A study of watercolor art on the theme of Qin Shihuang's terracotta army

U Hanpeng Postgraduate, Department of Art History and Pedagogy of Art, the Herzen State Pedagogical University of Russia 191186, Russia, Saint Petersburg, nab. Sinks, 48, room 6, office 51 wuhanpeng@rambler.ru

 I.

Genesis and history of Qin Shihuang's Terracotta Army1. The power and authority of the state.

The political and economic power of Qin Shihuang laid the foundation for the unification of China in 221 BC, creating suitable material conditions for the construction of the emperor's tomb and premises for the placement of his terracotta troops ^{[1, p. 95]}

 After the reforms of Shang Yang, the kingdom of Qin gradually turned into the most powerful region, where by the time of Qin Shi Huang's reign there was already cavalry, numbering tens of thousands of horses, thousands of chariots and more than a million warriors. Such strong support allowed the Qin ruler in the period from 230 to 221 BC to go to war on the six kingdoms to the east of Qin and end a long period of fragmentation and armed clashes, uniting China for the first time in history. After proclaiming himself emperor, Qin Shi Huang continued along the path of the new policy proposed by Shang Yang. Political, military, economic and cultural reforms strengthened the absolute power of the ruler and weakened the influence of the former nobility. After the unification of the six kingdoms, the emperor's subjects connected the links of the Great Wall that were located on the territory of the conquered lands into a single chain, thus ensuring the protection of state borders. In addition, the Lingqiu Canal was built, which became part of the water system. Qin Shihuang standardized the width of roads on the territory of the united state, as well as unified writing, currency and measures of length, volume and mass, strengthening cultural ties between the inhabitants of China. The emperor's political achievements had a significant, far-reaching impact not only on China, but also on world history. For the first time in the history of China, a single, centrally controlled feudal state was created, laying the foundation for the political system that existed in China for more than two thousand years.                       

Qin Shihuang inherited the throne at the age of 13 (247 BC), and at the same time the construction of the mausoleum of the future emperor of united China began, which lasted until 208 BC. The peasant uprising led to the hasty completion of the work, which lasted a total of 38 years. The construction of the premises for the terracotta army began around 221 BC – during the unification of China – and took 12 years. To pay tribute to his million-strong army and hint at his own power and greatness, Qin Shi Huang ordered to make more than 7000 statues of warriors and war horses in full size and also bury them in the chambers of the imperial mausoleum.

2. Rituals and traditions of the Qin period. The appearance of the terracotta army is closely connected with Qin funeral rituals, ideas about the immortality of the soul and the cult of ancestors. In the early Qin era, a lavish burial was considered a manifestation of filial piety: people believed that after death a person could enjoy the same fame, wealth and social position as during life ^{[2, p. 123-124]}. The classical philosophical treatise "Xun-tzu" (author – Xun-tzu, also known as Xun Kuang, 313-238 BC, thinker, writer and politician) mentions the following belief: the solemnity and splendor of the last honors should reflect the depth of grief for the deceased.   

According to historical evidence and ancient studies, in China of the pre-Han period (202 BC – 220 AD), burial alive was widespread. In 384 BC, the Qin Hsien-gong (Ying Shixi, 424-362 BC) abolished this tradition, ordering the use of sculptures or figures made of clay, wood and bronze – a real achievement of social progress. At the same time, the desire for pomp of funerals reached such a scale that separate funeral rooms were built for those objects and statues that could not be placed inside the tomb.

Qin Shihuang is the first politician in the history of China who united the country and proclaimed himself emperor, so his mausoleum was supposed to be the embodiment of unprecedented glory, wealth and greatness that Qin Shihuang possessed during his lifetime. The terracotta army guarding the tomb of the first emperor served as evidence of his status and power, which knew no equal.

Buried underground more than two thousand years ago, the terracotta army once again revealed itself to the world and made a worldwide sensation in 1974, becoming the most significant archaeological discovery of the twentieth century. In 1987, the monument was included in the UNESCO World Cultural Heritage List.

