From a Jade Burial Suit to Terracotta Warriors, a Blockbuster Display of China’s Ancient Treasures
The Metropolitan Museum of Art’s Age of Empires features over 160 archaeological finds, mostly from shrines and royal tombs from the Qin and Han Dynasties.
Jade (nephrite) burial suit of Dou Wan from the Western Han dynasty (all photos by the author for Hyperallergic)
When the Han Dynasty princess Dou Wan died some 2,000 years ago, her corpse was encased within 2,160 small plates of solid jade. Carefully strung together with 700 grams’ worth of gold thread, the green stones formed a glistening cocoon that conformed to the contours of her body, intended to preserve it for eternity. That jade burial suit, recovered with her husband’s in 1968 from their tombs in the northern Chinese province of Hebei, is currently on view at the Metropolitan Museum of Art. It’s one unmissable, standout artifact in a blockbuster exhibition showcasing the rich artworks that emerged during two
Strongman from Qin dynasty (221–206 BCE)
The Metropolitan Museum of Art’s Age of Empires features over 160 archaeological finds, mostly from shrines and royal tombs from the Qin and Han Dynasties.
Jade (nephrite) burial suit of Dou Wan from the Western Han dynasty (all photos by the author for Hyperallergic)
When the Han Dynasty princess Dou Wan died some 2,000 years ago, her corpse was encased within 2,160 small plates of solid jade. Carefully strung together with 700 grams’ worth of gold thread, the green stones formed a glistening cocoon that conformed to the contours of her body, intended to preserve it for eternity. That jade burial suit, recovered with her husband’s in 1968 from their tombs in the northern Chinese province of Hebei, is currently on view at the Metropolitan Museum of Art. It’s one unmissable, standout artifact in a blockbuster exhibition showcasing the rich artworks that emerged during two
of China’s most pivotal dynasties.Fluted column with dragons and Chinese inscriptions (2nd century CE)
Age of Empires: Chinese Art of the Qin and Han Dynasties is impressive in logistics alone. The over 160 objects arrive on loan from 32 museums and archaeological institutions in China — just think of the bureaucratic hurdles, never mind the shipping — and most have never before been displayed in the West. The exhibition is intended as a kind of visual summary of archaeological findings, mostly from shrines and underground tombs of royals, from the last half-century. The result showcases the remnants of 400 years of innovation and craftsmanship, developed to suit the visions of an increasingly unified state.
The long histories of the Qin and the Han dynasties, which witnessed the centralization of government and the standardization of everything from laws to the economy to written language, are glossed over in a handful of wall texts. The exhibition relies largely on visual splendor, with the objects, most of which are accompanied by short descriptions, serving as traces of a clearly astounding past. That this didn’t bother me is a testament to the allure and evocative power of almost every piece on view, from tiny jade pigs intended to serve as hand warmers for the dead to a life-size, terracotta statue depicting a rotund strongman — a performer in an acrobatic troupe who likely entertained the imperial court of China’s first emperor, Qin Shihuangdi. (Detailed historical context, for those who seek it, can be found elsewhere, in the show’s dense catalogue.)
As the museum’s curator of Chinese art, Zhixin Jason Sun, writes in a catalogue essay, “These remarkable objects attest to the unprecedented role of art as spectacle, and more importantly, reflect changes in political, social, economic, and religious aspects of public life.”
Age of Empires: Chinese Art of the Qin and Han Dynasties is impressive in logistics alone. The over 160 objects arrive on loan from 32 museums and archaeological institutions in China — just think of the bureaucratic hurdles, never mind the shipping — and most have never before been displayed in the West. The exhibition is intended as a kind of visual summary of archaeological findings, mostly from shrines and underground tombs of royals, from the last half-century. The result showcases the remnants of 400 years of innovation and craftsmanship, developed to suit the visions of an increasingly unified state.
The long histories of the Qin and the Han dynasties, which witnessed the centralization of government and the standardization of everything from laws to the economy to written language, are glossed over in a handful of wall texts. The exhibition relies largely on visual splendor, with the objects, most of which are accompanied by short descriptions, serving as traces of a clearly astounding past. That this didn’t bother me is a testament to the allure and evocative power of almost every piece on view, from tiny jade pigs intended to serve as hand warmers for the dead to a life-size, terracotta statue depicting a rotund strongman — a performer in an acrobatic troupe who likely entertained the imperial court of China’s first emperor, Qin Shihuangdi. (Detailed historical context, for those who seek it, can be found elsewhere, in the show’s dense catalogue.)
