On The Realism And Cultural Connotation Of The Clay Figures In Qin Dynasty

The thesis re-recognizes the figurines of soldiers and horses of the Qin mausoleum through a study of shaping style, figuring technique, size and scale of and theoretical works related to clay figures of Qin dynasty. The author believes that it is necessary to make a comparative study of clay figures of Qin dynasty, sculptures of each dynasty of China and western realistic sculptures, for the purpose of an in-depth study of the shaping style of Qin clay figures. And for the reason that art is a broad culture, the exploration of the causes of the style of clay figures of Qin dynasty entails an examination of cultural connotation in Qin figures.First, the thesis offers an in-depth analysis of the artistic achievement of the clay figures from Qin dynasty, which can be summarized as four features, "large quantity", "large scale", The part is devoted to an in-depth discussion of the strong realism pursued in shape of Qin sculptures, and a comparison of sculptures of Qin dynasty and each dynasty of China and western sculptures generates the conclusion that Qin sculptures are China's native realistic art from, Chinese sculpture had made great achievements in Qin dynasty, and it functions as a transition in Chinese sculpture history. The clay figures are vivid reflection of the powerful culture and martialism of Qin dynasty and masterpieces of distinct characteristics of that time. After the establishment of secondary conclusion, it goes on to analyze the causes for formation and its position and influence. The causes of its great achievement and realism are analyzed in the aspects of unified and stable economy, powerful military politics, cultural concepts of military and practicality priority, luxury mausoleum system and mature sculpture art etc. And one of key factors is Emperor Qin Shihuang's supreme position and his superstitious character and craze for success. The analysis of unique shaping concept, high figuring skills and preparatory influence on sculpture of Han and Tang dynasties. The thesis finally points out that sculpture is the best embodiment of Zeitgeist and the clay figures of Qin dynasty best explain the Zeitgeist of Qin dynasty, thus the thesis is of realistic significance to figure out the ways to inherit fine tradition and create new works of distinct features of this era.