More than 7000 statues of warriors and more than 600 war horses are located in three underground burial chambers with a total area of about 6000 square meters. In the first rectangular chamber, more than 6,000 soldiers and 40 war chariots are lined up in a phalanx. The second chamber houses several types of troops: mainly chariots, cavalry and a few archers. The third chamber is built in the form of a hieroglyph. From the point of view of the internal structure, cell No. 3 is a command post from where the troops were led from the first two chambers – in the third chamber there are figures of 64 officers and one chariot.

In the ranks of the terracotta army are generals, officers, light infantry, archers shooting standing and kneeling, cavalry and war chariots. Weapons include long spears, swords and bows. Each figure is created as a result of combining manual refinement and the use of separate forms for each kind of troops. This method not only made mass production more convenient, but also helped to avoid the repeated appearance of identical figures. 

II. The terracotta Army is a symbol of Chinese culture and art, contributing to the development of contacts between Russia and China The terracotta army was discovered in 1974 to the east of Qin Shihuang's tomb in the Lingtong district of Xi'an City, Shaanxi Province.

The discovery of this monument, later called the eighth wonder of the world and the greatest archaeological discovery of the twentieth century, caused a worldwide sensation. The artistic value of the terracotta army lies mainly in the fact that this architectural complex is a reflection of ancient Chinese civilization, proof of the development of military skill and technological progress in China two millennia ago, as well as evidence of a high level of art and craft: pottery, painting, metalwork, weapons and weaving.

The appearance of the terracotta army, which has become a model of sculptural achievements of ancient China, marks the first peak in Chinese plastic art. This sensational archaeological discovery of the twentieth century differs from the works of Mesopotamia, Ancient Egypt, Greece and Rome. The terracotta army of Qin Shi Huang can be considered the most numerous group of clay sculptures of the ancient world. In addition, the warriors of the first emperor of China are the largest sculptural composition on a single theme (military affairs), a symbol of the prosperity of clay sculpture in the ancient world ^{[3, pp. 51-55]}. The terracotta army occupies a significant place in the world history of art.

The terracotta Army is the most representative example of China's contribution to world culture. Former French President Jacques Chirac, who was interested in the history and culture of the East, visited the Terracotta Army Museum and noted that "there are seven wonders in the world, but the terracotta army is the eighth wonder of the world. To visit China and not see the terracotta army is like visiting Egypt and not seeing the pyramids."^[4] The equating of Qin Shi Huang's clay army to the eighth wonder of the world testifies to the interest and admiration shown by the world community towards the terracotta army.

The worldwide fame of this architectural monument has led to the creation of many thematic works of science and art. Since 1990, a large number of documentaries, popular science, historical and animated films, as well as TV shows for audiences of all ages have been released. Today, the terracotta army of Qin Shi Huang is one of the most significant contributions of China to the treasury of world culture, which contributed to the establishment of friendly relations between China and other countries. After the transition to a policy of external openness in 1979, China received a significant number of tourists from all over the world, many of whom visited the Terracotta Army Museum. This object of international cultural heritage is often a mandatory item in the program of heads of State visiting China.       

The terracotta Army is a visiting card of China, which has contributed to the development of cultural contacts between Russia and China. In 2004, during a visit to China, the museum was also visited by the President of Russia, who, after familiarizing himself with the exposition, expressed his willingness to organize an exhibition in Russia with Qin Shi Huang warriors, who had already visited more than forty countries as an ambassador of friendship. The exhibition was designed to give Russians the opportunity to touch one of the world's greatest cultural treasures – the terracotta army.

Cultural contacts between China and Russia have a long history. In recent years, significant results have been achieved in the field of intercultural exchanges and interaction at the highest level. In 2000, during the visit of the Russian President to China, the Russian-Chinese Commission for Cooperation in Education, Culture, Health and Sports was established (since 2007, the Russian-Chinese Commission for Humanitarian Cooperation). This event marked the beginning of regular bilateral meetings of politicians and specialists of both countries, giving a new impetus to cultural and artistic contacts between the Russian and Chinese people. In the future, a number of events were organized: cultural festivals, the Year of China in Russia and the Year of Russia in China, language and tourism cooperation, thanks to which the cultural interaction of the two countries reached a new level. Russia and China have formed a strategy of friendly relations, contributing to the development of cooperation in the field of culture and art ^{[5, p. 33]}.

