Audio tour best experienced with headphones
Tour Stop:101
Introduction
In 1974, farmers digging a well in the village of Xi’an (see-an), in Northwest China, found clay fragments. At the time, they had no idea that they had just uncovered what would lead to one of the greatest archaeological discoveries of the 20th Century: China’s Terracotta Army–an underground army with around 8,000 life-size sculptures of warriors, chariots and horses made to accompany the First Emperor into the afterlife.
Hello, my name is Michael Taylor, the Chief Curator and Deputy Director for Art and Education at the Virginia Museum of Fine Arts, and I am delighted to welcome you to Terracotta Army: Legacy of the First Emperor of China.
More than two thousand years ago, the future First Emperor of China–Ying Zheng [ying jeng] –waged a decisive campaign to unify seven warring states into a single empire.
Yet, building an empire in his lifetime was not enough. The First Emperor wanted to attain immortality so that he could continue to rule in the afterlife. To achieve this, he built one of the greatest burial complexes ever discovered. From palaces to pavilions, offices and reception halls to burial pits and an armory—it was an underground world of incredible proportions.
Presented in three sections, this exhibition features rare objects from the First Emperor’s burial complex and other Qin [chin] tombs, gathered together to tell the story of the First Emperor’s rise to power, the history of the Qin state, and the First Emperor’s quest for immortality. There are 20 stops numbered 101-120, but you can choose to go in any order you like. Objects on the audio guide are marked with an audio symbol. If you are using an audio wand, input the number next to work of art to begin. If you are using a mobile device, select an object and push play.
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Tour Stop:102
Timeline
Timeline of the First Emperor of Qin
Born in a time of unrest in China’s history, known as the Warring States period–Ying Zheng [ying jeng] became king of the Qin [chin] state at the age of thirteen.
As king of the Qin, he defeated the other six rival states and created one unified nation–and in 221 BC, when he was 39 years old, he founded the Qin dynasty and declared himself the First Emperor of Qin, or Qin Shihuang [chin shu hwong].
In only ten years, the First Emperor brought about significant political and cultural reforms, unified the nation, and reshaped Chinese culture not only during his historic reign but for the next two thousand years.
A short film featuring a map and timeline overview of the rise of the First Emperor and expansion of the state of Qin is being played in the gallery next to this timeline.
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Tour Stop:103
Chariot No. 1 with Horses (Replica)
Chariot No. 1 with Horses (Replica)
Qin dynasty (221-206 BC)
Bronze, pigment
H. (59 in.) L. (88.6 in.) W. (70.5 in.)
Excavated from Pit of Bronze Chariots, Qin Shihuang’s Mausoleum, 1980
The First Emperor planned to rule in the afterlife, and so his burial complex mirrored all that he possessed in life. In this gallery, and throughout the exhibition, you will see weapons and armor that were buried in pits near the tomb of the First Emperor.
The chariot was an important part of the Qin army. Four types of chariots have been excavated so far, each of them serving different purposes. Heavy or command chariots would have been driven by charioteers armed with long-shaft weaponry such as dagger axes.
This half-size bronze chariot is a replica of what is known as a light or a tall chariot.
It is drawn by four horses and driven by an unarmored, standing charioteer equipped with a sword. A crossbow is mounted on the side of the chariot box and an umbrella serves as canopy to protect the driver from the sun
Although the original bronze chariots are too fragile and precious to travel outside of China, on-view throughout this exhibition you will see real pieces from the Emperor’s chariots—including gold and silver horse ornaments on display in this gallery.
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Tour Stop:104
Tiger
Tiger
Spring and Autumn period (770-476 BC)
Gold
L. (1.9 in.) H. (0.9 in.)
Excavated from Fengxiangxian, Baoji, 1979
There can be as many as 1000 or more objects associated with a single chariot: small buckles, bronze and gold fittings, bridle ornaments and decorative objects.
Made of gold, animated with sharp protruding teeth and bulging eyes, this small, but powerful, tiger looks ready to attack. It was likely a decorative object, though along its back is a bar through which a strap could be laced to tie it to other objects, such as a horse’s harness.
The tiger, native to China, is revered for its fierceness as the “king of beasts,” and was a symbol of protection and victory on the battlefield.
