readx;?? During the Great Qin Empire, many knife weapons were handed down during the Warring States Period, just like some scimitars and other weapons, and their bronze scimitars were not newly created weapons in many cases. Pen ~ Fun ~ Pavilion www.biquge.info Co * Le * Speech * Love * First * Speech * Love * First * Hair [, the page is clean, and the book is on the >

During this period, the Qin sword that the Great Qin Empire was able to mass-produce became a standard equipment for Qin officers and soldiers in many cases.

Qin sword, in later generations, is a weapon mainly used as an unearthed cultural relic, and this kind of Qin sword, the most found address, is in the first emperor's mausoleum in the terracotta warriors.

The Terracotta Warriors and Horses, also known as the Terracotta Warriors or Qin Warriors, are located in the Terracotta Warriors and Horses Pit 1.5 kilometers east of the Mausoleum of Qin Shi Huang in Lintong District, Xi'an City, Shaanxi Province.

Terracotta warriors and horses are a category of ancient tomb sculpture. In ancient times, human martyrdom was practiced, and in the period of slavery, slaves were accessories of the slave owner during his lifetime, and the slave should be used as a burial object for the slave owner after the death of the slave owner.

Human martyrdom is a cruel funeral system that germinated with the collapse of primitive public ownership and prevailed with the establishment of slavery. The most prosperous era of human martyrdom was the Yin Shang period, and there were martyrs in the tombs of the nobles of the Shang Dynasty.

In the archaeology of later generations, in the Anyang Yinxu Tombstone area, more than 5,000 people have been martyred and killed in more than a dozen tombs that have been excavated.

The Zhou Dynasty learned the lessons of the tyranny of the Yin Shang Dynasty and emphasized "Mingde to protect the people". The birth and implementation of the Zhou rite has greatly suppressed the phenomenon of human martyrdom, but it has not been eradicated. In the Spring and Autumn Period, the nations competed for hegemony, the times were turbulent, and human martyrdom was revived. During the Warring States period, the vassal states successively abolished the system of human martyrdom. In 384 years before the Qin Xian A.D., the Qin State officially abolished the martyrdom system at the official level.

The social changes during the Spring and Autumn Period and the Warring States Period prompted changes in funeral customs, and figurines were used to replace human martyrdom with terracotta figurines and wooden figurines. The original meaning of "figurines" is human martyrdom, and when human martyrdom gradually fades out of people's field of vision, "figurines" have become the proper noun of pottery sculptures, stone carvings, and portraits in tombs.

The Qin Terracotta Warriors and Horses are a typical example of the burial of figurines instead of people, and it is also the pinnacle of burial of figurines instead of people. The reason why the Qin figurines have reached such a high level in scale and realism is in addition to the wisdom of craftsmen. It is also inseparable from the will of the first feudal emperor in history. The Qin figurines strictly imitate the real thing, with the nature and characteristics of portrait sketching, and are superior in scale and momentum.

Historical records: The Mausoleum of Qin Shi Huang was planned and designed by Prime Minister Li Si according to the usual practice, and the Shaofu Zhang Han was responsible for supervising the construction at that time, and the construction time was as long as 39 years, and the Terracotta Warriors and Horses were made and buried in the burial pit at the same time as the construction of the Qin Mausoleum.

And Zhang Jiashi's description of the historical records can only be hehe, because there is no doubt. According to the year of construction described in the historical records, it was not Li Si who was in charge of planning in the first place. And the overseer will not be Zhang Han either. Because at that time, as far as Yingzheng, who was still the king of Qin, was concerned, Li Si and Zhang Han were not qualified to build the royal tomb.

There are only two possibilities for such an error in the record, that is, the construction time of the Mausoleum of Qin Shi Huang is very short, and the descriptions of Li Si and Zhang Han are correct. The other is the construction of the Mausoleum of Qin Shi Huang, which began in the early days of the reign of Qin Wangzheng.

The reason for this mistake may be that Sima Qian did not know the specifications and methods of the Qin monarch to build the royal tomb, and sent Emperor Wen of the Han Dynasty. The mausoleum of Emperor Jing of the Han Dynasty was built gradually at the beginning of his reign. The Maoling Tomb of Emperor Wu of the Han Dynasty is also among them. , applied to the Mausoleum of Qin Shi Huang.

In 206 years before the first year of Qin Ziying, the Mausoleum of Qin Shi Huang suffered its first and probably the biggest catastrophe. According to the historical records of Gaozu Benji, Han Shujuan 1 Gao Di Ji 1, Han Shujuan 36 Chu Yuan Wang Biography 69 and other historical records, after Xiang Yu invaded Guanzhong, he destroyed the Mausoleum of Qin Shi Huang on a large scale, destroyed the ground buildings, and excavated the emperor's tomb. The terracotta warriors and horses were also badly damaged in this catastrophe. Archaeological excavations have shown that there are black charcoal remains in the No. 1 and No. 2 figurine pits, indicating that the collapse of the No. 1 and No. 2 figurine pits was caused by fire.