In 2003, in honor of the 300th anniversary of the founding of the city, a "China Week" was organized in St. Petersburg, within the framework of which a photo exhibition "World Heritage in China" was held in the Central Exhibition Hall "Manege". Photographs of such key historical and cultural monuments of China as Tiananmen, the Great Wall of China, the terracotta army of Qin Shihuang, the Mogao Cave in Dunhuang revealed to Russian viewers the ancient history, culture and civilization of China. 

In 2006-2007, within the framework of the "Year of Russia" and the "Year of China", both countries organized a series of events dedicated to the terracotta army: in particular, the exhibition "The Terracotta Army of Qin Shihuang" at the State Historical Museum, where for the first time in Russia the terracotta warriors of the first emperor of China were presented. More than 6 million people visited the exhibition, the historical and cultural origins of which were told by Zhao Rongxiang, head of the Cultural Heritage Department of Shaanxi Province, who specially arrived in Moscow. Andrey Busygin, Deputy Minister of Culture and Mass Communications of the Russian Federation, and Cheng Gopin, representative of the Chinese diplomatic corps, also spoke at the opening ceremony of the exhibition.

Thus, cultural events centered on the terracotta army or related subjects contributed to the development of cultural and artistic contacts between Russia and China and helped Russians to become more familiar with Chinese civilization, providing a basis and opportunities for better understanding between the two peoples.                

III. Analysis of research in the art of watercolors on the theme of the terracotta armyIn the field of watercolor painting, the creation of works on historical subjects presents certain difficulties, since history or battle scenes are usually depicted on large-scale canvases ^{[6, p. 28]}, and therefore watercolor undergoes certain changes.

For this reason, few watercolor artists work with historical material, although talented masters periodically appear who choose exactly such subjects.

At the beginning of the XXI century, thanks to the achievements of several generations of artists, watercolor has become more diverse and modern. The organization of exhibitions and events dedicated to certain historical events and dates has led to the fact that some Russian and Chinese artists have created a number of works on historical themes. At the same time, it is also worth noting the presence of masters who began to explore stories related to history much earlier and achieved some success in this area. Therefore, speaking of Russian watercolorists, it is impossible not to mention the numerous historical works created by O. Y. Yakhnin and Y. D. Shevchik, chairman of the St. Petersburg public organization "Society of Watercolorists". Among the Chinese masters of watercolors who study historical materials and use them as subjects for their paintings are Zhuang Hongxing, Huang Zhongyang, Lin Shaolin, Zuo Xinmin, Zhang Hongliang and others.

Recently, the terracotta army of Qin Shi Huang has become a popular historical subject, loved by many artists. The warriors of the first emperor have their own artistic charm, conveying the spirit of the era of united China. On the bodies of thousands of clay statues, serving as the embodiment of the willingness to sacrifice themselves in the name of the motherland, the motley imprints of history and traces of the passing centuries are visible. The time-damaged corps of Qin Shihuang warriors create a distinct feeling of the fleetness of life in the flow of centuries. All this attracts artists who choose the terracotta army as a subject for their works. Within the framework of this study, through the prism of the artist's awareness of the concept of the painting, the formation of an artistic idea, original techniques and the choice of techniques, an analysis of watercolor painting by three well–known artists in China is carried out.

One of the most striking watercolorists working with historical subjects is Huang Zhongyang (born in 1949), an artist who emigrated to Canada, combining national traditions of Chinese and Western culture in his work.

Huang Zhongyang is one of the few masters who create watercolor works on historical themes. Being an artist with a wealth of experience, he embodies creative concepts in each of his artistic ideas. Huang Zhongyang's works reveal his original view of historical events, which at different stages of his creative path manifests itself in clear and understandable or contradictory forms. This painting expresses the quintessence of cultural traditions, reflecting the characteristic features of the time and the artist's views on the era. Many of Huang Zhongyang's creative ideas are based on the artist's own life experience and his family.        

