Unit 1.3 The Growth and Expansion of Early Chinese Culture through the Han Dynasty

Japan: Yayoi-Kofun Korea: Three Kingdoms-Silla

Qin Dynasty

Army of the First Emperor of Qin in pits next to his burial mound, Lintong, China, Qin dynasty, ca. 210 BCE. Painted terracotta, average figure 5’ 10 7/8” high. 

The photos we see today are primarily of the reconstructed figures. They were buried and severely damaged at the end of the Qin Dynasty.

last picture of tumulus on top of Qin Emperor’s tomb

Tumulus - ancient burial mound

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TUMULUS. Warring States–Qin dynasty, ca. 247–208 BCE.
Earth. Height 249' (76 m) (formerly 377'/115 m).
Tomb complex of Qin Shihuangdi, Lintong, Shaanxi province.
© Keren Su/China Span/Alamy. [Fig. 6-20]

PLAN OF TOMB COMPLEX OF QIN SHIHUANGDI, INCLUDING WARRIOR PITS.
Warring States–Qin dynasty, ca. 247–208 BCE.
Lintong, Shaanxi province. Reproduction after Xiaoneng Yang, ed., New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century, 2 vols. (Kansas City, Mo.: Nelson-Atkins Museum of Art; New Haven: Yale University Press, 2004), 2:226. [Fig. 6-21]

The basic layout of the Qin Emperor’s tomb is similar to previous tombs in the Shang and Zhou Dynasties in that it is primarily a pit burial tomb.  One major difference is that we don’t see evidence of large-scale sacrifice like we do with Shang and Early Zhou tombs.

Over the many decades since their discovery in 1794, archaeologists and art historians have discovered various stamps and seals on the various parts that make up the warriors.  These stamps are consistent with workshops responsible for making drainage pipes and other such infrastructure.  This leads scholars to believe the sculptures were created on something resembling an assembly line where only the most detailed portions of the figures would be done individually by highly skilled artisans.  This makes it highly unlikely these are portraits of any individuals.

Map of the Han Empire (206BCE-220CE) at its greatest extent.

Han Dynasty approximately 200CE

Central watchtower, architectural model, Eastern Han dynasty (25–220), 1st–early 3rd century China, Earthenware with green lead glaze; H. 41 in. (104.1 cm), Metropolitan Museum of Art, New York.

Model of a house, Han dynasty, first century CE. Painted earthenware, 4’ 4” high. Nelson-Atkins Museum of Art, Kansas City.

Architectural models such as these were used to provide the deceased with the illusion of the world of the living as they transitioned to the afterlife.  Modern scholars use them to learn about the architecture of the period.

more info - https://www.metmuseum.org/art/collection/search/49519

Covered jar (hu), Western Han dynasty (206 B.C.–9 A.D.), 2nd–1st century B.C.
Probably from Luoyang area, China; Earthenware with painted decoration; 8 3/16 x 13 3/4 in. (20.8 x 35 cm), Metropolitan Museum of Art, New York

Some of the earliest examples of polychrome painted pottery come from the Han Dynasty

more info - https://www.metmuseum.org/art/collection/search/49539

Female dancer, early Western Han dynasty (206 B.C.–9 A.D.), 2nd century B.C.
China, Earthenware with slip and pigments; H. 21 in. (53.3 cm), Metropolitan Museum of Art, New York

Flying Horse, Bronze, h. 13.5” (34.4cm), Wuwei, Gansu, China.  Eastern Han Dynasty, 2^nd century CE ,Historical Museum, Beijing

Flying Horse sculptures such as these provide evidence of the Han Dynasty sculptor’s interest in dynamic motion.

Flying horse, from the tomb of Governor-General Zhang, Wuwei, China, Han dynasty, late second century CE. Bronze, 1’ 1 1/2" high. Gansu Provincial Museum, Lanzhou.

Tomb of Lady Dai

(This photograph and the following slide come from the tomb’s excavation.  Lady Dai’s corpse was extremely well preserved and gave scholars information that helped them decipher some of the imagery on the painting they discovered.)

T-Shaped Banner from the tomb of Lady Dai, color on silk, c. 180 BCE, Mawangdui

more info - https://ws.interestingengineering.com/the-mystery-of-lady-dai/?_gl=1*e7v45z*_gcl_au*MzUzOTAzMzkyLjE3NDA4OTY0OTc.

Vessel, Western Han dynasty, From Mawangdui Tomb

These objects were discovered along with Lady Dai’s body in almost perfect condition.  Lacquer is incredibly resilient, but the specific conditions of her tomb increased their survivability.  These objects added further dimension and depth to our understanding of life during the Han Dynasty.

