What are the general situations of sculpture in China?

The original form of China's original sculpture is pottery, which is closely related to its practical value. First, it uses animal shapes as utensils, such as the ceramic eagle tripod unearthed from Yangshao cultural site, which is 36 cm high, with the eagle as the tripod body and two feet as three fulcrums, and its shape is full, which is one of the representative works of this kind of sculpture and utensils. The second is the sculpture of decorative part, with animals, plants, people and so on. The head of a pottery vase unearthed in Dadiwan, Gansu Province, can be described as the beginning of China's early figure sculpture. The author skillfully molded the mouth of the pottery vase into a head of a man, making it exquisite and vivid. Third, small animals or figures are molded. These small sculptures are made by ancient craftsmen without any tools. They are compact and have a strong human touch. The pottery pig unearthed from Hemudu cultural site in Zhejiang Province may be the oldest sculpture in Jiangnan area of China, which is 7 years ago. Although the work is only 6.3 cm in size, its image is very vivid, which shows the sculptor's delicate observation of life.

Bronzes in Shang and Zhou Dynasties are a cultural phenomenon in Erlitou, Henan Province from the 21st century BC to the 17th century BC. Like the nature of primitive pottery, the bronzes of Shang and Zhou dynasties are not sculptures in the real sense, but practical objects used for sacrifice, life, musical instruments, weapons and tools. Some historians call Xia, Shang and Zhou the Bronze Age. These bronzes are possessed by slave owners, and they are also a symbol of some kind of rule, authority and wealth.

The Qin Dynasty made great progress in sculpture, the most striking being the large pottery terracotta warriors and horses and bronze chariots and horses. After Qin Shihuang annexed the six countries, he established the Qin Dynasty and unified currency, writing and weights and measures. The sculpture theme of Qin dynasty is closer to life, and from the function point of view, it is gradually becoming independent. The Qin dynasty inherited the simplicity of the Spring and Autumn Period and the Warring States Period, and its works tended to be realistic. The overall sculpture style in Qin and Han dynasties was magnificent, emphasizing strength and momentum.

the Han dynasty was the most vigorous period in China feudal society. For example, Huo Qubing's Tomb in the Western Han Dynasty still has a number of outstanding stone carving works, which were created in memory of Huo Qubing, a famous Western Han Dynasty. Ma Ta Xiongnu is 19 cm high. The author uses metaphor and the image of a war horse to show Huo Qubing's greatness and outstanding military achievements, which fully reflects the generality of commemorative sculptures. The whole sculpture is integrated, and there is no space between limbs, which enhances the heaviness of body and volume.

During the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties, China's sculpture art developed in an all-round way. The prevalence of Buddhism has promoted the vigorous development of Buddha art, changed the face of China sculpture history, and made figure sculpture more mature.

The first form of Buddha art is grottoes. Dunhuang Grottoes in Gansu, Bingling Temple Grottoes, and Kizil Grottoes in Baicheng, Xinjiang, etc. all have clear year titles. Along the way, there are Maijishan Grottoes in Tianshui, Gansu, Horseshoe Grottoes in Zhangye, Xumishan Grottoes in Guyuan, Ningxia, Yungang Grottoes in Datong, Shanxi, Longmen Grottoes in Luoyang, Henan, Xiangtangshan Grottoes in Handan, Hebei, Qixiashan Grottoes in Nanjing, Jiangsu and so on.

centralization was restored in the sui dynasty, and the prosperity of agriculture, industry and commerce appeared in a short time. Buddhism is still the main tool of ideological rule, vigorously restoring Buddhist temples and statues destroyed by Emperor Wu of the Northern Zhou Dynasty. The main achievements are concentrated in the grotto statues, among which the most representative ones are Dunhuang Mogao Grottoes, Maijishan Grottoes and Jinan Yuhanshan Grottoes. The main feature of its modeling is that it is generally stronger and fuller than the previous generation. However, another feature of this period, which can also be said to be a weakness, is the imbalance in proportion. Some works are obviously unreasonable in structure and proportion, such as the Bodhisattva statue of the Sui Dynasty in the 427 library of Mogao Grottoes, with a large head. This is a transitional period of development, and the sculpture art in China has opened a more splendid prelude from the Sui Dynasty.

The sculpture art in the Tang Dynasty is mainly embodied in religious statues and tombs buried with them. However, during this period, with the development of technology, the use of materials was more abundant. In addition to stone carving, wood carving and ceramics, a large number of technological materials such as bamboo and cast copper were used.

