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A Resource Guide for Students and Teachers China in Asia A Resource Guide for Students and Teachers Bowers Museum Houston Museum of Natural Science National Geographic Museum National Geographic Museum 1145 17th Street NW Washington, DC 20036 www.ngmuseum.org Funded by The Boeing Company An assembled life-size archer from the terra cotta army. He once held a crossbow in his hands. i View of statues from tomb Acknowledgements Project Director Linda Kahn Vice President of Education Bowers Museum Principal Author Claire Scoggin Assistant Director of Youth Education Sales The Houston Museum of Natural Science Project Consultants Debbie Granger Coordinator, History and Social Science Orange County Department of Education Jim Thomas Coordinator, Visual and Performing Arts Orange County Department of Education Albert E. Dien, Ph.D. Professor Emeritus, Stanford University Project Contributors Glenda Cheung, Voice Artist The Warrior with the Smiling Moustache Jean Drum, Author The Warrior with the Smiling Moustache The Houston Museum of Natural Science National Geographic Society New Song Media, Audio Recording Rick Founds, Recording Engineer Erin Washington, CD Cover Design Rob Sexton S2 Design, www.s2design.com Special Recognition and Thanks Peter C. Keller, Ph.D., President of Bowers Museum Barry Waldman, Board of Governors, Bowers Museum Sarah Murr, Community Investor – Arts & Culture, The Boeing Company Chinese Cultural Arts Council, Bowers Museum Docent Guild, Bowers Museum Terra Cotta Warriors: Guardians of China’s First Emperor is a publication of the Bowers Museum in conjunction with the Houston Museum of Natural Science and the National Geographic Museum and accompanies an exhibition of the same title touring the United States from May 18, 2008 through March 31, 2010. Photo Credits Cover Photo: Wang Da-Gang All Other Photos: O. Louis Mazzatenta National Geographic Image Collection Artist Renderings Hsien-Min Yang Maps National Geographic Table of Contents Acknowledgements................................................................. iii Table of Contents.......................................................................iii Message to the Teachers and Students.................................. iv Book Your Museum Visit.........................................................iv Curriculum Connections...........................................................v Story The Warrior with the Smiling Moustache..............................1 Historical Background Terra Cotta Warriors................................................................ 11 Daily Life in Ancient China....................................................19 Traditional Values.....................................................................20 Modern Way of Life.................................................................20 Activities Student and Class Activities....................................................21 Teacher and Student Resources Glossary......................................................................................31 Booklists....................................................................................32 Resources...................................................................................33 Websites......................................................................................33 ©2008 by Bowers Museum Permission is hereby granted to reproduce and distribute this publication for educational and research purposes. iii Introduction T he Army of the Terra Cotta Warriors, first discovered in 1974, is now recognized as the eighth wonder of the ancient world. Over 7000 life-size figures of soldiers, charioteers, archers, and cavalrymen were buried 2200 years ago in three large pits to guard the tomb of one of the most important rulers of the ancient world, the First B owers Museum, in conjunction with the Houston Museum of Natural Science and National Geographic Museum, have designed Terra Cotta Warriors: Guardians of China’s First Emperor as a guide for teachers and students who will be visiting the exhibition, Terra Cotta Warriors: Guardians of China’s First Emperor (May 18, 2008 – October 12, 2008). Working from the principle that the more you know about something, the better you will understand it, using this guide will give you a richer experience as you tour the museum. We hope it will help your students feel comfortable and at home in the exhibition and excited to see history come alive. Ruler of the Qin dynasty in China. We get our name China from the name of his dynasty, and much of what he accomplished influenced the way of life in China for the next 2000 years. In the coming years, China will become increasingly important in our own future. We need to know more about its history and culture in The guide is composed of three sections. Begin by sharing the story with your