Lacquer is made from the sap of Chinese Lacquer Trees (Toxicodendron vernicifluum).

more info on technique -

Cups, Western Han dynasty, From Mawangdui Tomb

These objects were discovered along with Lady Dai’s body in almost perfect condition.  Lacquer is incredibly resilient, but the specific conditions of her tomb increased their survivability.  These objects added further dimension and depth to our understanding of life during the Han Dynasty.

COFFIN WITH CLOUD PATTERNS. Western Han dynasty, ca. 180 BCE.
Wood and lacquer, 3'8-7/8" × 8'4-3/4" (1.14 × 2.56 m).
Tomb 1, Mawangdui, Hunan province. Hunan Provincial Museum, Changsha.
Cultural Relics Publishing House, Beijing. [Fig. 6-25]

Commemorative stamps of Mawangdui, 1989.

Wu Liang Shrine. Pictorial Program. Eastern Han. 2nd century BCE

Gables: Pointy top on left and right

World of Immortality

Ceiling: Highest point

Heavenly Omens

Walls: Bottom parts

Human History

The archer Yi(?) and a reception in a mansion, Wu family shrine, Jiaxiang, China, Han dynasty, 147-168 CE. Rubbing of a stone relief, 3’ X 5’.

Pictorial relief from the rear wall of the Left Chamber of the Wu Family Shrines  (147-151CE), Height: 73.5 cm.; Width: 61.5 cm.

Pictorial relief from the shrine of Wu Liang (146-151CE) at the Wu Family Shrines, Height: 156 cm.; Width: 134 cm.

Excavations of Prince Liu Sheng’s tomb at Mancheng.

Liu Sheng died in 113BCE and the tomb was excavated in 1968.

Mountain-shaped Censer, from the tomb of Liu Sheng at Lingshan, Mancheng, Hebei province, Western Han dynasty, 2nd century B.C., bronze with gold inlay
26 x 15.5 cm

Gilt bronze human-shaped lamp, H 48 cm, Western Han Dynasty (c. 113 B.C.E.)
From the tomb of Dou Wu, consort of Liu Sheng, King of Zhongshan, at Lingshan, Mancheng, Hebei Province, Excavated in 1968, Hebei Provincial Museum, Shijiazhuang

Jade shroud sewn with gold wire, L 188 cm, W at shoulder 44.1 cm, Western Han Dynasty (c. 113 B.C.E.), From the tomb of Liu Sheng, King of Zhongshan, at Lingshan, Mancheng, Hebei Province, Excavated in 1968
Hebei Provincial Museum, Shijiazhuang

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Yayoi Period in Japan

The Yayoi Period lasted roughly from 300bce-300ce.  The Yayoi Period sees the introduction of bronze casting technology and wet-rice cultivation.  This is also the period when the earliest forms of a centralized state known as Yamato start to emerge.

Map illustrating the spread of early Japanese cultures

Promotional flyer from the National Science Museum in Tokyo.  The exhibition sought to highlight the connections and differences among Jomon (L) and Yayoi (R).

Reconstructions of Yayoi house and storage facility.

more info - https://www.shizuoka-toromuseum.jp/en/about-torosite-en/

RECONSTRUCTION, CEREMONIAL HALL.
Original structure: Late Yayoi period, 1st–3rd century CE.
Yoshinogari Historic Site, Saga prefecture. © MIXA/Getty Images. [Fig. 12-13]

The Yayoi period sees the introduction of wet-rice cultivation to Japanese agriculture.  This technology was invented in China and brought to Japan by way of Korea.

Rice cultivation has come a long way since the Yayoi Period

Bell (dotaku), late Yayoi period (ca. 4th century B.C.–3rd century A.D.), 1st–2nd century
Japan, Bronze; H. 43 1/2 in. (109.2 cm), Metropolitan Museum of Art, New York

Bronze casting technology developed in Japan during the Yayoi Period.  Similar to wet-rice cultivation, the process was developed in China and transmitted to Japan by way of Korea.

Bell, (dotaku), Japan, late Yayoi period, AD 100-200
Cast bronze; h. 97.8; w. 48.9 cm, Cleveland Museum of Art, Cleveland.

DOTAKU. Late Yayoi period, 2nd–3rd century CE.
Bronze. Height 18-3/4" (47.5 cm).
Hyogo prefecture. Tokyo National Museum.
Photo DNP Art Communications Co. Ltd. [Fig. 12-9]

There is not much variation in overall shape, but there is a lot of variation in size and volume.

Some Dotaku are known as “Pictorial Dôtaku” and feature images on their surfaces.

Animals and Hunting Scenes

DOTAKU WITH IMAGES OF ANIMALS AND PEOPLE (DETAIL).
Middle–Late Yayoi period, ca. 100 BCE–300 CE.
Bronze. Height 16-7/8" (42.8 cm). Kagawa prefecture. Tokyo National Museum.
© Sakamoto Photo Research Laboratory/Corbis. [Fig. 12-10]

Storage jar, Yayoi period (ca. 4th century B.C.E.–3rd century C.E.), Japan
Earthenware; H. 10 in. (25.4 cm), Metropolitan Museum of Art, New York.

