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Kneeling Archer in the Metropolitan Museum of Art,July 2017
Kneeling Archer
China
Object Details
秦 陶跪射俑
Title: Kneeling Archer
Period: Qin dynasty (221–206 B.C.)
Culture: China
Medium: Earthenware with traces of pigments
Dimensions: H. 48 in. (121.9 cm): W. 27 in. (68.6 cm); D.19 1/4 in. (48.9 cm); Wt. 304.2 lb. (138 kg)
Classification: Sculpture
Credit Line: Lent by Emperor Qinshihuang's Mausoleum Site Museum
Excavations of the mausoleum of the First Emperor of Qin revealed terracotta models of 108 cavalry, 332 archers and infantry, and a combined unit of more than 300 charioteers, cavalry, and infantry, all fully armored. Based on this figure’s gestures, we can assume that he was an archer, whose original weapon—a crossbow— is now lost. He is the only figure on view here that still bears traces of color, indicating that he was once vividly painted (see the red of his armor laces and the black of his collar). Chemical analysis suggests the use of mineral pigments such as cinnabar, azurite, malachite, bone or lead white, and an artificially produced mineral pigment commonly known as “Han purple.”
Text from: www.metmuseum.org/art/collection/search/640798
China
Object Details
秦 陶跪射俑
Title: Kneeling Archer
Period: Qin dynasty (221–206 B.C.)
Culture: China
Medium: Earthenware with traces of pigments
Dimensions: H. 48 in. (121.9 cm): W. 27 in. (68.6 cm); D.19 1/4 in. (48.9 cm); Wt. 304.2 lb. (138 kg)
Classification: Sculpture
Credit Line: Lent by Emperor Qinshihuang's Mausoleum Site Museum
Excavations of the mausoleum of the First Emperor of Qin revealed terracotta models of 108 cavalry, 332 archers and infantry, and a combined unit of more than 300 charioteers, cavalry, and infantry, all fully armored. Based on this figure’s gestures, we can assume that he was an archer, whose original weapon—a crossbow— is now lost. He is the only figure on view here that still bears traces of color, indicating that he was once vividly painted (see the red of his armor laces and the black of his collar). Chemical analysis suggests the use of mineral pigments such as cinnabar, azurite, malachite, bone or lead white, and an artificially produced mineral pigment commonly known as “Han purple.”
Text from: www.metmuseum.org/art/collection/search/640798
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