students! This will set the stage for learning about the history, participating in the activities included in the guide, and heightening anticipation prior to visiting the exhibition. The second section presents a historical perspective offering background information about the First Emperor and the Qin dynasty. Grounded in this rich period of history, your visit through the gallery becomes an exciting experience. The third section, Student Activities, sets the stage as both a follow-up and conduit to learning about this most interesting history. These varied classroom and independent activities will serve to sharpen the Book Your National Geographic Museum Visit Today! order to understand it better and to help establish a mutual friendship. Following the terra cotta army, the First Emperor, and what he hoped to accomplish, can lead to a wonderful journey of learning about China. Albert E. Dien, Ph.D. Professor Emeritus Stanford University students’ knowledge and greatly enhance their experience during the visit. The activities will also help them relate the culture and civilization of China’s Qin dynasty to life in Southern California in the 21st Century, and reinforce what they learn at Bowers Museum. When your students visit the museum, our hope is that this background information will have them saying, “Oh yes! I know about that!” as they view the artifacts. Education Department Bowers Museum School Group Booking Information This curriculum guide was specifically designed to prepare students for a visit to the National Geographic Museum exhibition Terra Cotta Warriors: Guardians of China’s First Emperor (November 19, 2009 – March 31, 2010). Featuring one of the most significant archaeological discoveries of the 20th century, this exciting exhibition showcases 100 objects, including 14 life-size terra cotta figures, two half-size wooden chariots, and life-size bronze animals, all from the tomb complex belonging to China’s first emperor, Qin Shihuangdi (259-210 BC). To book a group, please call 202.857.7281. For more information about the exhibition, please visit www.ngmuseum.org. School Group Pricing $6 each, one adult free for every 10 students Group Benefits • Discounted tickets • Advance booking opportunity • 10% discount in the exhibition gift shop for every group member Join Your State Geographic Alliance Your local geography alliance can help you get classroom materials, extend your skills with professional development opportunities, and meet fellow geography-minded educators in your community. To join your local alliance, please visit www.nationalgeographic.com/education. Contact Numbers National Geographic Museum 202.857.7588 Group Sales Office 202.857.7281 iv Curriculum Connections This guide supports the attainment of the following national standards. Although this guide highlights standards at the middle school level, the exhibition and guide are also appropriate for elementary and high school levels. National Geography Standards The National Council for Geographic Education Standard 1: How to use maps and other geographic representations, tools, and technologies to aquire, process, and report information. Standard 3: How to analyze the spatial organization of people, places, and environments on the Earth’s surface. Standard 13: How forces of cooperation and conflict among people influence the division and control of the Earth’s surface. Standard 17: How to apply geography to interpret the past. National Social Studies Standards National Council for the Social Studies relative location, direction, size, and shape. Culture Explain and give examples of how language, literature, the arts, architecture, other artifacts, traditions, beliefs, values, and behaviors contribute to the development and transmission of culture. Explain why individuals and groups respond differently to their physical and social environments and/or changes to them on the basis of shared assumptions, values and beliefs. Time, Continuity, and Change Identify and describe selected historical periods and patterns of change within and across cultures. E stimate distance, calculate size, and distinguish other geographic relationships. D escribe ways that historical events have been influenced by, and have influenced, physical and human geographic factors. Individual Development and Identity Identify and describe ways regional, ethnic, and national cultures influence individuals’ daily lives. Identify and use processes important to reconstructing and reinterpreting the past. Individuals, Groups, and Institutions Demonstrate an understanding of concepts such as role, status, and social class in describing the interactions of individuals and social groups. Develop critical sensitivities such as empathy and skepticism regarding attitudes, values and behaviors of people in different historical contexts. I dentify and analyze examples of tension between expressions of individuality and