Generally speaking, Yayoi ceramic vessels are more bulbous and have a smoother surface than Jomon vessels.

More info - https://www.metmuseum.org/art/collection/search/44830

VESSEL. Late Yayoi period, 1st–3rd century CE.
Terra-cotta. Height 13" (32.6 cm).
Tokyo National Museum, Japan/De Agostini Picture Library/The Bridgeman Art Library.
[Fig. 12-12]

Main hall, Amaterasu shrine, Ise, Mie Prefecture, Japan, Kofun period or later; rebuilt 1993

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SHEAVES OF RICE AND STRIPS OF PAPER (SYMBOLIZING PURITY).
Offered to the kami by the Emperor Ise-jingu. Mie prefecture.
© Jingū-shichō. Sengu Photo Library. [Fig. 12-20]

On the left, you will find a diagram of the land where the shrine is located.  You will see an empty plot on the left.  This is because the shrine is completely rebuilt every 20 years.

Izumo Grand Shrine

Written records state Izumo Shrine was first constructed prior to 950 CE.  However, mythological records establish the shrine’s existence to the earliest beginning of Japan.  Izumo Shrine houses Ookuninushi, is one of the deities responsible for creating the world and is often looked to to heal and bless marriages.

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Kofun Period in Japan

The Kofun Period in Japan dates to approximately 300-552ce.  The name translates to old tomb and is marked by a significant increase in power by the Yamato clan.

Japan’s “Keyhole Tombs” by BBC Reels

Saki kofun group and the Heijō Palace site in Nara

Mukadezuka Tomb, Nyūtabaru Tomb Group, Shintomi Town, Miyazaki Prefecture

Tomb of Emperor Nintoku. Sakai, Osaka Prefecture, Japan, Kofun period, late fourth to early fifth century.

Haniwa were typically arranged around the Kofun mounds.  They clearly have a symbolic and ceremonial function, but can also be seen as having a practical function of holding the soil in place to help prevent erosion.

Haniwa models of dwellings.  Notice the similarity with the two shrines presented earlier.

Haniwa figures come in many forms including village chieftains and armored warriors.

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HANIWA FIGURE OF FALCONER. Kofun period, 6th century.
Terra-cotta. Height 29-4⁄5" (75.8 cm).
Yamato Bunkakan, Nara. [Fig. 12-18]

HANIWA FIGURE OF SEATED FEMALE SHAMAN. Kofun period, 6th century.
Terra-cotta. Height 27" (68.5 cm).
Tokyo National Museum. Photo DNP Art Communications Co. Ltd. [Fig. 12-19]

Three Kingdoms Period 57BCE-668CE

Koguryo: 37BCE-668CE

Paekche: 18BCE-663CE

Old Silla: 57 BCE-668CE

Koguryo Tomb Site

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DANCING SCENE. Three Kingdoms period, Goguryeo kingdom, 5th century.
Wall painting.
Muyongchong Tomb, Tonggou, near Jian.
Samsung Foundation of Culture, Korea. [Fig. 11-4]

HUNTING SCENE. Three Kingdoms period, Goguryeo kingdom, 5th century.
Wall painting.
Muyongchong Tomb, Tonggou, near Jian. Pictures from History. [Fig. 11-5]

STELE OF KING GWANGGAETO OF GOGURYEO. Replica of 414 CE original.
Granite. Height 23' (7 m).
Independence Hall of Korea, Cheonan. Lawinc82 (Creative Commons Attribution-Share Alike 3.0). [Fig. 11-3]

Lotus and Cloud Ceiling of the Coffin Chamber, Nungsan-ni Tomb,Paekche, ca. 7th centuryA.D, South Ch'ungch'ong Province

Paekche Crowns

INCENSE BURNER. Three Kingdoms period, Baekje kingdom, 6th century.
Gilt bronze. Height 24-1⁄3" (61.8 cm).
Buyeo National Museum. [Fig. 11-6]

Silla Crown

CROWN. Three Kingdoms period, Silla kingdom, 5th–6th century CE.
Gold and jade. Height 10-4⁄5" (27.5 cm).
From Tomb 88, The Great Tomb at Hwangnam. Gyeongju National Museum, Korea.
DeAgostini Picture Library/The Art Archive. [Fig. 11-1]

VESSEL STAND WITH SNAKE DECORATION. Silla kingdom, 5th–6th century.
Gray stoneware with traces of natural ash glaze, height 23" (58.7 cm).
Arthur M. Sackler Museum/Arthur M. Sackler Museum, Partial gift of Maria C. Henderson and partial purchase through the Ernest B. and Helen Pratt Dane Fund for the Acquisition of Oriental Art, 1991.501. Photo: Imaging Department © President and Fellows of Harvard College. [Fig. 11-7]