The sculpture style in the early Tang Dynasty basically remains the traces of the previous generation (Northern Dynasty and Sui Dynasty). Signs of prosperity began to appear in the early and late Tang Dynasty, but the portrayal of women was still not as lively and moving as in the prosperous Tang Dynasty. With the vigorous development of social economy, people's religious concepts have also changed. In the prosperous Tang Dynasty, the overall social outlook was optimistic and open-minded, and Buddhist art also showed a tendency of secularization. The characters in paintings and sculptures were close to those in real life.

The number of Buddhist statues in the Tang Dynasty is very large, mainly reflected in the display of grottoes and cliff carvings. Most of the existing relics are concentrated in Kizil Grottoes in Xinjiang, Mogao Grottoes in Dunhuang, Gansu, Maijishan in Tianshui, Tianlongshan Grottoes in Shanxi, Binxian Giant Buddha Temple in Shaanxi, Xiangtangshan Grottoes in Hebei, Longmen Grottoes in Henan, Yunmen Mountain Grottoes in Shandong, Thousand Buddha Cliffs in Guangyuan, Sichuan, Cliff Carvings in Leshan, Jianchuan Grottoes in Yunnan and so on.

Among them, Dunhuang is the first one with the largest scale and the most obvious artistic features. The grottoes excavated in the Tang Dynasty account for half of all Dunhuang grottoes. The statue of Bodhisattva was basically based on the typical image of beauty at that time in terms of image and dress, and its sitting posture showed a semi-reclining posture with one leg folded and one leg drooping. Secular beauty has broken the atmosphere of religious imprisonment and put more emphasis on artistic effect, which seems to be a dialogue with worshippers. We can compare the works of contemporary famous figure painters such as Zhang Xuan and Zhou Fang, and we can see that they have the same effect, but they are more energetic in body proportion and appearance. Compared with the solemnity and birth of the previous generation of religious sculpture art, the Buddhist statues in the Tang Dynasty combine ideal and reality well, with a broad and dignified side and an elegant and lively side; It is both powerful and powerful, and it is also soft and delicate. The figure sculptures in the Tang Dynasty pay great attention to the character, especially when dealing with the relationship between the characters in the group sculptures, and have a good grasp of the internal emotional communication between the characters. For example, there are many image changes in the shaping of the Buddha and his disciples Jia Ye and Dark Ananda. Two characters, one old and one young, one Han and one Indian, show their pious demeanor, but they can still see their different moods. Another example is the statue of the protector Lux, whose duties determine their powerful and powerful image, with fierce facial expressions and muscular limbs, which further set off the kindness of the Bodhisattva. Statues of figures with different personalities are a combination of dynamic and static relationships among group sculptures, highlighting the center, which conforms to the formal law of sculpture beauty.

In the historical stage of Song, Liao and Jin Dynasties, the sculpture art appeared different from the previous generation, and some influential works were produced, but on the whole, it was not as important as the Han and Tang Dynasties, and it did not occupy an important position in the whole history of sculpture art in China.

Compared with the painting art of the Song Dynasty, the achievements of its sculpture art are far behind, which is closely related to the likes and dislikes of the rulers and their attention. The court painters selected through the similar imperial examination system all have high accomplishments, but the employees in the sculpture industry are not paid attention to and even discriminated against. With the rise of literati painting, the social status of sculptors has become more and more humble, so it is not surprising that this kind of plastic arts is declining.

From the beginning, the Northern Song Dynasty was constantly being invaded by foreigners, and there was little intention to build grottoes on a large scale like the Tang Dynasty. There are some small-scale grottoes left over, such as the Wanfo Cave in Qingliangshan, Yan 'an, which was recorded by Fan Zhongyan in his poems in the Northern Song Dynasty. Another example is the Shikong Temple Grottoes in Zichang County. From the inscription of statues, it was excavated in the Northern Song Dynasty, and the most outstanding part is the group of Luohan statues with different postures and both form and spirit. Dazu stone carvings in Sichuan belong to the Song Dynasty, and there are many genera, among which the caves and niches in Baoding Mountain are the most representative. It uses the natural mountain and cuts along the cliff. The project is huge and complicated. The most important part is the western paradise, with many characters and complicated scenes, but with distinct levels and detailed descriptions. Next to it is hell in disguise, which vividly shows the misery of the prisoners in hell, and reproduces various scenes of daily life with realistic carving techniques. These stone carvings are carved on cliffs 4~14 meters above the ground, with a total length of more than 5 meters. They have been under construction for decades, and the sculptures are closely related and interconnected. The whole layout is tall and complete, the carving technique is skillful, and the details are vivid. For example, the image of a chicken-raising woman in the disguised form of hell is created entirely according to real life. Another important part of Dazu Stone Carving is Hard Disk Slope, Guanyin Slope, Foeryan and Beita Temple. The whole excavation lasted more than 25 years. Attention should also be paid to a large number of statues of patrons, all of which have inscriptions to show their identity, status and engraving age. This is a rare material for studying the history of the Song Dynasty. Feilaifeng in Hangzhou, Zhejiang Province has a relatively concentrated sculpture in the Song Dynasty. Although it is not large in size, its artistic level occupies a relatively important position in the Song Dynasty sculpture.