group or institutional efforts to promote social conformity. People, Places, and Environments Elaborate mental maps of locales, regions, and the world that demonstrate understanding of I dentify and describe examples of tensions between belief systems and government policies and laws. Power, Authority, and Governance D escribe the purpose of government and how its powers are acquired, used, and justified. D escribe and analyze the role of technology in communications, transportation, informationprocessing, weapons development, or other areas as it contributes to or helps resolve conflicts. English Language Arts Standards National Council of Teachers of English S tudents read a wide range of print and non-print texts to build an understanding of texts, themselves, and of the cultures of the United States and the world. S tudents apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. S tudents develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles. National Standards for Arts Education Consortium of National Arts Education Associations. Visual Arts Standard 4: U nderstanding the visual arts in relation to history and cultures. Content Standard 5: R eflecting upon and assessing the characteristics and merits of their work and the work of others. Content Standard 6: M aking connections between visual arts and other disciplines. S tudents conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g. print and no-print text, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience. v The Warrior with the Smiling Moustache H o Lin sat at the dinner table, where the steaming bowl of noodles, juicy pork, and vegetables was waiting to be eaten, but he didn’t even seem to notice it. Instead, he sat frowning into the distance, absently tapping his forehead with his chopsticks. His wife, Bi Ling, frowned back at him. She was proud of the good meals she made for her family, and she expected them to be eaten with smiles, not ignored with frowns. Mei Ling, and her twin brothers Chang Shen and Wan Hai, eyed their father worriedly. What was wrong? Ho Lin shook his head, hit his chopsticks on the table with a loud clack, and said, “It’s wrong. I just know it’s wrong. And what if the First Emperor finds out?” His family looked at each other with wide eyes. Ho Lin was the captain in charge of Pit Two of First Emperor’s tomb, the most astonishing, amazing construction project ever seen in the kingdom of China, and everyone knew that it must be perfect in every way, just as First Emperor wanted it. Everyone also knew that if it wasn’t perfect, First Emperor’s rage would be terrible to behold and every worker would fear for his life. This was serious business. “It’s the warrior in the second row, right in the front,” he explained. “The general with the smiling moustache. You know, he looks pleased, as if even his moustache is smiling. When I got to work this morning his moustache had been painted already, and I’m just sure it wasn’t done yesterday when I left. How could this have happened? I’m supposed to keep track of everything, absolutely everything, that happens in the pit.” They all understood what Ho Lin meant. Qin Shihuangdi, the First Emperor, the ruler of the great kingdom of Qin, was having his tomb built. Four huge pits had been dug in the ground by thousands of workers, and into those pits First Emperor’s army was put. No, not real human soldiers, of course. Terrible as First Emperor could be, he would not put live people into his tomb. No, this army was made of clay, more than 7,000 life-size clay soldiers, privates and generals, archers, swordsmen, and cavalry, all in rows, ready to defend the First Emperor in the afterlife, just as his human army had defended him in his mortal life. Weapons, chariots, horses, everything an army needed was there. First Emperor would be safe and protected for all eternity. He would also be entertained, for the imperial musicians and jugglers were also there, and even trained dancing swans and geese for his pleasure. “One moustache?” laughed Bi Ling, her eyes twinkling with amusement. “How can you keep track of every moustache in the army? One of the painters surely painted it yesterday. As long as it looks right, how can it matter?” “It’s not just one moustache,” sighed Ho Lin, rubbing his fingers through his carefully arranged top knot, making stray strands of hair fall down over his eyes. “It’s that everything must be perfect, and if I lose track of one moustache, what else might I overlook? It could be something that is really important. I have to solve this mystery before many more days have passed.” He brushed the hair from his face and sighed again. “Is First Emperor really that terrible?” asked Mei Ling. Of course everyone had heard stories about First Emperor, but how could he expect everyone and everything to be perfect all the time? “Well,” nodded Ho Lin. “It is true that he has done many good things for our