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The Terracotta Warriors and Horses Pit is located in the south of Xiyang Village, 6 kilometers east of Lintong District, Xi 'an, and 1,225 meters west of the Mausoleum of Qin Shihuang. It is the largest group of burial pits in mausoleum of the first qin emperor, and the vast terracotta warriors and horses buried in the pit are the epitome of the powerful army of Qin Dynasty. In 1974, farmers in Xiyang village discovered the terracotta warriors and horses of Qin Shihuang, which shocked China and foreign countries. It consists of three pits with different sizes, which are numbered as No.1 pit, No.2 pit and No.3 pit respectively. The total area of the three pits is nearly 2, square meters. There are about 8, pottery figurines and horses with the size similar to real people and horses in the pits, and there are tens of thousands of practical weapons.
The terracotta warriors and horses in the pit are arranged in the formation of ancient armies. Inside the No.1 pit is a rectangular army array consisting of more than 6, pottery figurines, pottery horses and more than 4 chariots. Pit No.2 is an infantry mixed army array with more than 9 terracotta figures, 89 chariots, 356 driving terracotta horses and more than 1 pommel horses. There are 68 terracotta figures, 4 terracotta horses and 1 chariot in the No.3 pit, which is the high command of the No.1 and No.2 pit corps. According to different identities, all kinds of pottery figurines unearthed are divided into general figurines, military officials figurines, warrior figurines and so on. Their costumes, crowns and gods are different and varied, and thousands of figurines do not have the same face. It fully embodies the wisdom of the working people in ancient China and the great creation in the history of ancient civilization in China, and is deeply loved by people all over the world. It is known as the "eighth wonder of the world" and the greatest discovery in the archaeological history of the 2th century, and has been listed in the World Cultural Heritage List by UNESCO.
The Terracotta Warriors and Horses are the pride of China people and the wealth of all mankind. 1. The making technology of pottery figurines Thousands of warrior figurines unearthed from the Qin figurines pit have been observed, compared and studied repeatedly by archaeologists in the process of cleaning and repairing, and the * * * same law of the making method of pottery figurines has been summarized. Generally speaking, the production of pottery figurines is a combination of plastic and mold, mainly plastic. That is, first, the rough tire of the figurine is made of clay, and then it is modified and detailed by secondary mud. The heads and hands of the figurines are molded into rough tires, and then the details are portrayed. The trunk part is hand-molded. After the head, hands and trunk are made separately, they are assembled and nested into a complete pottery figurine. To make the figurine head, firstly, the rough tire of the figurine head is made by clamping or single-mode production combined with hand plastic. Among the unearthed terracotta figures, the number of terracotta figures made by combining single-mode and hand-plastic is small, and most of the terracotta figures are made by closing the mold. Generally, the clamping method is to divide the figurine head into two halves, which are roughly equal, and make them with a single mold. Then, the two pieces of single mold are bonded to form a complete figurine head, and then the details of facial features are described. Most of the ears of pottery figurines are made by single mode and attached to both sides of the head. Some of the bun of figurines are carved by piling mud on the back of the head; The other is molded separately and attached to the top of the head. Some braids are carved into grooves at the corresponding parts of the head, and the prefabricated braids are embedded in the grooves. The braid is bas-relief. The detailed carving of the figurine head focuses on the facial features, beard and hair lines. The facial features depict the different personality and psychological characteristics of the characters by carving and modifying the details on the basis of molding. For example, the brow bones and eyebrows of pottery figurines are carved into mountain shapes, and some are carved into crescent shapes and willow shapes, and thin eyebrows are carved with negative lines on the brow bones. The eye and mouth depictions of pottery figurines are also ingenious in details. The eyeball sculpture of the glaring person bursts out; If you look up, the junction of the upper eyelid and the brow bone is sunken; For those who are quiet, the mouth seam and mouth are portrayed as straight lines; Serious expression, mouth wrinkles droop. Each terracotta figure has a different expression, and its facial muscles change accordingly. Fighters with a demeanor, the muscles between the eyebrows are carved and raised, and the old man depicts wrinkles on his forehead; Young people, use scraping techniques to make facial muscles round and plump. The thickness of muscles and the ups and downs