Look From The Qin Shihuang Terracotta Warriors Antony Gormley's "land Of Asia"

In2003, Antony Gormley’s masterpiece, Asian Field, was exhibited in China.190,000hand-sized clay figures completely filled the exhibition hall, leaving no space for the viewers to set foot in, so much so some were reduced to observing through the crack of the doors. Seeing thousands of mute, motionless clay figures being orderly placed, viewers, especially the Chinese, would naturally be reminded of the Terracotta Army installed in the mausoleum of Qinshihuang, the first emperor of the Qin Dynasty. Both of these two pieces of art can bring us a very similar sensual enjoyment, and both actually were a presentation of hegemonism, which will be demonstrated later in three parts in my thesis.First, let’s start by discussing the origin of the exhibitions. As the first feudal dynasty, the emperor of Qin Dynasty had supreme power and owned a strong army, which acted as a solid backing to his hegemonism. Gormley came to china to make clay figures with the help of villagers and the British Council funded his visit to China.The second part examines the masterpieces themselves and the process of making them. They both were collaborative work guided by one leader. More over, neither could have been done without the leader’s strong will and resolve.The last part deals with the presence of hegemonism behind them. The Terracotta Army and Asian Field have a lot in common, except for the size of the figures. With an imposing, overwhelming presence,they both leave viewers feeling insignificant and impressed. As for the place of exhibition, Gormley’s was more like a physical and cultural hegemonism.At last, we come to the conclusion that the Terracotta Army and Gormley’s Asian Fieldwere similar not only in their presence but also in the hegemonism behind them.