Huang Zhongyang was born in Guangzhou, Guangdong Province, into a family of intellectuals. The artist's great–grandfather was one of the leaders of the people's revolutionary movement, and his paternal grandfather was a well-known collector, educator and poet in South China. Huang Zhongyang's father graduated from Tsinghua University, later becoming an architect. Influenced by his family, the future artist became interested in literature and art from an early age. In 1981, Huang Zhongyang completed his studies at the Faculty of Oil Painting of the Guangzhou Academy of Fine Arts, receiving a master's degree in Humanities, and remained at his alma mater as a teacher of drawing and watercolor painting. Studying at the Academy contributed to the powerful development of artistic skills of Huang Zhongyang, who in 1984 took part in the Sixth All-China Art Exhibition and received a silver medal. In the same year, the artist entered the Canadian University of Regina, from which he subsequently graduated with a Master of Fine Arts degree. In 1994, Huang Zhongyang, at the request of the Governor-General of Canada and his wife, painted portraits that decorated the politician's house. In 2010, the Arts Council of Canada appointed the artist as a member of the jury of the Governor General's Award in Literature and Performing Arts.

For Huang Zhongyang, a successful artist whose life has had both ups and downs, the meaning of existence lies in the pursuit of freedom, truth and faith. The master pays special attention to the past, considering it not so much from the position of rationalism characteristic of historians, but from the point of view of protecting life existing on earth.              

The artist's subtle understanding of historical subjects is based on the love of literature that has accompanied Huang Zhongyang since childhood and complemented by a broad multicultural outlook acquired over the years of living in Canada. The artistic concepts of the Pre-Raphaelites had a profound influence on the master. In addition, Huang Zhongyang warmly treated the culture of his homeland, drawing creative inspiration from the history, literature, theater and religion of the people.

While studying in Canada, under the guidance of Jack Surce, a famous master of ceramics, the artist went beyond realism, combining surreal images and metaphors with his original view of Chinese and Western culture: according to Huang Zhongyang, Eastern beauty is hidden, turned inward, while Western aesthetics is characterized by openness and steadfastness. The artist's ideas about the culture of the West and the East are reflected in his art.

Huang Zhongyang contrasts the traditional symbols of Chinese culture – the Buddha, the terracotta warriors of Qin Shi Huang, Lao Tzu - and nude female images, classic in Western fine art. In this way, the artist reveals oriental aesthetic concepts to the world. Before the advent of the New Era, Chinese residents were distinguished by a certain closeness and conservatism, so the image of the human body was perceived as something unprecedented. Huang Zhongyang explores Western culture through the prism of Eastern ideas, comparing the introversion and taciturnity of the East with Western directness and frankness, initiates a dialogue of female images and Eastern culture, emphasizing its rationality and mystery.

In order to form the final tone of the watercolor "The Song of the Military Chariot – the soul of the tomb of the first Chinese Emperor Qin Shi Huang" (Fig. 1; 2011, 131 ? 65 cm), before starting work, the artist applied a thin layer of oil paint to the canvas. Thanks to the rich base made with oil, watercolor has the brilliance and weight characteristic of oil painting. Huang Zhongyang, who is proficient in the art of calligraphy, pays special attention to the symbolic component and the color of the image, so the figures of terracotta warriors are randomly arranged in the picture under consideration. In the background, you can see the smooth ranks of the Qin army, and in the foreground, naked female figures are located between the terracotta warriors in groups of 2-3 people. The center of the painting is characterized by a rich color palette with high contrast. Outside the center, the artist uses a combination of blue and gray tones, giving the picture a sense of harmony and coherence. Combining the charming figures of girls and dignified silent images of warriors, Huang Zhongyang connects the directness and frankness of the West with the calm restraint of the East in the space of one picture, creating a dramatic effect of the collision of opposites.                                       

The pursuit of aesthetic value and creative expression in Huang Zhongyang's work is based on rich life experience and comprehensive artistic skill, confirming the artist's significant place in the art world. 

Fig. 1. Huang Zhongyang. The Song of the War chariot is the soul of the tomb of the first Chinese emperor Qin Shi Huang.

Paper, watercolor. 2011. 65x131 cm.