of bones in the three chambers and five mountains of the face are all very reasonable after careful depiction. Some of the beards of pottery figurines are carved or attached, such as moustaches with natural drooping horns, most of which are carved by land reduction method, and thin beards are carved with negative lines on them; Two flat plate-shaped moustaches, usually attached to mud pieces and then engraved with moustaches; The beard around the cheeks is made of mud piled up or pasted with mud pieces and then scraped and carved. The hairstyles of pottery figurines are varied, and their carving methods are also different. The comb-shaped hairstyle is to cover the first tire of the head with thin mud, and then scratch it with a comb-shaped tool; Chord hair style, is covered with thick mud on the first tire of the figurine head, and then scratched by a rod-shaped tool from bottom to top to form a spiral pattern. Most of the temples on the forehead are carved with a comb-shaped tool. In order to show the different personality characteristics of the characters, some people pile mud on their foreheads and carve them into raised rope-like sideburns to show the roughness of their characters. After detailed carving, it presents rich and colorful features. To shape the trunk of a terracotta figure, the clay is first made into a rough tire, and then detailed features such as clothing lines, armor, belts, hooks, etc. are depicted on the large-scale rough tire. The rough tire of the trunk of a terracotta figure is made by stacking plastic pieces from bottom to top. First of all, the pedals for the clay figurines to stand are made of square molds, and the manufacturing method is the same as that of the mud-removed blanks in rural areas today. After the footboard is made, the feet of the terracotta figurine are molded, and the legs and shorts are attached to them. Because of the different costumes of the legs, the legs of the terracotta figurine are solid and hollow. The legs of the solid figurine are generally folded and hammered into a cylindrical Dorobou, and then attached to the heel. In order to show the changing relationship between the bones and muscles of the terracotta figurine, the details should be scraped and trimmed. The method of hollow legs is made by rolling mud slices or rolling mud strips. Pottery figurine underpants are made by printing a thick rope pattern on the outer sides of the upper sections of solid legs and hollow legs, and wrapping prefabricated clay pieces on the upper surfaces to form trouser legs shorts. Then, it is to shape the trunk of the pottery figurines. The trunks of pottery figurines are all cavities, which are molded by the method of clay strip plate building. The first is to connect the legs of the figurine as a whole with mud blocks. Mud is piled on the upper part along the periphery to make an elliptical rectangular chassis with a height of about 1 cm and a thickness of 4 ~ 8 cm. After the base plate of the figurine's trunk is dried in the shade, the trunk is shaped on the chassis by the method of mud strip plate building. The trunk of a terracotta figure is 1.1 ~ 1.2 meters high, so it is impossible to use clay strips to build it in a pan at one time. Generally, it is made by dividing the body cavity of the lower segment into upper and lower segments with the waist as the boundary, that is, the body cavity of the lower segment is built in a pan at one time, and then the upper segment is made after being slightly dried in the shade. In order to make the coiled mud strips close-grained, the inner side is lined with linen and other woven fabrics, and hammered with a wooden hammer. After the trunk of the terracotta figurine is molded in the shade, the arms of the terracotta figurine are bonded. The arms of the terracotta figures are hollow, the straight arms are generally made by the method of clay strip coiling, and the curved arms are made and bonded by dividing the elbows into two sections. After the arms of the figurines were bonded to both sides of the trunk and chest, some measures were taken to strengthen the bonding surface in order to enhance the adhesion at the joint, and the lower end was supported by a T-shaped wooden frame. The hands of pottery figurines are all made separately, and the hands of hand-extended figurines are made by two pieces of molding and bonding, while the hands of hand-held figurines are made by kneading and molding, and nails, joints, hand lines, bones and muscles, flesh and skin are portrayed, so that the hands of pottery figurines are "well prepared and the joints are dark". After being made, the figurine hand is inserted into the double-arm sleeve of the terracotta figurine. After these processes, the large-scale trunk of pottery figurines was basically completed. On this basis, the pottery figurines are further carved in detail. The carving of clothing lines is to coat the thick tire of trunk with fine mud, and then polish, depict and shape the skirt, corner, neckline and various skirt lines of clothes after being covered with mud. The corners and collars are embossed and engraved with negative lines. The decoration of the skirt and cuffs is made into a bas-relief effect. The leather belt around the waist of the figurine is often carved out by the method of reducing land, and then triangular and diamond patterns are carved or stamped on it. The hook is made into a bas-relief or high-relief effect by sticking mud. Some of the armor is carved directly on the rough tire of the figurine, and some are covered with fine mud to carve it into a bas-relief effect. Nails, nail straps, etc. are usually made in a single mode and then adhered to the nail plate. 