kingdom. Now we have the same kind of coins everywhere, so merchants can sell their goods and customers can buy what they want easily. You know, here in our city we attracted merchants from the west and east of us, so we used to have to deal with two different types of coins, some that looked like knives and others that looked like spades. It made trade complicated.” Chang Shen and Wan Hai grinned as they thought of their treasured round bronze coins with the square hole in the middle which they planned to use to buy sweetmeats at the next market day. They both had what their sister described as a sweet tooth big enough for a tiger. Bi Ling smiled. “Yes,” she said, “The new coins are easier to use, and it’s nice when the merchants at the market use them. When I pay for something or get change back, there’s never any argument now. Sometimes I used to have to be really unpleasant when I thought the persimmon man wasn’t giving me enough “spades” for the number of “knives” I had given him. But just the same, the old coins had interesting shapes and they were fun to have. I kind of miss them.” “And,” Ho Lin went on, “since all carriages must have their wheels the same distance apart, they can travel easily in the same ruts in the road all over the kingdom. That makes life much more pleasant. He has made all merchants use the same weights so that when you buy a dou of grain you get the same amount anywhere in the kingdom. It’s hard for anyone to be cheated now. And,” he continued, waving his chopsticks at Chang Shen 1 Colored pigments still cling to the face of this terra cotta soldier, buried to accompany China’s first emporer, Qin Shi Huang, in the afterlife and Wan Hai, who complained about having to practice calligraphy, “we now have a simpler form of writing which makes keeping records so much easier.” “True,” sighed Bi Ling, “but everyone in the land must do exactly as First Emperor says or they may pay with their lives.” (army) After the meal was over, the three children went outside to sit under the big mulberry tree behind the house. Under the tree were baskets waiting to be filled with the bright green leaves which would be fed to silkworms. These very particular creatures would eat only mulberry leaves before they spun their cocoons of strong, shiny thread which could be made into the lovely shimmering silk cloth that would travel on the backs of patient camels to far off lands to the far west, where it was worth its weight in gold. Only in China was the secret of making this wonderful cloth known. “I’m afraid for Father,” said Chang Shen. “If something is not right with the soldiers in the tomb and First Emperor finds out, Father could be punished.” “Punished!” muttered Wan Hai. “Worse than that. He could be beheaded!” Mei Ling gasped. “We’ve got to do something,” she declared. “Right now we have to do something.” “But what can we do?” chorused her brothers. “We’re just kids. We can’t even get into the tomb where the clay army is.” “Kids or no kids, who else is there?” Mei Ling demanded. She never admitted that anything was impossible. Sometimes her brothers, who were, after all, only a year younger, wondered why they so often let her take charge, but they had to admit that she got things done. “Father can’t let anyone know that he suspects a problem. He’d be blamed right away. We can’t ask any grownups to help us. That might get Father into trouble too. We’re the only ones who know about this who won’t make it worse for father, and so we’re the only ones who can do something.” With her hands on her hips, she glared at her brothers. “Can you think of a better way?” They shook their heads. “How do we begin?” wondered Wan Hai. “We need to find out exactly what goes on in there,” said Chang Shen. “When we know just what all the workmen do and how they do it, we can begin to figure out how someone might be able to do something he wasn’t supposed to.” “Right,” smiled Mei Ling. “Confucius has said that knowledge is the key to life, so we have to educate ourselves about what goes on in the tomb.” Three heads bent over the ground as Chang Shen found a small stick and began to write in the dust a list of the things they needed to do. First, they agreed, they had to find a way to get into the tomb during the working day and see what really went on and who worked on what. They needed to know the entire work routine. Then they had to pay some special attention to paint – who paints, where the paint and brushes are kept, who supervises the painters, what a person needs to know in order to be a good painter. “Whew!” breathed Wan Hai, “That’s a tall order. We’re going to have to work fast to find out all that.” “Exactly,” said Mei Ling. “That’s why we can’t waste a minute.” (father) The next morning their first problem was solved in the most unbelievable way. As Bi Ling handed everyone a dish of noodles and vegetables, Ho Lin looked at Chang Shen and Wan Hai and said, “A