Lin Shaolin: The special technique of watercolor focusing reflects the transformation of the era. A well-known watercolor artist, born in 1957 in Ningbo, Zhejiang Province, honorary chairman of the Artists' Union of Ningbo, a member of the Chinese Artists' Association. In 1996, his work was awarded a gold medal at the Third All-China Exhibition of Watercolor Painting; in 2006, he was awarded participation in the All-China Exhibition of Watercolors of the Century; he was nominated as part of watercolor and pastel creativity at the Ninth All-China Exhibition (2010).

Lin Shaolin, based on the principles of photography, created his own focusing technique in watercolors, which made it possible to clearly distinguish the main and secondary in the image, to separate the real from the fictional, giving the work a great power of artistic expression.   

The focus of Lin Shaolin's works moves to the plane of real life, as well as to the area of changes caused by the passage of time, from where the artist draws ideas for his work. The master considers the expansion of the spectrum of artistic subjects and innovation in methods of expression as two key elements that allow to throw off the shackles of traditional art. The artist puts all his efforts into creative and research activities in order to find the perfect combination of themes and expressive means.

In the course of his research work in the field of watercolor painting, Lin Shaolin came to the following conclusion: the reasons why watercolor is perceived in China as "art without form" are the excessive filigree of the materials and techniques used, the variability and fluidity of watercolor, as well as the fact that this type of painting is considered suitable only for creating portraits. To break down these prejudices, the artist began to create large-scale group images. Figures that change in each new era came into his field of vision.  

Among the works of Lin Shaolin, you can find many watercolors on the theme of the terracotta army: "The Terracotta army in the tomb of Qin Shihuang", "The Voice of Antiquity", "The Terracotta Army of Qin Shihuang". In 2001, the journal "Watercolor of China" (Liang Dong, Jiang Zhengli) published "Dreams of the terracotta army of Qin Shihuang", "The Charm of Qin and Han". In 2005, the painting "Terracotta Army" was exhibited at an art auction organized by the Shanghai Jing Hua Art Auction House. The Literary Harbor magazine has repeatedly placed on its cover the work "The Voice of Antiquity – a series of images of the terracotta army from the tomb of Qin Shihuang".

Watercolor "Terracotta Army of the tomb of Qin Shi Huang. Through the years" (108 ? 79 cm; Fig. 2) consists of three parts. In the left part, one of the soldiers of the terracotta army is depicted chest–deep, whose intently thoughtful face is turned to the right part of the picture, where the silhouettes of two more warriors from the tomb of Qin Shihuang are visible: one's hand is lowered along the body, and the second holds a sword; while the faces of both warriors, expressing the joy of victory, are turned to the center of the composition – the middle fragment of the painting, as well as the warrior from the left part of the watercolor. The central part depicts an officer commanding an army, immersed in himself and full of wisdom, as well as a soldier rushing to attack and the head of a war horse. The commander is dressed in a military uniform, armor and a high helmet. The officer's face is calm, his long beard fluttering in the wind. In the lower left corner of the picture you can see the mighty and majestic ranks of the soldiers of the terracotta army.             

This work was created using the focusing technique developed by Lin Shaolin and based on the artist's compositional preferences: highlighting individual parts of the image and its key elements. The color palette of the painting is built using yellow and brown tones. The distinct contrast between the real and the imaginary, as it were, transfers the viewer to the picture into the world of dreams. This work is a reflection of the artist's views on the changes taking place in each new era, a new word in the system of watercolor painting, a creative search for new techniques, as well as evidence of an innovative spirit and continuous research work.     

Fig. 2. Lin Shaolin. The terracotta army of the tomb of Qin Shi Huang. Through the years. Paper, watercolor. 2005. 79x108 cm.

Zuo Xinmin is an "interpreter" of epochs, a master of realistic watercolors. The artist was born in 1966 in Qinhuangdao, Hebei Province, graduated from the Faculty of Fine Arts of Hebei Pedagogical University (now the Institute of Arts of Hebei Pedagogical University) in 1992, and in 2004 received a master's degree from the Academy of Fine Arts of Qingdao University.

Zuo Xinmin is an associate professor of the Department of Art at the Professional College of Foreign Languages of Qinhuangdao, Hebei Province, a member of the Chinese Artists Association, deputy chairman of the Watercolor Art Committee in Qinhuangdao, a member of the Artists Union of Hebei Province, the Artists Union of China and the Hebei Watercolor Painting Association. Zuo Xinmin's works were exhibited at the Fifth All-China Exhibition of Watercolors and Pastels (2000), the Ninth All-China Exhibition of Watercolor Painting (2010), the Second International Watercolor Biennale in Zhujiajiao, Shanghai (2012).