The terracotta warriors and horses of Qin Shi Huang sit in the west to the east, and the three pits are arranged in a zigzag shape. The earliest discovery is the No. 1 figurine pit, which is rectangular in shape, and there are more than 8,000 terracotta warriors and horses in the pit. There are ramped doorways on all sides. There is a terracotta pit on the left and right sides of the No. 1 figurine pit, which is called the No. 2 pit and the No. 3 pit.

The Terracotta Warriors and Horses Pit is an underground tunnel-type civil structure building, that is, a large pit about 5 meters deep is dug from the ground, and parallel earthen partition walls are built in the middle of the pit. Wooden columns are arranged on both sides of the wall, and horizontal timbers are placed on the columns, and the transverse timbers and earthen partition walls are densely covered with canopy wood, and a layer of reed mats is spread on the canopy wood. It was then covered with loess to form the top of the pit, which was about 2 meters above the surface at that time. The bottom of the figurine pit is paved with blue bricks. The height of the space from the top of the pit to the inside of the pit is 3.2 meters. After the terracotta figurines and pottery horses are put into the figurine pit, the doorway around is blocked with standing wood, and the doorway is filled with rammed earth, so a closed underground building is formed.

The terracotta warriors and horses are distinguished from their identities, and there are mainly two categories: soldiers and military officials, and military officials are different from low-level, intermediate, and high-level. Ordinary soldiers do not wear crowns, while military officials wear crowns, and the crowns of ordinary military officers are not the same as those of generals, and even the armor is different. Among them, the terracotta warriors include infantry, cavalry, and chariots. According to the needs of actual combat, the samurai equipment of different arms is different.

The most common of the figurine pits are samurai figurines, with an average height of about 1.80 meters, the highest of which is more than 1.90 meters, and the pottery horse is 1.72 meters high and 2.03 meters long. Most of the Qin figurines held bronze weapons, including bows, crossbows, arrowheads, beryllium, spears, ge, swords, scimitars and axels, and wore armor with fine armor pieces and knotted tassels made of colored threads on their chests. The military officials wore long crowns on their heads, and there were more of them than the generals. The figurines all differ in their face shape, figure, expression, eyebrows, eyes, and age.

In the figurine pit, there are many terracotta warriors and horses of various branches of the Qin army:

A light charioteer, that is, a soldier on a chariot other than a driver and a driver. Generally, there are two sergeants on the chariot, the left figurine and the right figurine. The left figurine of the car wears a long shirt, armor on the outside, shin guards, a middle curtain on the head, and holds a spear, a ge, halberd and other long weapons in the left hand, and the right hand is in the shape of a car. The costume of the right figurine is the same as that of the left figurine, but the posture is reversed. They are both the main force of combat vehicles, but according to the literature, they have certain differences in weapon configuration and combat duties. Judging from the weapons found around the remains of the chariot of the Qin Warrior Pit, the left and right sides of the chariot of the Qin Dynasty were armed with long weapons such as ge, spears and long-range weapons such as bows and crossbows, indicating that the division of labor between the left and right sides of the chariot was not very clear. On the chariot, in addition to the spear driver and the figurines on the left and right sides of the chariot, there were also figurines of military officials who commanded the battle. Military officers are divided into high and low and have the responsibility of operational command.

Standing figurines are a special type of troops in the Qin figurines, unearthed in the east of the No. 2 pit, and the weapons they hold are bows and crossbows. Together with the kneeling figurines, they form a crossbow formation. The standing figurines are located on the formation table, dressed in light battle robes, tied in a bun, tied with leather belts at the waist, and pedaled square mouth and pointed shoes, light and flexible clothing. This posture is just like Wu Yue's Spring and Autumn Period's record of "the way of shooting, the left foot is vertical." The right foot is horizontal, and the left hand is like a branch. If the right hand holds the child, this is the way to hold the crossbow. The gesture of the standing figurine, consistent with the documentary record, shows that the art of shooting in the time of Qin Shi Huang had developed to a very high level, and various movements had formed a set of standardized patterns, which were inherited by later generations.

The kneeling figurines are the same as the standing figurines, unearthed in the east of the No. 2 pit, and the weapons they hold are bows and crossbows, which form a crossbow army formation together with the standing figurines. Vertical figurines are located in the formation table. And the kneeling figurines are located in the center of the formation. The kneeling figurine is wearing a battle robe, wearing armor, a bun on the left side of the head, the feet are on the square mouth and the head is tilted, the left leg is bent, the right knee is on the ground, and the upper body is slightly turned to the left. The hands are held up and down on the right side of the body in the form of a bow, showing a single soldier drill movement of holding a bow. In the sculpture art of kneeling figurines, there is one thing that is very valuable, that is, the soles of their shoes, the dense stitches are meticulously carved by the craftsmen, reflecting the extremely strict spirit of realism. Let the viewers of later generations feel a very strong breath of life from the warriors of the Qin Dynasty.