As the museum’s curator of Chinese art, Zhixin Jason Sun, writes in a catalogue essay, “These remarkable objects attest to the unprecedented role of art as spectacle, and more importantly, reflect changes in political, social, economic, and religious aspects of public life.”
Strongman from Qin dynasty (221–206 BCE)
Installation view of Age of Empires at the Metropolitan Museum of Art
Organized chronologically, Age of Empires begins with what are probably the most recognized jewels of ancient Chinese art outside of that country: five examples of the terracotta warriors from Qin Shihuangdi’s mausoleum complex, along with eight nearly life-size earthenware horses pulling two chariots (modern replicas of Qin originals). It’s a crowd-pleasing introduction, but also one that exemplifies the naturalism that characterized Qin works: the curved forms of the frozen archers, originally painted, are particularly elegant, and you’ll notice that each warrior bears an individual visage. It’s easy to forget that the results of this painstaking labor were never intended for our world of the living, produced to reside underground for eternity and endure as markers of an emperor’s eternal power.
The majority of what follows dates to the Han Dynasty, which the peasant rebel leader Liu Bang founded in 206 BCE. Although most objects were created for funerary use, they aren’t generally somber in appearance, a reminder that the Han viewed the afterlife as a realm where pleasure should flourish. A tomb of a prince of the Chu state, for instance, yielded a group of small, earthenware models of dancers and musicians. Although their faces are blank, their active poses convey a palpable energy, as if a snap of the fingers could magically awaken them to continue performing. One statue of a curved female dancer is particularly mesmerizing, with her wide sleeves billowing to form tall parabolas. She looks like she’s doing the wave with her entire body.
Organized chronologically, Age of Empires begins with what are probably the most recognized jewels of ancient Chinese art outside of that country: five examples of the terracotta warriors from Qin Shihuangdi’s mausoleum complex, along with eight nearly life-size earthenware horses pulling two chariots (modern replicas of Qin originals). It’s a crowd-pleasing introduction, but also one that exemplifies the naturalism that characterized Qin works: the curved forms of the frozen archers, originally painted, are particularly elegant, and you’ll notice that each warrior bears an individual visage. It’s easy to forget that the results of this painstaking labor were never intended for our world of the living, produced to reside underground for eternity and endure as markers of an emperor’s eternal power.
The majority of what follows dates to the Han Dynasty, which the peasant rebel leader Liu Bang founded in 206 BCE. Although most objects were created for funerary use, they aren’t generally somber in appearance, a reminder that the Han viewed the afterlife as a realm where pleasure should flourish. A tomb of a prince of the Chu state, for instance, yielded a group of small, earthenware models of dancers and musicians. Although their faces are blank, their active poses convey a palpable energy, as if a snap of the fingers could magically awaken them to continue performing. One statue of a curved female dancer is particularly mesmerizing, with her wide sleeves billowing to form tall parabolas. She looks like she’s doing the wave with her entire body.
“Female Dancer” figure from the Western Han dynasty (206 BCE–9 CE)
“Female Musician Playing a Flute or Panpipe” figure from the Western Han Dynasty
Mausoleums were built as extensive replicas of real-world residences, so most of the objects in Age of Empires are more quotidian in nature. Their occupants spared no expense, however, ordering artisans to create lacquered tableware, skillfully woven silk textiles, furnishings that boast intricate metalwork. Smaller versions of buildings stood in funerary complexes, too, as models of grand homes that conveyed an owner’s status and power. One luxury, multistory structure is so realistic, it even has a tiny guard dog sitting by its entrance. Animals themselves were popular subjects for standalone works. Some species were considered auspicious symbols, while others represent the exotic creatures that populated imperial zoos. An entire gallery at the Met is filled with animals, from elephants to cows, sculpted in a variety of materials.