The cultural and artistic features of the Ming Dynasty are obviously traced back to the styles of the Tang and Song Dynasties. In various temples, all kinds of deities are enshrined, which are becoming more and more secular and folk from subject matter to expression. The sculpture of grottoes is drawing to a close. Although there are still works of Ming Dynasty in Dunhuang and other large-scale grottoes with a long history, their artistic value can no longer be mentioned in the history of sculpture. The Ming Tombs have now become a famous tourist attraction in Beijing, located in Changping County, which is the concentration area of the tombs of thirteen emperors in the Ming Dynasty.

The sculpture groups arranged in the Ming Tombs with the ancestor Changling as the center line are the same as those in the Xiao Tombs, but different from those in the previous generation. There are 2 pairs of unicorns, 2 pairs of stone lions, 2 pairs of huabiao, 6 pairs of stone horses and figures, 4 pairs of Shi Hu, 4 pairs of Shiyang, 2 pairs of officials and 28 pairs of servants. This shinto is now the same shinto of the Ming Tombs, and the other 12 tombs do not have their own shinto it. The stone carvings in the Ming Tombs are larger than those in the Xiao Tombs in volume. Although there are relatively fine technical treatments in terms of overall style, compared with the previous generation, they lack artistic vitality and tend to be conceptual.

In the whole sculpture history of China, the mausoleum sculpture in Qing Dynasty has come to an end.

In the Qing Dynasty, the city's industrial and commercial economy further prospered vertically, the handicraft technology was greatly developed, and the craft sculpture art also received unprecedented attention. The court set up a special organization to supervise and organize production. There are some outstanding artists in lacquer carving, stone carving, tooth carving, wood carving, porcelain sculpture, metal casting and so on, and many outstanding sculptors have appeared.

Fu Hao Yu Feng

The jade carving technology in Shang and Zhou Dynasties has been greatly improved, and its exquisite degree can be seen from a large number of objects unearthed from Fu Hao Tomb in Yin Ruins.

Fu Hao Yu Feng

Fu Hao is the concubine of Wu Ding, the Shang king. In 1976, her tomb was discovered by accident in the southwest of Yinxu site in Anyang, Henan Province. More than 1,6 cultural relics were unearthed, including 755 jade articles. Among them, a large number of animal-shaped jade carvings are vivid and vivid, and their craftsmanship is extremely high. For example, two rabbits with slightly brownish yellow fur, with wide eyes, long ears and long lips, short tails hunched up, bowed and bent, seemed to be jumping forward. In addition, there are tigers with big mouths and sharp teeth, phoenix birds with beautiful crowns and tails, elephants with frolicking noses, birds with proud beaks, bears crouching on their knees, and clever and lovely monkeys. In addition to birds and animals, there are aquatic animals and grass insects, as well as some mythical animals, totaling more than 2 species, including monkeys, rabbits, horses, cows, sheep, cranes, eagles, geese, cormorants, parrots, fish, frogs, turtles, cicadas, mantises, dragons, phoenixes and strange birds. Among them, there are six or seven small jade dragons, with a snake head and a long collar fluttering at the back of the neck, all of which bend in a circular shape and show a C-shaped shape, which reminds people of their continuity with the C-shaped Yulong in prehistoric Hongshan Culture in shape and meaning.