2. The production process of pottery horses The pottery horses unearthed from the pit of Qin Terracotta Warriors and Horses are tall and lifelike. After years of repeated observation, comparison and analysis by archaeologists, the technological process of making pottery horses by Qin people was understood. When making pottery horses in Qin dynasty, the head, neck, trunk, limbs and tail of the horse are usually made separately, and then assembled and bonded into coarse tires, which are decorated with mud for the second time and carved. Dry in the shade, bake in a kiln, and finally paint. There are two kinds of horse's head, narrow and wide, and the methods are also different. The former is mainly made into left and right halves by means of molds, and the suture line is located in the middle of the horse's head. The mandible is molded separately and bonded to the lower part of the horse's head. The horse's head, which is wide and broad, is made up of five pieces of mud. Generally, the inside of the stitching line of the horse's head should be covered with mud for reinforcement, and the accessories on the horse's head, such as ears and flying bristles, are all molded and then dug and embedded in the corresponding parts of the horse's head. Tao Ma's neck and body cavity are hollow. The neck is made up of left and right pieces of irregular inverted trapezoidal mud. The body cavity of Taoma is divided into three sections: hip, abdomen and shoulder and chest, and each section is also made up of several pieces of mud. Observing from the inner wall of the body cavity of Taoma, all the seams of mud pieces are covered with a layer of hard mud on the inner side to make the grafting firm by hammering. Horses' limbs and tails are usually carved. From the observation of the broken horse leg, the ceramic is dense, pore-free, stone-hard, and the mud layer is stacked like a page, indicating that the horse leg is molded by repeatedly folding and tempering mud. Horsetails are hand-molded and carved. The upper end of the ponytail is made into a round or square tenon to be inserted into the buttocks. After the components of Taoma were made separately, they began to be assembled and combined. The method of combination is to bond piece by piece from bottom to top, from the legs to the body cavity, and then to the neck, head and tail, thus forming a large horse body. The technological process of assembling and assembling is to first erect the four pre-made horse legs in a fixed position, then set up the support plate under the horse belly and start to install the horse trunk. Today, it is difficult to know the specific method of installing the trunk of Taoma. One theory is that the Qin people may bond the horse's buttocks, abdominal cavity and chest cavity into a whole before assembling. When assembling, the horse's trunk is placed on the horse's limbs and support plate, and a hole is opened from both sides of the abdominal cavity, and the hand is put into the hole to cover the joint of the trunk and limbs with mud and hammer it under pressure to make the joint compact. After that, first, the horse's head and neck are bonded into a whole and connected to the trunk. Due to the heavy weight of the horse's head and neck, there should be a T-shaped bracket below when docking with the body to support the gravity of the horse's head and neck. Finally, open a square hole in the horse's hip, insert the prepared ponytail into the square hole, and cover the outside with mud for reinforcement. After the installation of various parts of the horse, some details of the appearance of the pottery horse should be further decorated. The trunk of a horse is generally coated with a layer of fine mud. After polishing, the surface is smooth and flat, which makes the horse muscles very plump. Stick mud blocks on the horse's chest, carve out convex chest muscles, and cover the shoulders with thick mud to show Gao Dakuan Bo's shoulder blades. The cavalry pommel horse will also pile mud on horseback to carve out high-relief saddle bridges and shallow-relief saddles. Taoma's limbs have been carefully carved and polished, and the round place is smooth and shiny, while the flat place is angular, and the relationship between flesh and joints is clear. 