While the Han developed and honed the imperial policies established by the Qin at home, it was busy engaging beyond China’s borders as well. Some of the most intriguing artifacts on view speak to the growing trade networks that resulted from the Han’s military and diplomatic campaigns. Beautiful objects integrate precious materials from places such as Persia, India, and Sumatra, while other artifacts reveal foreign influences more explicitly: for instance, the unique mix of culture in a Hellenistic fluted stone column that bears a Chinese inscription. Then there’s a comical lamp with a fuel chamber shaped like a Southeast Asian man, who hovers in the air, attached to chains — a design borrowed from the ancient Mediterranean.
Mausoleums were built as extensive replicas of real-world residences, so most of the objects in Age of Empires are more quotidian in nature. Their occupants spared no expense, however, ordering artisans to create lacquered tableware, skillfully woven silk textiles, furnishings that boast intricate metalwork. Smaller versions of buildings stood in funerary complexes, too, as models of grand homes that conveyed an owner’s status and power. One luxury, multistory structure is so realistic, it even has a tiny guard dog sitting by its entrance. Animals themselves were popular subjects for standalone works. Some species were considered auspicious symbols, while others represent the exotic creatures that populated imperial zoos. An entire gallery at the Met is filled with animals, from elephants to cows, sculpted in a variety of materials.
While the Han developed and honed the imperial policies established by the Qin at home, it was busy engaging beyond China’s borders as well. Some of the most intriguing artifacts on view speak to the growing trade networks that resulted from the Han’s military and diplomatic campaigns. Beautiful objects integrate precious materials from places such as Persia, India, and Sumatra, while other artifacts reveal foreign influences more explicitly: for instance, the unique mix of culture in a Hellenistic fluted stone column that bears a Chinese inscription. Then there’s a comical lamp with a fuel chamber shaped like a Southeast Asian man, who hovers in the air, attached to chains — a design borrowed from the ancient Mediterranean.
“Hanging Lamp in the Shape of a Foreigner” from the Eastern Han dynasty
Although many of these objects were made for individuals, their specific identities and stories aren’t highlighted here. Most of the works are placed in glass cases or set on protective pedestals, presented as priceless artifacts displaced from their original, funerary contexts. Its unique construction aside, the jade suit of Dou Wan stuns because it represents a real body. To turn a corner and suddenly behold the otherworldly armor lying still in its own room is jarring. But it’s also stirring, with that mass of protective stone reminding us of the very human uncertainties and fears behind every material affirmation of power.
Lamp in the Shape of a Mythical Bird from the Western Han dynasty
Although many of these objects were made for individuals, their specific identities and stories aren’t highlighted here. Most of the works are placed in glass cases or set on protective pedestals, presented as priceless artifacts displaced from their original, funerary contexts. Its unique construction aside, the jade suit of Dou Wan stuns because it represents a real body. To turn a corner and suddenly behold the otherworldly armor lying still in its own room is jarring. But it’s also stirring, with that mass of protective stone reminding us of the very human uncertainties and fears behind every material affirmation of power.
“Brick with Ax-Chariot” from the Eastern Han dynasty
Terracota armed warriors from the Western Han dynasty
Tomb Gate from the Eastern Han dynasty
Dog from the Eastern Han dynasty
Lidded box and jade bear from the Western Han Dynasty
Elephant and Groom from the Western Han dynasty (2nd century BCE)
Detail of jade (nephrite) burial suit of Dou Wan from the Western Han dynasty
Hardstone jade pigs that served as “hand warmers” from the Western Han dynasty
Model of a multistory house from the Eastern Han dynasty
Cowry Container with Scene of Sacrifice from the Western Han dynasty
Bronze horse and groom from the Eastern Han Dynasty
“Standing Archer” figure from the Qin dynasty
Groups of chariot drivers, chariot riders, and infantrymen from the Western Han dynasty
Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir.
A cultura e o amor devem estar juntos.
Vamos compartilhar.
Culture is not what enters the eyes and ears,
but what modifies the way of looking and hearing.
--br via tradutor do google
Age of Empires: a arte chinesa das dinastias Qin e Han (221 aC.- A.D 220),
continua no Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side, Manhattan) até 16 de julho.
continua no Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side, Manhattan) até 16 de julho.