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Tour Stop:105
Chariot Bells
Chariot Bells, ca. 8th century BC
Western Zhou dynasty (1046-771 BC)
Bronze
H. (7 in.)
Excavated from Tombs 1-2, Huangduixiang, Fufengxian, 1980
In ancient China, the first horse-drawn chariots were used for daily activities, hunting and also for combat. While most wooden components decayed over time, bronze fittings, bridle pieces and other ornaments survived to offer evidence of the chariot’s important role.
Luxurious chariots, which belonged exclusively to nobles and members of the royal family, were drawn by four horses and decorated with metal and paint.
Created in the Western Zhou [joe] dynasty, these two bells with openwork decoration belong to a set a bells excavated from an aristocrat’s tomb.
The bells would have been attached to the yoke or drawbar on a horse-drawn chariot– there’s a large-scale drawing on the gallery wall which shows how they would have looked.
They were displayed in sets to indicate social status–two, four, six or eight bells–the higher the number of bells, the higher the social status of the passenger.
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Tour Stop:106
Weight
Weight Inscribed with Two Edicts, 209 BC
Qin dynasty (221-206 BC)
Bronze
H. (2.9 in.) Dia. (2.1 in.)
Excavated from the administrative site, Qin Shihuang’s Mausoleum, 1975
The First Emperor is known for remarkable innovations that consolidated his rule and unified the country.
Under his orders the empire adopted a universal writing system. Currencies circulated in other states were replaced with a new national currency and units for weights and measurements were revised to promote trading across the burgeoning empire.
Like most weights of the era, the one seen here bears an inscription ordering compliance with the First Emperor’s reforms. Chiseled onto the exterior of this hollow, seventeen-facet weight are two sets of official edicts: one issued by the First Emperor in 221 BC and the second by his successor in 209 BC.
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Tour Stop:107
Banliang Coin from Qin
Coin from Qin Inscribed with “Banliang”
Warring States period (475-221 BC)-Qin dynasty (221-206 BC)
Bronze
Dia. 1.1 – 1.4 in.
Emperor Qin Shihuang’s Mausoleum Site Museum, 1978.005529
The First Emperor imposed many reforms during his reign, including the standardization of currency.
Before unification, people throughout China used a variety of items for money, including tortoise and cowrie shells, pearls, and textiles. People also used coins, but each different region used a diverse range of shapes, including knives and spades. You can see examples on-view in this case.
Once the standardization of currency was enforced, other forms of money were banned and the Qin banliang [ban-lyon] or half-ounce coin was made the legal currency for the entire empire.
The banliang is a round bronze coin with a square center. The circle and square shapes are ancient Chinese symbols of heaven and earth, but the shape of the coin also served a practical purpose. People could carry several coins easily with a cord strung through the center.
Banliang remained a popular design for Chinese coins until modern times.
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Tour Stop:108
Seal of a Prince Ronglu
Seal of “Ronglu”
Qin dynasty (221-206 BC)
Bronze
H. (0.4 in.) W. (0.6 in.)
Excavated from Shangjiaocun, Qin Shihuang’s Mausoleum, 1976
The Chinese characters on this seal were carved long after writing began in China.
The First Emperor ordered his officials to create a simplified, universal system for writing, known as Qin script or small seal script. Unlike the more complicated pictographic form of writing that had been used before, Qin script used simplified strokes, balanced square forms, and even brushwork.
A Qin-dynasty individualized seal was carried by its owner as personal identification.
Carved into this square seal is “Ronglu,” [Rong-loo] the combination of two characters that mean “honor” and “prosperity” — it may also be the given name of a prince who was murdered by his own brother.
After the death of the First Emperor, his youngest son, Huhai, [Hoo-hi] ascended the throne and had all of his siblings murdered and later entombed half a mile from the First Emperor’s burial mound. The names of these princes and princesses remained a mystery until these objects were excavated.
An arrowhead found embedded in the remains of a young man’s skull is evidence that suggests they died violent deaths.
