Many of the soldiers have different expressions such

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Many of the soldiers have different expressions (such as stern, straight, and scared), positions (standing upright or kneeling such as the archer), and hairstyles. These realistic figures are of an organic or natural style due to their life-sized representation, detailed facial features, autonomous positions, and relatively fair proportions. The bodies of these warriors are not geometrically portrayed but are rendered naturally and smooth transitions. The armor is even taken into account for when representing the body and its proportions. The horses are realistically illustrated as well: they are free-standing figures with the expression of movement as shown by its open mouth and open eyes. The primary function of the terracotta soldiers and cavalrymen were to guard the tomb of the First Emperor, as indicated by the elaborate organization and deliberate military orchestration of the hundreds of soldiers in the tomb.
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Han (202 BCE – 220 CE) Western Han Dynasty (202 BCE – 9 CE) Eastern Han Dynasty (9-220 CE) Introduction of Confucian Art Black and Red Bird: Sun [90] Lamp in the form of a young girl. Gilt bronze, Tomb of Dou Wan, Hebei. Western Han dynasty, late Second Century BCE The gilt bronze Lamp in the Shape of a Young (Sewing) Girl was found in the tomb of Dou Wan and is a product of the Western Han dynasty. The girl’s drapery is similar to garments of the Zhou and Qin dynasties, which is represented as long and flowing. The piece is free- standing due to the flat base produced by the girl’s kneeling position. She is wearing some sort of cap and has a rectangular face with narrow eyes. The distinct facial features and bodily proportions describe this piece as realistic and organic. The lamp itself is supported by the girl’s hands, which appear to merge with the object. The lamp has a sliding door to control the amount and direction of light to be exerted. The lamp has a vent in the back (the hollow sleeve of the girl) to release smoke. This metalwork piece was used for decoration and household purposes, such as providing light whenever needed. [CP6] Feiyi (Flying Garment, or Painted banner). Ink on silk, Tomb of the Marquise of Dai, Hunan. Western Han dynasty, 180 BCE [77] Painted banner. Silk, Tomb of the Marquise of Dai, Hunan. Western Han dynasty, 180 BCE This is the Painted Banner (Feiyi: Flying Banner), which was a silk pall covering the inner coffin in the tomb of the Marquise of Dai of the Western Han dynasty. The piece’s notable quality is its formal composition and organized symmetry. The piece’s composition is formal and organized as it depicts the three worlds in appropriate or ascending order: heaven (sky) at the top, the present world (earth) in the middle, and the nether regions (hell) at the bottom. In the top part of the banner, the representations of celestial dragons (symbols of a heavenly vehicle as suggested by the Man Riding a Dragon-Chariot), cranes (symbols of heavenly vehicle), the toad (the moon), and the black crow (Sun) indicates that the top portion of the piece is heaven. This piece was covering the coffin of the aristocratic
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