De um terno de enterro de Jade para Guerreiros de terracota, uma exibição de blockbuster de tesouros antigos da China
A Era do Império do Museu Metropolitano de Arte apresenta mais de 160 achados arqueológicos, principalmente de santuários e túmulos reais das dinastias Qin e Han.
Jade (nephrite) funeral de Dou Wan da dinastia Han Ocidental (todas as fotos do autor para Hiperalérgicas)
Quando a dinastia Han Dou Wan morreu há cerca de 2.000 anos, seu cadáver foi encerrado em 2.160 pequenos pratos de jade sólido. Cuidadosamente amarrados com um fio de ouro de 700 gramas, as pedras verdes formaram um casulo brilhante que se conformava aos contornos de seu corpo, destinado a preservá-lo para a eternidade. Esse terno de enterro de jade, recuperado com o marido em 1968 de seus túmulos na província chinesa do norte de Hebei, está atualmente em exibição no Metropolitan Museum of Art. É um artefato imperdível e destacável em uma exposição de sucesso que mostra as ricas obras de arte que surgiram durante dois
Das dinastias mais importantes da China. Coluna pesada com dragões e inscrições chinesas (2 ° século CE)
Idade dos impérios: a arte chinesa das dinastias Qin e Han é impressionante apenas na logística. Os mais de 160 objetos chegam em empréstimo de 32 museus e instituições arqueológicas na China - apenas pense nos obstáculos burocráticos, não importa o envio - e a maioria nunca antes foi exibida no Ocidente. A exposição se destina como uma espécie de resumo visual de descobertas arqueológicas, principalmente de santuários e túmulos subterrâneos da realeza, do último meio século. O resultado mostra os restos de 400 anos de inovação e artesanato, desenvolvidos para se adequar às visões de um estado cada vez mais unificado.
As longas histórias das dinastias Qin e Han, que testemunharam a centralização do governo e a padronização de tudo, desde as leis até a economia até a linguagem escrita, são ignoradas em um punhado de textos de parede. A exposição depende em grande parte do esplendor visual, com os objetos, a maioria dos quais acompanhada de descrições curtas, servindo como vestígios de um passado claramente surpreendente. Que isso não me incomodou é um testemunho do fascínio e do poder evocativo de quase todas as peças da vista, de pequenos porcos de jade destinados a servir como aquecedores de mão para os mortos para uma estátua de terracota de tamanho real que representa um homem forte rotundo - um Intérprete em uma trouxa acrobática que provavelmente entretinha a corte imperial do primeiro imperador da China, Qin Shihuangdi. (Contexto histórico detalhado, para quem procura, pode ser encontrado em outro lugar, no catálogo denso do show.)
Como o curador da arte chinesa do museu, Zhixin Jason Sun, escreve em um ensaio de catálogo: "Esses objetos notáveis atestam o papel sem precedentes da arte como espetáculo e, mais importante, refletem mudanças nos aspectos políticos, sociais, econômicos e religiosos do público vida."
Homem forte da dinastia Qin (221-206 aC)
Vista de instalação de Age of Empires no Metropolitan Museum of Art
Organizado cronologicamente, Age of Empires começa com as quais provavelmente são as jóias mais reconhecidas da arte chinesa antiga fora desse país: cinco exemplos de guerreiros de terracota do complexo mausoléu de Qin Shihuangdi, juntamente com oito cavalos de barro quase de tamanho natural puxando dois carros (modernos Réplicas de originais Qin). É uma apresentação agradável, mas também uma que exemplifica o naturalismo que caracterizou as obras de Qin: as formas curvas dos arqueiros congelados, originalmente pintadas, são particularmente elegantes, e você notará que cada guerreiro tem um rosto individual. É fácil esquecer que os resultados desse trabalho minucioso nunca foram destinados ao nosso mundo de vida, produzidos para residir no subsolo para a eternidade e suportar como marcadores do poder eterno de um imperador.
