Introduction
The mausoleum of the First Qin emperor is found in Lintong District, Xi’an, a province in China called Shaanxi. It is located beneath a tall tomb that is a reduced pyramid built over 38 years ago. It started after Emperor Qin took the throne while he was still aged thirteen. The terracotta warriors were revealed by men quarrying a well in 1974 in the county of Lintong (Mountains and Water). The structures discovered were over 7000 terracotta warriors, wooden chariots, weapons, and horses. Excavation has exposed strange levels of mercury (Quinn et al. 966).
Main body
The figures are a masterpiece since they are all different, natural, and more interested in history. The statues are all molded, and the terracotta warriors have unique headgear, pants, knee-length robes, a pair of shoes, and armor. The mausoleum is different from other burial cultures in the following ways (Quinn et al. 970). Firstly, it is different since it is above the ground, while a vault is an enclosure that houses the coffin while a crypt is found beneath cathedrals and church floors. Secondly, a mausoleum is a statue surrounding the funeral space of the deceased, while a tomb is a place of burial that varies in size. A mausoleum could have a grave or several tombs inside it.
There are several similarities between a mausoleum and other burial cultures. For example, all the methods of burying the dead show respect and honor for the deceased. Besides, family members get closure as they allow their dead to enter the next world and provide back to life. Also, in all the methods, the dead are dressed in decorative or ceremonial clothes.
A painting is a created image that is on a surface made using colors. The mountain and water paintings are traditionally on the top of the pyramid of the Chinese painting form, and it stresses coordination with the natural world. The paintings are usually made on paper using color pigments like ink and then attached to silk (UNESCO/TBS). What I consider a painting is the kind of art hung on a wall to be cherished from a distance.
The Chinese hand scrolls were made to be held and unfolded in sections to disclose the entire image (Dubrovskaya 762). Most paintings occupy a vast space and are barely portable, unlike the scroll that is rolled up, occupies little space, and is very portable. Chinese hand scrolls allow the artist to give their thoughts and ideas in the same scroll, while the paintings I have seen only contain the art and probably the artist’s signature.
While Chinese paintings expose the innermost world, European paintings focus on portraying the actual illustration of the physical outlook of the theme (Dubrovskaya 760). Also, paintings from Europe are inclined to a three-dimensional appearance with wide and grand spaces. In contrast, the Chinese view of paintings is two-dimensional and focuses on expressing the story other than the actual graphics of the painting (Terracotta Warriors). Unlike paintings from Europe, Chinese scrolls are particularized for isolated observation and give a very close method that enables the motivation and spirit of the person possessing the art.
Conclusion
In conclusion, the Chinese culture is old, vast, and different in so many ways. The mausoleum of the First Qin Emperor has not yet been completely excavated. Various researchers have suggested the survey beneath the place, saying that it would prevent robbery, improve tourism and protect the antiques in the underground.
Works Cited
Dubrovskaya, Dinara V. “Giuseppe Castiglione (Lang Shining; 1688–1766) and Chinese Painting Tradition: European Approach to the Perspective.” The Actual Problems of History and Theory of Art 9 (2019): 759-767.
“Mountains and Water: Exploring the Chinese Handscroll.” The Metropolitan Museum of Art, 2017. Web.
“Terra Cotta Warriors from the Mausoleum of the First Qin Emperor (UNESCO/TBS) (video).” Khan Academy. Web.
“Terracotta Warriors | The First Qin Emperor of China (article) | Khan Academy.” Khan Academy. Web.
Quinn, Patrick Sean, et al. “Building the Terracotta Army: ceramic craft technology and organization of production at Qin Shihuang’s mausoleum complex.” antiquity 91.358 (2017): 966-979.