messenger from the supervisor of the tomb workers came by earlier. He needs boys to run errands for him this morning because he will be busy overseeing a new shipment of clay from Mount Li which will arrive soon. He thought you could do a good job.” The boys carefully kept themselves from smiling or looking at each other lest they give anything away, and said, “Yes, Father, we’d be happy to do that.” “Well, work carefully and follow all the instructions you’re given,” said Ho Lin. “It’s an honor to help on this great work.” As soon as they could, the three children met again under the mulberry tree. “You’ve got to notice everything, absolutely everything and remember it all,” said Mei Ling. “We will,” they promised. “Mei Ling, why don’t you go over to the shop of Zhu the painter and see if you can find out anything interesting. Maybe someone has been asking questions about paint.” She nodded. “In fact, I’m going to look and listen all over the village. No one will suspect that a girl would have anything important to do with the emperor’s tomb. I bet I’ll be able to find some clues to what’s happening.” (clay) When the boys walked into the first pit that morning, their jaws dropped in astonishment. They had heard, of course, of the great clay army that First Emperor was making to guard him in the afterlife, but seeing it took their breath away. Row after row of clay figures, more than life-size, all standing as if ready for battle. They looked alive, with their hair arranged in braids and buns and every strand carefully carved, their uniforms gleaming in blue and red, purple and green, yellow and orange. Rows of kneeling archers with crossbows alternated with standing archers, so that while one row fired, the other had time to reload, just as they would be in a real battle. Others had spears, halberds, and battle-axes. No soldier wore a helmet or carried a shield. They wanted to show they were too brave to need to wear armor. The supervisor walked over to them. “You boys should walk around the workshop and let the foremen know that you can do any errands they need,” he told them. “Just keep your eyes and ears open and make yourselves useful.” Barely able to keep from letting their excitement show, Chang Shen and Wan Hai began to walk around the workshops. “ Look at the horses,” Wan Hai pointed. “They’re wonderful,” agreed Chang Shen. And indeed they were. Clay Mongolian ponies, small but 3 powerful, looking as if they were just straining to gallop across a battlefield. Their fur was being painted a deep brown, and their ears and nostrils were pink. “Look how their tails are braided,” he added. “Yes,” said his brother. “Father told me that’s done so the tails won’t get caught in the harness of the chariot they’re pulling.” They passed several rows of legs. All the legs were made of solid clay so the statues would stand firmly on the ground. Some of the legs wore loose pants and boots with upturned toes on their feet. Others, meant for the archers who had to be able to move swiftly, wore low flat shoes tied securely on their feet. Further along they found rows of hollow torsos standing side by side, waiting to be attached to their legs. “Look how every one is different,” said Chang Shen. “You can see every detail on their uniforms. Look at the fish scale design on that man’s armor. And this one has bigger plates of armor fastened together.” “Yes,” added Wan Hai, “The more important officers have the smallest pieces in their armor, and the lower ranks have bigger pieces. Look, this man has no armor at all. I guess he isn’t supposed to be fighting in the front lines. Maybe he’s the chief commander.” “And this one has his arms set ready to draw his bow. How real he looks!” marveled Chang Shen. They were interrupted by a workman with a wheelbarrow. “Here, you fellows. Make yourselves useful. We need a new supply of clay. Run to the clay shed and ask them to put two dou into the wheelbarrow and get it back here. Think you two can handle that?” “Oh yes,” chorused Chang Shen and Wan Hai, and off they went. As they trundled the wheelbarrow back, one to each handle, they passed the workshop of the sculptors who were carefully creating the heads. The already completed heads, which would be added to the torsos later, were sitting in the shade to dry, and sculptors were working on others, shaping noses, fashioning eyebrows above the eyes, and molding ears. “That one must be going to be a general,” laughed Wan Hai, pointing to one of the heads. “Look how serious and worried he looks, with those lines in his forehead. Maybe he’s afraid his battle plan will fail.” (help) While Chang Shen and Wan Hai were busy in the workshop, Mei Ling was equally busy exploring the town for clues and ideas. As she headed toward Zhu’s shop, she walked across an arching bridge over the canal. Beneath her a merchant poled his small boat, with its curved roof of reeds, along the water. The