There are more than 2 pieces of jade unearthed from Fuhao Tomb, all of which are flat relief, with prominent features such as high crown, long tail and hooked beak, which are distinctive in shape and full of interest. Take a pair of opposite-tailed parrots as an example. The heads of the two birds are opposite and the tails are connected together, forming a uniform and symmetrical composition. From the lower part of the right beak through the chest, claws, tail to the left tail, claws, chest and beak, a semicircular outer contour line is formed, which is stable and continuous. The crests and feathers of the two birds are towering, and the back wings form concave lines, which are also rich in variety, making the works contain agility and food for thought. The end face of the jade parrot's long tail is ground into a sharp inclined blade, which can be used as a jade carving knife, which is both ornamental and practical.

As shown in the picture, Jade Phoenix, the tomb of Shang and Fu Hao, was unearthed from Yin Ruins in Anyang, Henan Province. It is 13.6 cm high and .7 cm thick, yellow-brown, beautifully carved, slim and graceful, with a beak, eyes and crown like a chicken, short wings and a long tail. Feather lines are carved on the wings, and there are through holes in front of it, which makes the phoenix body full and charming. There are 755 jade articles unearthed from the tomb of Fuhao, and Yufeng is the only one. This device is the best object to study the image of phoenix in the eyes of Shang Dynasty.

Terracotta Warriors and Horses

The great significance of the Terracotta Warriors and Horses of the Qin Dynasty lies in creating a precedent for large-scale military sculpture group images, and grasping the relationship between the grandeur of the overall effect of the big scene and the meticulous carving of individual details of the Terracotta Warriors and Horses from a macro perspective, which is worthy of being a model of realism in ancient sculpture art.

Realism is the basic style of terracotta warriors and horses, and the image size of terracotta warriors and horses is similar to that of real people and horses in real life. The costumes of the terracotta warriors, such as armor and battle robes, are the simulation of the military costumes at that time, while the chariots and weapons equipped for the terracotta warriors are real objects. From the modeling of pottery figurines, it not only reproduces the actual lineup of various arms, but also successfully shapes the characters of Qin Jun generals with different ages and personalities. These various and lifelike figures are the reappearance of different life forms of Qin Jun.

judging from the character's identity, the man wearing a tiara, a double-decker robe, colorful scales and armor, standing on his sword, holding his head high, with a strong body and extraordinary spirit, is obviously a general with great wisdom and courage and a determined command; Those who wear long crowns, battle robes, long armor and serious faces are likely to be commanding officials who are good at strategy and assist generals; Those who wear their hair in a bun, are dressed in battle robes, wear boots and shoes, hold crossbows and carry arrows are undoubtedly Qin Jun's light and sharp men; Those who are bareheaded, dressed in battle robes and armour, and armed with long-range or long-range soldiers are obviously heavy warriors of Qin Jun. From the age point of view, the old man, with a long beard and several wrinkles on his forehead, appears calm, sophisticated, steady and resourceful; In the prime of life, the face is wide, the ears are big, the heaven is full, and the eyebrows are flying, which makes them look soft and strong. The young man, with his head slightly lowered and Shu Mei's beautiful eyes, looks quiet and simple.

judging from the functions of officers and men, those who wear a long crown, stretch their arms forward and hold the bridle in both hands are the image of the ruler; Wearing a fur coat, short armor, tight-fitting crotch pants and ankle boots, standing in front of the horse, holding your head high and chest out, looking ahead, holding the reins in one hand and holding a bow in one hand, is an alert and sharp image of Qin Jun cavalry; Wearing a bun, wearing a shirt and armor, with his right knee on the ground, his left leg bent, his body tilted to the left, and his eyes staring at the left front, he is an alert and brave archer in Qin Jun. With a bun on his head, a leather belt around his waist and shin guards, his left leg is slightly arched, his right leg is stretched back, his right arm is bent over his chest, his left arm is stretched straight to the left, his head is turned to the left, and he looks up at the left front with his head held high. This is the image of a bent soldier with a crossbow in his neutral posture in Qin Jun. Ethnically, apart from the vast majority of Han people in Guanzhong, there are also images of Hu people with deep eyes, high nose and two whiskers.

According to facial expressions, there are people who are smiling and satisfied; There are dull and expressionless people; Those with regular facial features, broad face and fat body; Have a steady and elegant, easy-going expression; There are also people who are distracted and worried. These complex and diverse facial expressions and various terracotta warriors and horses truly reflect the actual situation in Qin Jun, so they have more artistic features of realism. This is a successful model of sculpture art in the long river of history by using realistic techniques.

Is the sculpture of Qin Terracotta Warriors realistic?