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Tour Stop:109
Ritual Bell
Ritual Bell with a Looped Handle, 7th century BC
Spring and Autumn period (770-476 BC)
Bronze
H. (17.7 in.) Weight 47.4 lbs.
Excavated from Taigongmiaocun, Chencang, Baoji, 1978
Stone Chime, 573 BC
Spring and Autumn period, Duke Jing reign (r. 576–537 BC)
Limestone
L. (14.8 in.)
Excavated from Tomb of Duke Jing, Fengxiangxian, 1985
The works in this gallery highlight the lives of Qin royalty, aristocrats, commoners, and neighboring nomads and present more than 500 years of Chinese history from the 8th to the 3rd centuries BC.
Cast with designs of dragons, serpents, and phoenixes this ritual bell would have been played at ceremonial court events.
This bell produces distinct tones when struck with a wooden mallet in two areas: the middle and lower-right area of the rim. The shape is very important and determines the two notes that can be played.
It would have likely been suspended on a wooden rack alongside other bells where it would have been played from a sitting or kneeling position.
The inscriptions on the bells record Qin history, providing invaluable information on Qin rituals, music, writing script, and bronze casting during the 7th century BC.
The object in the case across from this bell is another ancient instrument, a stone chime. Stone chimes were played with sets of bronze bells at important events. Like bronze bells, chimes were played by being struck with wooden mallets.
Inscriptions engraved into the edges reveal these particular chimes were played for a king of Zhou [joe] at a state banquet hosted by the Duke Jing [jing] in 573 BC. You can learn more about the Tomb of Duke Jing [jing] on the panel on the gallery wall near these objects.
Step between the two cases in the gallery and listen to the sound that each of these ancient instruments would have made.
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Tour Stop:110
Hu Vessel with a Chain Handle
Vessel with a Chain Handle
Warring States period (475-221 BC)
Bronze with gold and silver inlay
H. (8.4 in.)
Excavated from Shiyangmiao, Chencang, 1973
Long before the Qin came to power, ritual objects and other significant vessels were made from bronze. Created from a combination of copper and tin, bronze was seen as sacred metal.
This gourd-shaped wine container may have been owned and used by a family of nobility.
It is an exceptional piece–a rare surviving example of a bronze vessel decorated with gold and silver inlay. It was made using a technique that was fully developed by the end of the Warring States period. Small grooves would be chiseled into the metal surface and then filled with soft pieces of gold and silver cut from sheets. The vessel was then polished to a glittering finish.
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Tour Stop:111
Mounted Warrior on Horse
Mounted Warrior on Horseback
Warring States period (475-221 BC)
Earthenware with pigment
H. (8.7 in.) L. (7.2 in.)
Excavated from Tomb 2, Steel Factory, Xianyang, 1995
This clay warrior on horseback was excavated from a tomb of the Qin state in Xianyang [see-an-yong]. Seated on a painted saddle, the figure extends his arm to hold reins that are now missing. His facial features and dress reflect the characteristics associated with the nomadic people who shared the border with Qin and other states.
The sculpture is simple, and modest in size. But that does not diminish its significance.
Made a century before the time of the First Emperor, this clay figure is one of the oldest known examples of a burial cavalryman found in China. It also reveals strong cultural ties between the Qin state and neighboring regions.
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Tour Stop:112
Bracelet
Bracelet, 8th century BC
Spring and Autumn period (770-476 BC)
Nephrite, agate, faience
L. (4 in.) W. (1 in.)
Excavated from Tomb 26, Liangdaicun, Hancheng, 2008
Made as a funerary object, this bracelet has a rectangular jade bar and eight radiating strands adorned with agate beads and jade amulets including silkworms, turtles, shells and animal masks. It is one of a pair of bracelets that belonged to Rui Jiang [Rw-ay Jee-ong], the wife of Duke Huan [Hoo-ahn] of Rui [rw-ay].
The bracelet was excavated from one of 1,300 tombs discovered in an ancient cemetery in the village of Liangdaicun [ Li-ang-dai-tsun]. Located northeast of Xi’an [see-an], the village was once part of Rui, [rw-ay] an ancient vassal state that had been conquered by the Qin in the 7th century BC.
Found buried with the Rui royals were precious jewelry, gold ornaments, jade pendants, bronze vessels, weapons and horse and bridle ornaments. Their shapes and designs were adopted by Qin craftsmen and reveal the close tie between Rui royalty and the Qin.