boat was piled with peaches and melons which he would sell at the market in the center of town. Two important looking government officials rode by in a twowheeled carriage pulled by a proud horse with flowing mane and braided tail. The trim looking carriage was topped by a blue umbrella, its color signifying that they were only commoners, not royalty. The oiled mulberry bark paper canopy stretched over the delicate bamboo frame and shaded them comfortably as they made their way toward the palace. Even this early in the morning, there were customers crowding around the street stalls, enjoying steaming bowls of millet porridge or perhaps honey rolls before they continued the day’s work. As she neared the painter’s shop, Mei Ling could see the shelves of paint pots, each one holding a different color—blue, red, green, yellow, orange, white, black, and the brilliant purple which had been invented by alchemists who were hoping to make imitation jade. Besides paint pots, Zhu’s shelves had rows of baskets which held brushes of all sizes, dishes of white lead to make creamy white paint, and pans of charcoal for black. Plates held piles of rusty red cinnabar, sea-blue lapis lazuli from the mountains far to the west, forest green malachite, and poisonous yellow orpiment. Zhu would pound these stones into a fine, dusty powder and mix it with tung seed oil or fish glue to make a smooth, bright paint. It all seemed mysterious and exciting, and Mei Ling thought it would be a wonderful place to work. As she came to the shop next door to Zhu’s, a busy bronze maker’s workplace with its red glowing furnace, she saw the young apprentice stirring the molten mix of copper, lead, and tin, ready to pour it into a mold to make a bronze vessel, maybe a wine jar or maybe a sword blade. On the window sill was a cricket cage made of bamboo, where the small brown insect waved its long feelers as if it were greeting her. She smiled at it, because crickets were good luck. She also admired the cage, which wasn’t just the usual plain tan bamboo. No, this cage had been painted lovingly in brilliant colors. It had a peaked roof of bright red, almost like the tiles on a nobleman’s elegant house, and the sides were deep blue. And the door! The door was the gorgeous purple that she had heard her father describe when he told about the uniforms of the soldiers in First Emperor’s tomb. “What a special cricket cage,” thought Mei Ling, as she stood admiring it. Inside the shop the apprentice looked up and noticed her. “Is this your cricket?” she asked him. Smiling, the boy came over to the window, pushing back the unruly shock of black hair that fell over his left eye. In his hand he was holding a small bronze model of a tiger. “Yes,” he answered. “My master likes the cricket here. He thinks it brings good luck to his work, and I thought it would be nice to have a very special cage for my cricket. I had fun painting the cage. I’d really rather be a painter than a bronze maker, but my father apprenticed me to Master Jang, so here I am.” He shrugged his shoulders and smiled at her again. “My name is Yung Fu,” he added. “I’m Mei Ling,” she told him. “My father is a foreman in the emperor’s tomb where all the soldiers are being made.” “Ah,” said Yung Fu,. “We’re just making some hufu, tiger tallies, for the emperor. Look.” He held up the bronze tiger so she could see it. Mei Ling took the smooth little model of the tiger in her hand. It was really two identical halves of a tiger, fashioned as if it were lying quietly on the ground with its two front paws neatly in place under his chin. “What does the emperor do with this?” 4 she asked, looking at both halves curiously. “It’s when he wants to send orders to one of his generals,” answered Yung Fu. “He has to make sure that his generals know that orders come straight from the emperor, not some enemy or traitor trying to make trouble. So he gives the general one half of the tiger and he keeps the other half. Then when he needs to send a message, he sends his tiger half with the message, and the general knows that if it matches the tiger half he has, the message is truly from the First Emperor.” As she walked on to Zhu’s shop, she wondered if Yung Fu had heard all the stories about the First Emperor and his harsh laws and was afraid of him. She thought she had seen a worried look in his eyes when she told him about her father’s job. For the next few hours, she learned more than she ever thought she could about paint and color from Zhu. “You know,” he told her, “First Emperor favors the color black. It is like the sky in the morning just before the sun comes up, so it symbolizes heaven.” He pointed to the roof of his workshop, with its black tiles, each with a phoenix molded on the endpiece. “First Emperor would like my roof. Not only is it his most auspicious color, but each phoenix on the end pieces means eternal life, and we know that the emperor