A maioria do que se segue data da Dinastia Han, que o líder rebelde camponesa Liu Bang fundou em 206 aC. Embora a maioria dos objetos tenham sido criados para o uso funerário, eles geralmente não são sombrios, um lembrete de que os Han viram a vida após a morte como um reino onde o prazer deveria florescer. Um túmulo de um príncipe do estado de Chu, por exemplo, produziu um grupo de pequenos modelos de dançarinos e músicos de barro. Embora seus rostos estejam em branco, suas poses ativas transmitem uma energia palpável, como se um estalar dos dedos pudesse despertá-los magicamente para continuar a se apresentar. Uma estátua de uma dançarina curvada é particularmente hipnotizante, com as mangas largas ondulando para formar parábolas altas. Parece que ela está fazendo a onda com todo o seu corpo.
Figura "Dançarina feminina" da dinastia Han Ocidental (206 aC-9 CE)
"Músico feminino tocando uma flauta ou panpipe" da dinastía Han do Oeste
Os mausoléus foram construídos como extensas réplicas de residências do mundo real, então a maioria dos objetos em Age of Empires são de natureza mais cotidiana. Entretanto, seus ocupantes não pouparam os custos, ordenando aos artesãos que criassem louças de louça, têxteis de seda habilidosamente tecidos, móveis que possuem uma intrincada obra de metal. As versões mais pequenas dos edifícios também estavam em complexos funerários, como modelos de casas grandiosas que transmitiam o status e o poder de um proprietário. Uma estrutura de luxo e multistory é tão realista, que até tem um minúsculo cachorro de guarda sentado por sua entrada. Os próprios animais eram temas populares para trabalhos autônomos. Algumas espécies foram consideradas símbolos auspiciosos, enquanto outras representam as criaturas exóticas que povoavam os zoológicos imperiais. Uma galeria inteira no Met é preenchida com animais, de elefantes a vacas, esculpidas em uma variedade de materiais.
Enquanto os Han desenvolveram e aperfeiçoaram as políticas imperiais estabelecidas pelo Qin em casa, estava ocupado envolvendo além das fronteiras da China também. Alguns dos mais intrigantes artefatos da visão falam sobre as crescentes redes comerciais resultantes das campanhas militares e diplomáticas de Han. Objetos bonitos integram materiais preciosos de lugares como a Pérsia, Índia e Sumatra, enquanto outros artefatos revelam as influências estrangeiras de forma mais explícita: por exemplo, a combinação única de cultura em uma coluna de pedra canelada helenística que possui uma inscrição chinesa. Depois, há uma lâmpada cômica com uma câmara de combustível em forma de um homem do Sudeste Asiático, que paira no ar, preso às correntes - um design emprestado do antigo Mediterrâneo.
"Lâmpada pendurada na forma de um estrangeiro" da dinastia Han Oriental
Embora muitos desses objetos tenham sido feitos para indivíduos, suas identidades e histórias específicas não são destacadas aqui. A maioria das obras são colocadas em caixas de vidro ou colocadas em pedestais de proteção, apresentadas como artefatos inestimáveis deslocados de seus contextos funerários originais. Sua construção única de lado, o traje de jade de Dou Wan atordoa porque representa um corpo real. Para virar uma esquina e, de repente, contemplar a armadura do outro mundo que se deita em seu próprio quarto é chato. Mas também está mexendo, com essa massa de pedra protetora nos lembrando as incertezas e os medos muito humanos por trás de cada afirmação material do poder. Luminar na Forma de um Pássaro Mítico da dinastia Han ocidental
"Brick with Axe-Chariot" da Dinastia Han Oriental
Guerreiros armados Terracota da dinastia Han Ocidental
Porta do túmulo da dinastia Han Oriental
Cão da dinastia Han Oriental
Caixinha e urs jade da Dinastia Ocidental da Han
Elefante e noivo da dinastia Han Ocidental (2º século aC)
Detalhe de terno de enterro jade (nephrite) de Dou Wan da dinastia Han Ocidental
Hardstone jade pigs que serviram de "aquecedores de mão" da dinastia Han ocidental
Modelo de uma casa multiestágio da dinastia Han Oriental
Cowry Container com cena de sacrifício da dinastia Han ocidental
Cavalo e noivo de bronze da Dinastia Han Oriental
Figura "Archer permanente" da dinastia Qin
Grupos de motoristas de carros, cavaleiros de carros e soldados de infantaria da dinastia Han ocidental
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