The kneeling figurines are the only terracotta warriors and horses that were extremely complete when they were discovered. The armor behind him still has a red coating on it, which is very precious.

And from this point, it also shows that the military uniform of the Qin army is not a uniform black dress, but is distinguished according to identity specifications, and black is precious.

Samurai figurines are ordinary soldiers with an average height of about 1.8 meters. As the main body of the military array, the number of unearthed in the Qin Warrior Pit is the largest. They can be divided into two categories according to their clothing, namely warriors in robes and warriors in armor. They are distributed throughout the army as the main combat force. Most of the warrior figurines in battle robes are distributed on the surface of the formation, and the armored warrior figurines are distributed in the formation. Both types of samurai are armed with actual combat weapons, with a high-spirited temperament and movement in silence.

The military figurines are lower than the general figurines in terms of status, and there are intermediate and subordinate levels. The number in the pit of the Qin figurines is very small, less than ten pieces have been unearthed, and they are divided into two categories: the general figurines in battle robes and the general figurines in armor. From the appearance of the armored general figurines, they wear double or single long crowns, and there are several different forms of armor. The warriors in battle robes are dressed plainly, but the chest is decorated with knots, while the chest, back and shoulders of the armored generals are decorated with a total of eight colorful knots, which are gorgeous and elegant, setting off their rank, status, and majesty in the army. In addition to the difference between the military figurines and the generals, the mental temperament is also slightly different, the figure of the military figurines is generally not as plump and burly as the generals, but the overall is relatively tall, the shoulders are broad, the chest is upright, and the demeanor is solemn. It shows more of their diligent thinking, brave and capable side, and some miss their hometown.

The cavalry figurines were unearthed in the No. 1 and No. 2 pits, and there are 116 pieces, which are mostly used for wartime surprise attacks. Due to the special class of troops, the attire of cavalry is obviously different from that of infantry and chariots. They wore round caps, tight-sleeved blouses with the right side of the collar hidden over their chests, tight trousers underneath, boots on their feet, short, small armor, no shawls on their shoulders, and no armor on their hands. The clothes are short and light, leading a horse in one hand and a bow in the other. From this particular attire, we can clearly see that from the ancient cavalry tactics, the agility of the knight's actions was a basic requirement. The image of the cavalry unearthed in the No. 2 pit is the earliest cavalry object found in the history of Chinese archaeology so far.

The figurines were found in the three figurine pits, and they wore long shirts, armor on the outside, arm armor and wrists, hand armor on their hands, shin greaves, neck armor around their necks, scarves and long crowns on their heads, and their arms raised in front of them to pull the bridles. Due to the extremely strong lethality of chariots in ancient wars, the position of the driver in ancient wars, especially in vehicle wars, is particularly important, and even directly related to the victory or defeat of the war.

The shaping of the terracotta warriors and horses is basically based on real life, and the techniques are delicate and bright. The costume and demeanor of each terracotta figurine are different. There are many different hairstyles, different gestures, and different facial expressions. From their attire, expressions, and gestures, you can tell whether they are officers or soldiers, infantry or cavalry. In general, all the faces of the Qin figurines reveal the unique majesty and calmness of the Qin people, with distinctive personalities and strong characteristics of the times.

The terracotta sculptures are a combination of painting and sculpture, and although they are old, the colors painted on the faces and clothes of the figures can still be seen when they are just excavated. In terms of technique, it pays attention to expressiveness, ingenious composition, flexible technique, both authenticity and decoration. Because of this, the Qin Terracotta Warriors occupy an important place in the history of Chinese sculpture. Judging from the more than 1,000 terracotta figurines and pottery horses that have been sorted out and unearthed, almost none of them are the same.

After the Qin Dynasty unified the Six Kingdoms, the Qin State implemented a national conscription system, and the source of soldiers came from all over the country, which is probably the main reason for the difference in their face shape, expression, and age. The craftsmen used realistic artistic techniques to express them very realistically, and there are many obviously different individuals in this large group of Qin figurines, making the whole group more active, real and vibrant.

Thousands of terracotta figurines and terracotta horses have been carefully painted. The color of the face, hands and feet of the terracotta figurines is pink, showing the texture of muscles. In particular, the painting of the face is particularly wonderful. The corners of the eyes, the black eyeballs, and even the pupils of the eyes are painted vividly. The figurines have black hair buns, beards, and eyebrows. The overall color appears brilliant and harmonious. At the same time, the painting of terracotta figurines also pays attention to the contrast of tones, and there are differences between individuals as a whole, and the costumes of different colors form a sharp contrast, which enhances the artistic appeal. The pottery horses also have bright and harmonious paintings, which make the image of the pottery horses in the static more vivid.

Dividing line

From the corresponding records of the Terracotta Warriors, the development of weapons in the Great Qin Empire at that time is described. The proportion of the number of scimitars is not much, and the rise of Qin Jian shows that the Great Qin Empire is not as good as Qin Jian in smelting scimitar technology, which is why Qin Jian has become a weapon that has become quite important for a period of time during the Qin and Han dynasties. To be continued.