wants to live forever. That’s why he’s making this wonderful tomb where your father is working so hard.” Zhu was a man who loved his job and knew everything there was to know about paints and colors. Unfortunately for Mei Ling, what he didn’t know was who could have painted the soldier’s moustache. Not that she told him about that, of course, since it was strictly a secret, but she asked him enough questions to know that he knew nothing about what went on inside the tomb. He only delivered paint. (cricket) Chang Shan and Wan Hai strolled slowly home after their first day working in First Emperor’s tomb. It had been an exciting day. They had been able to watch everything that went on and as they ran errands for anyone who needed them, they had kept their eyes very wide open for any clues to the painted moustache problem. “All kinds of workers come and go all day long,” said Chang Shen. “No one bothers to notice who they are or where they go.” “Yes,” agreed Wan Hai, “it wouldn’t be hard for someone to hide in the tomb after all the workers leave for the day.” “And paint at night?” questioned Chang Shen. “How would he be able to see? Where would he get the paint? Everything the workers use is put away in its proper place at the end of the day. The supervisors are very particular about that.” “I know,” Wan Hai answered him. “I can’t figure out how it could be done. Tomorrow let’s find a way to check out the paint room.” “But light,” argued Chang Shen. “He’d need light to do a good job. How would he get that? And wouldn’t someone notice if there was light in the tomb at night?” “I don’t know,” admitted Wan Hai. “But listen, let’s go over to the tomb after evening noodles tonight and see what it looks like after dark. We may get some ideas.” When the family gathered for noodles that evening, Ho Lin smiled at his sons. “You did very good work today,” he told them. “Everyone thinks you’re the best assistants we’ve ever had on the job. We’ll be needing you for quite a few more days. We’re extra busy right now trying to get a lot done before the emperor comes on his next visit of inspection.” Of course this was just what the boys wanted to hear, and they grinned at Mei Ling, who grinned back and raised her eyebrows, signaling that she had some interesting news to share. They had quite an argument later on when it came time to go over to the tomb in the dark. Mei Ling insisted that she was coming too, while her brothers were sure it would be too dangerous and scary for a girl. They should have known better than to try to stop her. “No way,” she said, “Don’t you think for one minute that I’m scared to go over there in the dark. First of all, l’m the oldest, and second, I don’t get scared. Period.” And she planted her feet firmly on the ground and glared at her brothers. They knew when they were beaten, so all three set out quietly through the town toward the dark tomb site. They walked softly, only whispering a word or two from time to time. The night was silent and only the pale light of the sliver of the moon shone down on them. The only sound they could hear was crickets chirping in the grass. “Look,” Mei Ling suddenly whispered, and just as they turned their heads in the direction she was pointing, a tiny, faintly pale glimmer of light was extinguished, and the 5 blackness of the night surrounded them again. “It was someone,” breathed Wan Hai. “Do you think it was the moustache painter?” “Who knows?” said Chang Shen. “But for sure he’s disappeared for good now. We could never find him in this dark.” Later that night they made more plans for the next day. Wan Hai and Chang Shen would try to find how someone could get in and out of the tomb at night and look for any signs of the moustache painter. Mei Ling would offer to take their father his noon noodles and use the chance to look around the workplace for any other clues. They felt like they had made a lot of progress, even if they hadn’t come near to solving the mystery yet. (dark) The next day as Mei Ling walked into the workplace with her father’s noon meal of noodles and persimmon-duck stew, she looked around in amazement. She stopped in front of a handsome general standing in front of his troops. His elegant shoes curled up at the toes, his cap sported a pheasant feather, painted lovingly in its brilliant colors, and his armor, made of small metal fish scales, had bright tassels hanging from it. As she looked at him, she could understand why someone would love to paint the statues. When they were painted, they seemed to spring to life, so different from the plain gray clay ones awaiting their turn. She was strolling around, unnoticed by the busy workers, when suddenly she noticed a familiar face. Where had she seen that face before, she wondered. It was a young boy, a few years older that she was, and he was carrying an armful of sword blades back to one of the storage areas. She cudgeled her brain into