Terracotta Army: Legacy of the First Emperor of China by Jian Li, and Hou-mei Sung

Abstract

Reviewed by: Terracotta Army: Legacy of the First Emperor of China by Jian Li, and Hou-mei Sung Lisa C. Niziolek (bio) Jian Li, and Hou-mei Sung, with contributions by Weixing Zhang and William Neer. Terracotta Army: Legacy of the First Emperor of China. New Haven: Yale University Press, 2017. xvii, 132 pp. Hardcover $45.00, isbn 978-03-00-23056-7. Terracotta Army: Legacy of the First Emperor of China is the catalog for the exhibition of the same name that was co-organized by Virginia Museum of Fine Arts (VFMA) (November 18, 2017–March 11, 2018) and Cincinnati Art Museum (CAM) (April 20–August 12, 2018). The catalog includes photographs of the 120 artifacts or artifact groups drawn from fourteen museums and research institutions in Shaanxi Province, China. Most of the materials come from tomb contexts dated to the Zhou (1046–256 b.c.) and Qin (221–206 b.c.) dynasties—forty pieces have never been displayed before in the United States. As to be expected, though, the ten life-size terracotta figures from the mausoleum site of Qin Shihuang, China's First Emperor, are the highlights. Director of the Shaanxi Provincial Cultural Relics Bureau Zhao Rong states that the goal of the exhibition was to introduce readers to "the daily life of the Qin people and the visual culture of the empire over two thousand years ago" (p. viii). Although scholars will enjoy this catalog for its imagery, illustrations, and updated information, it is ideal for general audiences interested in China's early history. For individuals who had the opportunity to view the exhibition in person, the book is a reminder of the experience and a way for them to delve more deeply into some of the show's content. Nothing can replace seeing artifacts in person, but for those who could not visit either venue, the catalog provides a reference of materials and new insights into archaeological work being done at the First Emperor's mausoleum site and in Shaanxi Province more broadly. A detailed timeline helps readers keep track of chronology and several simple but informative maps help them to locate places of interest and track shifting political landscapes. A number of illustrations deepen readers' understanding of how some of the artifacts might have functioned in ancient times. For example, a line drawing of a four-horse chariot enables readers to [End Page 287] see the placement of various artifacts, including bells, horse ornaments, and chariot fittings (p. 11). Like the exhibition, the catalog is divided into three main sections. The first section focuses on young king Ying Zheng's rise to power and his development into the self-proclaimed First Emperor of Qin, Qin Shihuang. The First Emperor's accomplishments are many but the greatest was the unification of China's warring states into a single empire. Readers learn about the importance of the Qin military, the role of horses and chariots in Qin society, and the strategies the First Emperor and his administrators employed to consolidate political power, including the standardization of writing using small seal script, of weights and measures, and of currency. In the second section, the majority of artifacts discussed date to the Spring and Autumn (770–476 b.c.) and Warring States (475–221 b.c.) periods of the Eastern Zhou dynasty (770–256 b.c.). Humble earthenware vessels from commoners' graves are contrasted with musical instruments and gold pieces from tombs of Qin elite and royalty. Architectural elements, including an ornate bronze beam cladding (p. 62) and earthenware roof-tile ends (pp. 63–67), provide insight into the structure and grandeur of Qin palaces and mausoleums. Importantly, in this section the authors highlight the interactions the Qin state had with neighboring nomadic societies, primarily the Western Rong and Northern Di. Through an impressive selection of artifacts, including a bronze chain and plaques with dynamic portrayals of animals in combat (pp. 58–59), readers see the influence that neighboring cultures had on Qin technology and design. In section 2, the authors also supply readers with an account of the movement of the Qin capital over time as well as highlights from various archaeological sites in the region. The...