When Rui Jiang’s tomb was excavated, the jade bar and two strands of beads were found clasped in the remains of her right hand with the other strands placed over the back of the same hand–revealing unique funeral practices performed by the Rui royals.
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Tour Stop:113
Large Roof Tile with Serpentine Motif
Large Roof-Tile End with Serpent Design
Qin dynasty (221-206 BC)
Earthenware
H. (15.6 in.) Dia. (20.5 in.)
Excavated from Northwestern Inner City of Qin Shihuang’s Mausoleum, 1977
The First Emperor’s mausoleum complex included a palace intended for use in the afterlife.
Carved with a serpentine dragon design, this roof tile was excavated from the First Emperor’s mausoleum.
The powerful relief patterns match its massive size–it’s about three times the size of an average roof tile end. Sometimes called the “king of tile,” and possibly the largest one ever excavated, this tile end was designed and used specifically for the First Emperor’s imperial palaces.
Archaeologists unearthed numerous round tile ends from the former Qin capital, Yongcheng [Yoong-chung]. On display in this gallery are a variety of roof tiles, decorated with symbolic designs of cloud or water patterns, plants and animals.
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Tour Stop:114
Panel: First Emperor’s Mausoleum Complex
In this gallery you will see life-size terracotta figures and other objects excavated from the First Emperor’s mausoleum complex–they not only represent furnishings and amenities for the afterlife but also show the artistry of ancient Chinese craftsmen.
The terracotta figures are among nearly 8,000 life- size sculptures initially discovered by farmers outside Xi’an [see-an] in 1974.
The First Emperor’s mausoleum complex is a necropolis–a large cemetery of an ancient city.
It measures approximately 38 square miles—that is more than half the size of the City of Richmond–in its entirety.
The complex also includes the tomb mound, a palace, an armory–or storage place for weapons, an area for entertainment, stables, a garden pond, and three large burial pits. Today, the First Emperor’s tomb mound remains undisturbed–and its contents remain a mystery.
The three large burial pits contain the First Emperor’s terracotta army–and it imitates the real Qin military both in size and organization.
Every one of the figures is unique, each designed with individual faces and clothing.
The warriors were originally painted in bright colors–you can learn more about how they were made by reading “Making the Warriors,” — a large panel in this gallery.
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Tour Stop:115
Armored General
Armored General
Qin dynasty (221-206 BC)
Earthenware
H. (77.2 in.) W. (22.4 in.)
Excavated from Pit 1, Qin Shihuang’s Mausoleum, 1977
The status of each figure can be recognized in a number of ways. We can look at them and categorize them by scale and by the kind of armor and garments they wear.
The armored general is both the tallest and highest-ranking figure excavated to date from the First Emperor’s massive underground army. We are fortunate to have this rare example on-display, as he is only one of nine terracotta generals that have been discovered.
He was found in Pit number 1. Containing approximately 6,000 figures, it is the largest of the three pits, and simulates a traditional Qin battle formation. The generals were each posted to the left of a long-since disintegrated wooden chariot.
The general is shown wearing a protective apron with overlaid plate armor, a double-layered robe and padded trousers. His elaborate headdress resembles two feathers of a revered type of pheasant. The feathers were chosen because of the bird’s brave and combative nature.
His armor is adorned with ribbons that are emblems of his high rank. The general’s hands are posed as if resting on a sword. His index finger is outstretched, signifying his responsibility for commanding troops in battle.
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Tour Stop:116
Crossbow Trigger Mechanism
Crossbow Trigger Mechanism
Qin dynasty (221-206 BC)
Bronze
L. (6.4 in.) H. (7.1 in.)
Excavated from Pit 1, Qin Shihuang’s Mausoleum, 1984
Ten Arrowheads
Qin dynasty (221-206 BC)
Bronze
L. (4.4 – 6.4 in.)
Excavated from Pit 1, Qin Shihuang’s Mausoleum, 1974
The crossbow was used in battle hundreds of years before the First Emperor had them stockpiled for his tomb burial—but it was still a very popular weapon in the Qin dynasty.
An invention of the ancient Chinese, the crossbow was easier to use than a traditional bow and it was designed to send arrows further and deliver them with great force.
On-view in this case is the technology that revolutionized warfare: the trigger mechanism. It had the capacity to fire bronze arrowheads a distance of about half a mile, and it required less strength to shoot than a composite bow.
