become even more widespread, with stables supplying horses for both cavalry and chariot units.
*Saddled Horses.
Production Process🔨
Most of the Terracotta Warriors were made using the method of firing pottery. First, a basic form was created using a clay mold, which was then covered with a fine layer of clay for further detailing and painting. Some were assembled before firing, while others were fired first and then assembled. The firing process was carefully controlled, resulting in a uniform finish, pure color, and high hardness. Each step in the production process was meticulously divided, with strict guidelines for each task.
Originally, all the Terracotta Warriors were vividly painted. During excavation, some figurines were found with parts still retaining their bright colors. However, after being exposed to oxygen, the pigments would disappear within ten seconds, fading into white dust. Today, only faint traces of the original paint remain visible.
Characteristics of the Qin Terracotta Warriors🎠
The creation of the Terracotta Warriors was based largely on real-life depictions, with intricate and vivid craftsmanship. Each figurine’s attire, posture, and facial expression are unique. The hairstyles alone vary greatly, as do the hand gestures, while facial expressions differ even more. From their attire, expressions, and gestures, one can distinguish between officers and soldiers, as well as infantry and cavalry. Overall, the facial features of the warriors convey the unique dignity and calm of the Qin people, reflecting both individual personalities and the spirit of the times.
The sculpting of the warriors combined painting with carving. Although centuries have passed, traces of the original colors could still be seen on the figures’ faces and clothing when they were first unearthed. The artistic technique focuses on capturing lifelike expressions, with clever composition and flexible methods, blending realism with decorative elements. This approach has earned the Terracotta Warriors an important place in the history of Chinese sculpture. Among the more than a thousand warrior and horse figurines unearthed, nearly every single one is unique.
After Qin unified the six states, the empire implemented a national conscription system, drawing soldiers from across the country. This is likely why the warriors show differences in face shapes, expressions, and ages. The artisans used a realistic style to portray these differences vividly, giving the entire group of warriors a dynamic, lively, and realistic appearance.
Thousands of warrior and horse figurines were carefully painted. The faces, hands, and feet of the warriors were painted in a pinkish hue, giving the figures a lifelike muscular texture. The facial detailing, in particular, was masterfully done: the whites of the eyes, black pupils, and even the irises were vividly painted.
The hair buns, beards, and eyebrows were all rendered in black. The overall color palette was bright and harmonious. The painting also emphasized color contrast between the clothing and individual figures, enhancing the artistic appeal. The terracotta horses were similarly painted in bright, harmonious colors, making the static figures appear more animated.
*Xi’an Terracotta Army Ruins and Broken Walls
*Xi’an Terracotta Army Statue of Emperor Qin Shi Huang
Historical Background
The practice of human sacrifice emerged alongside the collapse of primitive communal systems and became prevalent during the establishment of slavery. It reached its peak during the Shang dynasty, where human sacrifices were common in the tombs of the nobility. In the royal tombs of Anyang, over five thousand people were sacrificed, either buried alive or killed.
The Zhou dynasty, learning from the brutality of the Shang, promoted the concept of “ruling with virtue to protect the people.” With the rise of Confucianism, the practice of human sacrifice was greatly reduced, though not entirely eliminated. During the Spring and Autumn period, as the states vied for dominance and the era grew turbulent, human sacrifice resurfaced. However, by the Warring States period, most states had abolished the practice. In 381 BCE, Qin officially banned human sacrifice.
The societal changes during the Spring and Autumn and Warring States periods led to shifts in burial customs, with human sacrifices being replaced by figurines. The term “yong” (俑) originally referred to human sacrifices, but as the practice faded, the word came to mean clay or wooden figurines used in burials. The Qin Terracotta Warriors represent the peak of using figurines as substitutes for human sacrifices. The scale and realism of the Qin warriors reflect not only the craftsmanship of the artisans but also the will of China’s first emperor, Qin Shi Huang.