3. Roasting technology of pottery figurines and pottery horses In ancient times, there were certain standards for the selection and firing of raw materials for pottery products. "Heavenly Creations" records: "Dig more than two feet, choose sand-free clay for it", and "adjust and practice cooked mud". It shows that when the ancients selected raw materials for pottery products, they asked to dig two feet and take sand-free clay. After the raw materials are selected, mature mud must be brewed before the blank can be formed. If the raw materials are not fine, the soil particles are not dense, the brewing is not refined, and the pores are full, which affects the molding. Even after firing, the finished product is rough and has no smooth feeling. The sidewall of terracotta figures and terracotta horses unearthed from the pit of Qin figurines is generally about 2-4 cm thick, with the thickest part reaching 1-2 cm. Generally, the clay of the fetal wall of pottery figurines and pottery horses is divided into two layers, the outer layer is fine and uniform, and the inner layer is coarse, mixed with white sand with uniform particles. The clay used to make Terracotta Warriors and Horses is taken from the yellow-brown soil near the mausoleum of the First Qin Emperor. Before use, the selected clay has gone through a series of processes, such as drying in the sun, rolling and elutriation, to remove impurities in the soil, so that the clay is delicate and plastic, and meets the requirements of sculpture production. In order to enhance the mechanical strength of terracotta warriors and horses, so that large terracotta warriors and horses are not only easy to form, but also will not be distorted or expanded and cracked due to high temperature. The craftsmen of Qin Dynasty doped carefully selected quartz sand particles into the clay. The firing of pottery figurines and horses is the same as that of brick and tile pottery, and the key to its quality lies in mastering the temperature. When talking about the ancient firing of bricks and tiles in Tiangong Kaiwu, Song Yingxing said: "Where the firewood kiln is full of firewood, the mud will plug its holes, and then the fire will turn to rust. If the temperature is less than one or two, the rust color will not be only; Less than three Liang, the name is tender fire brick, and its true colors are mixed. If it is frosty and snowy in the future, it will be dissolved and still soil. If the temperature is one or two more, there will be cracks on the brick surface. If it is more than three or two, the brick shape will shrink and crack, and it will not bend and stretch, and it will be like a broken iron, which is not suitable for use. " This shows that it is very important to master the fire duration in the baking process. If the fire duration is low, not only the surface of the fired finished product is dull, but also the interior can not be sintered, which becomes a "green fire brick". If the temperature is too high, it will either crack or deform. Only when the firing temperature is just right can the fired products be pure in color, firm in quality and straight in shape. The firing temperature of terracotta warriors and horses is roughly between 95℃ and 15℃, which is similar to the firing temperature of ancient pottery in China, indicating that the firing temperature of pottery figurines has been mastered quite skillfully. Because of the different parts of pottery figurines and pottery horses, the fetal thickness is uneven, the thin part is only 1 ~ 2 cm, and the thickest part is 1 ~ 2 cm. In addition, pottery figurines and horses are large, which brings great difficulties to roasting. In order to make the pottery figurines and horses with tall figures and uneven thickness in different parts suffer from fire evenly, craftsmen in Qin Dynasty took many measures in manufacturing technology. In order to avoid the difficulty of roasting caused by uneven thickness of various parts, craftsmen try their best to reduce the thickness of clay tires, such as the hem, legs and feet of pottery figurines. The thickness of the mud layer is 1 ~ 2 cm, while the tire thickness of the trunk part is only 2 ~ 4 cm, so it is easy to form that the upper part of the pottery figurines has been sintered, while the lower parts such as the hem, legs and feet are not completely burned, resulting in the phenomenon of sandwich. In order to solve this contradiction, craftsmen made the figurine legs hollow, piled mud ribs on the inner tube at the hem of the garment, covered large pieces of mud on the mud ribs to make the hem into empty inner and outer layers. These measures are beneficial to the uniform fire of all parts of pottery figurines and pottery horses, and the sintering time is roughly similar. In order to make the pottery figurines and horses ventilate smoothly in the roasting process, so as not to burst, craftsmen in the Qin Dynasty also left fire-passing and breathable holes in appropriate parts of the pottery figurines and horses. For example, a circular hole with a diameter of 1 cm is left on the left and right sides of Taoma's abdomen, so that the flame can enter the body cavity of the horse evenly through the circular hole. There are also some holes for fire and ventilation on the pottery figurines, or one or two round holes are left on the hips of the pottery figurines, or a round hole with a diameter of about 1 ~ 1.5 cm is opened on the top of the pottery figurines, so that the tire wall of the pottery figurines is evenly exposed to fire and exhausted.