The crossbow stock was originally made of lacquered wood, which has decayed over time. But since this trigger mechanism is made of bronze, archeologists have been able to figure out how the original weapon would have worked, and looked.
The mechanism was originally at the back of the crossbow, close to the grip. Also on display here are ten bronze arrowheads and stems that an archer would have fired from a crossbow in bursts.
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Tour Stop:117
Kneeling Archer
Kneeling Archer
Qin dynasty (221-206 BC)
Earthenware
L. (48 in.) W. (24.4 in.)
Excavated from Pit 2, Qin Shihuang’s Mausoleum, 1977
Emperor Qin Shihuang’s Mausoleum Site Museum, 002744
Steadfast, and kneeling in preparation for battle, this archer wears a short robe with tasseled armor on his chest and shoulder. His hair is tied in a tight topknot. He is one of three hundred terracotta archers that were excavated from the burial pits.
The archers either stand or kneel in formation—the standing archers surrounding the kneeling ones. This arrangement copies Qin military strategy–which required one group of archers to stand and provide cover fire, while the others knelt and loaded bolts into their crossbows.
These figures are among the most expressive and dynamic of the terracotta warriors.
Gazing slightly leftward, one arm rests at his hip, while the other reaches across his torso. You can imagine the crossbow that he once held in both hands, aimed up and away from the soldiers around him.
Displayed next to this warrior is one of the standing archers discovered in the same burial pit.
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Tour Stop:118
Armor Helmet
Armor
Qin dynasty (221-206 BC)
Limestone
H. (30.3 in.) W. (19.7 in.)
Excavated from Pit K9801, Qin Shihuang’s Mausoleum, 1999
Shaanxi Provincial Institute of Archaeology, 007094
Helmet
Qin dynasty (221-206 BC)
Limestone, copper wire
Excavated from Pit K9801, Qin Shihuang’s Mausoleum, 1999
This limestone body armor and helmet were reconstructed from fragments found in a large burial pit, not far from the tomb mound. It was likely made for the First Emperor’s armory.
Although the form imitates real Qin armor, stone armor would have been too heavy to wear into battle–this armor was made for burial, and served a symbolic function. Qin combat armor was made of leather or metal.
Weighing nearly forty pounds with about 700 individual pieces, the armor was designed to cover the shoulders, torso, and abdomen. The helmet, made of about seventy-five limestone plates, covered the entire head, leaving openings only for the eyes, nose, and mouth.
Made from hand-cut, polished limestone plates fastened together with copper wire, it is not hard to imagine that constructing these pieces took a lot of skill and time. Hundreds of limestone plates had to be cut to precise measurements and then drilled with eight to twelve small holes each before being sewn together with copper wire. It is estimated that it took between 150 – 350 hours to complete each of the 130 stone garments that have been excavated from this pit.
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Tour Stop:119
Goose
Goose
Qin dynasty (221-206 BC)
Bronze
H. (6.7 in.) L. (20.9 in.) W. (9.4 in.)
Excavated from Pit K0007, Qin Shihuang’s Mausoleum, 2000
Archaeologists working in the First Emperor’s burial complex uncovered an idyllic scene in a pit located northeast of the mausoleum.
Six cranes, twenty swans and twenty geese, including this one–were neatly lined up along a carefully constructed riverbank–all recreated for the first Emperor’s afterlife garden.
Each bird was cast in bronze and covered in painted clay. They are considered masterpieces of animal sculpture in ancient China.
What is remarkable about these birds is not only their life-size scale, but their realism: each bird is unique in its appearance, pose and attitude.
These vivid sculptures capture the moments when the birds are resting, swimming and eating
in the imperial Qin garden. This elegant goose appears to be in quiet repose.
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Tour Stop:120
Cavalryman / Cavalry Horse
Cavalryman
Qin dynasty (221-206 BC)
Earthenware
H. (72.4 in.)
Excavated from Pit 2, Qin Shihuang’s Mausoleum, 1977
Cavalry Horse
Qin dynasty (221-206 BC)
Earthenware
H. (67.7 in.) L (82.7 in.)
Excavated from Pit 2, Qin Shihuang’s Mausoleum, 1977