The idea to paint a series of watercolors on the theme of the "terracotta army" appeared in Zuo Xinmin as a result of research work carried out in Shaanxi Province, where the artist visited the museum of the terracotta army of Qin Shihuang. Finding himself among the majestic and resplendent sculptures, Zuo Xinmin always mentally returned to the mystery-shrouded kingdom of Qin. Finely crafted and full of noble dignity, the warriors made a deep impression on the artist, reminding him of those who today give the years of their youth to defend the motherland. The terracotta army, buried underground for two thousand years, but immortal in spirit, aroused strong, incomparable feelings in Zuo Xinming, awakening in the artist the desire to create in order to preserve his thoughts and emotions.

In 2013, Zuo Xinmin completed a series of four watercolors on the theme of the terracotta army. During the work, the artist paid special attention to the water content and color transparency. Using the technique of working "dry" and "wet", the master achieved maximum accuracy of images, trying to emphasize the variability of the fate of terracotta warriors and to awaken memories of long-gone times. Each of the paintings that make up this series is a fragment of one scene.                    

Despite the spatial limitations, watercolor evokes a whole range of emotions. We see a group of terracotta warriors enclosed in the borders of the painting: the statues of once majestic and formidable rulers, cracked and crumbled under the influence of time, now lie in ruins. The artist reflects the illusory nature of fame and wealth, reminding of the insignificance of human life in the face of eternity and thus expressing his concern about the fate of society. At the same time, the painting serves as a monument to the soldiers who defended their country and supported the unity of the people. These images remind the artist of today's military guarding the security of the state. With his work, Zuo Xinmin shows respect to those who gave their lives for the sake of the tranquility of their country.     

The painting "Terracotta army of the Qin Dynasty. Series 4." (Fig. 3) was written by Zuo Xinmin in 2017. The size of the watercolor is 72 ? 52 cm; when creating it, the artist used a vertically oriented composition and realistic technique, depicting terracotta warriors and war horses discovered during the excavation of the ancient tomb of Qin Shihuang. The color palette consists mainly of gray tones; the cold of gray-blue shades contrasts with the warm brown color. Soft lighting creates an atmosphere of severe calm in the upper right part of the painting, and the harmonious composition conveys the story of the fall of the terracotta army and evokes a sense of the transience of time.     

Fig. 3. Zuo Xinmin. Terracotta army of the Qin Dynasty. Series 4. Paper, watercolor. 2017. 72x52 cm.

ConclusionThe watercolor works described above demonstrate that the subjects associated with the terracotta army of Qin Shihuang serve as a harmonious continuation of creative thought and skill, while helping watercolorists to address fundamental issues.

It can be said that the key element of a worthy work is a perfect combination of artistic ideas, technical skill and aesthetic concepts, expressing the thoughts and feelings of the artist directly at the moment of creation. For this reason, good work is a fusion of the aesthetic ideas of the master and his creative practice.

From the point of view of plots and artistic ideas, Zuo Xinmin strives to reveal the insignificance of human civilization in the face of time and at the same time express due respect for the heroes who laid their lives on the altar of service to society. Lin Shaolin's works on topics related to the terracotta army reflect the changeability of eras, as well as the artist's attempt to go beyond the system of watercolor painting and his experiments with new techniques. In Huang Zhongyang's painting, images of terracotta warriors create an image of the secretive and restrained aesthetics of the East, contrasting with the straightforwardness and openness of female figures in Western fine art. Such a clash of images helps the rest of the world to understand Oriental art more deeply.

As for the choice of techniques – whether it is the realism of Zuo Xinmin, the original technique of focusing in the works of Lin Shaolin or the surrealism of images and allegorical Huang Zhongyang – all the watercolor works of these artists represent a harmonious combination of plot, technique and idea. There is no doubt that the creation of a work of the highest class is possible only in the case of many years of reflection and improvement in the course of creative practice.