thought, and... yes, that was it! It was Yung Fu, the bronze maker’s apprentice with the cricket cage in the window sill. He was delivering swords for the “army” from his master’s shop. She waved, but he was concentrating too hard on his awkward load of sharp, pointed sword blades to notice her as he hurried into the next room. That night, the three detectives gathered once again under the mulberry tree. “Everyone is so busy working over there that it wouldn’t be hard for someone to sneak in,” said Chang Shen. “Yes,” agreed Mei Ling, “No one paid any attention to me at all, and I wandered all over. I even saw the bronze maker’s apprentice delivering a load of swords.” “All true,” added Wan Hai, “But what we have to do is figure out how to get in after the workers go home. I think we all suppose that the moustache painter goes in while everyone’s still working and just stays there until everyone is gone. Then he paints. It is easy for him to get out after all. Not so easy for us to get in.” “The first thing is to find out where he comes out. That’ll show us where we can get in.” “No,” Chang Shen disagreed. “That’s doing it the hard way. What we need to do is to do what he does. Just stay in the tomb and hide until he starts painting. Then we’ll find out who it is.” “Well,” objected Wan Hai, “that’s all very well, but what are father and mother going to say if we don’t come home for evening noodles? They’ll run all over looking for us. They’ll be worried, and it will spoil our whole plan besides.” “Hmmmm,” murmured Mei Ling. “You’re right. We have to have a better idea than that.” She closed her eyes and put her hands over her ears. After a second or two, her eyes flew open, and she said, “Yes!” “What is it?” asked Chang Shen. “Have you got an idea?” asked Wan Hai. “Absolutely,” smiled Mei Ling. “All of us are right about this. We have to find out how the moustache painter leaves.” “But I thought....,” muttered Chang Shen. “No, wait and let me finish,” commanded Mei Ling. “Tomorrow we find out where he leaves. Then one of you (nodding at her brothers) manages to get over to that entrance and fix it so that the door doesn’t close completely. You’ll have to be careful so that no one will notice. Closed just enough so that it looks closed, but open just enough so that we can get it open and get in. Got that?” “Yeah,” grinned Chang Shen. “You know, I think that will really work.” Satisfied, they went back in and didn’t even complain when their mother told them it was time for bed. The next day seemed to last forever, even though of course it really didn’t. Chang Shen and Wan Hai hurried here and there, taking messages to workmen at the tomb and carrying supplies to groups of workmen. Chang Shen got to see inside one of the hollow horse torsos and the worker even let him scratch his name on it. (The inside, that is, where it would never be seen by anyone.) Wan Hai helped an archery specialist set up the place for one of the mechanical crossbows that would be placed at the entrance to the tomb, where it would fire arrows automatically if anyone dared to try to enter the tomb. That was fun because the archer showed him just how the crossbow worked and how powerful a weapon it was. Mei Ling went back to Zhu’s paint shop and learned more about how the paint and brushes were made. She loved the soft furry feel of the fine brushes, and Zhu let her paint on some scraps of clay he had lying around. While she was there, Yung Fu, the bronze maker’s apprentice came into the shop and was greeted happily by Zhu. “See, Mei Ling,” he said, looking at the boy. “Here is a real painter. He works in bronze right now, but his heart is in paint. Some day he’ll realize this and become one of our kingdom’s finest workers with the brushes and colors.” Yung Fu turned red with embarrassment and smiled shyly at Mei Ling. Silently he took her brush and the piece of clay she was painting on and with a few quick strokes made the plum blossom she had started to paint come alive and seem to jump right off the clay. “I can almost smell its perfume, it looks so real!” she exclaimed in wonder. “Yung Fu, you are an artist, a real artist.” 6 6 Redder than ever, Yung Fu hastily slipped out the door and back to his work at the bronze maker’s. Mei Ling watched him with a thoughtful expression on her face. She was remembering that she had seen him in the tomb, delivering sword blades, and he loved to paint, and... (plum) Finally the day ended and it was again time for evening noodles for Chang Shen, Wan Hai, Mei Ling and their parents. Ho Lin ate abstractedly, his mind a million miles away. He had already told them that the moustache painter had been at work again. This time he had completed the rest of the warrior’s face and the rich purple cuffs on the sleeves of his uniform. Once again the work was beautifully done, as fine as the most experienced painter could do. But that didn’t really help. It still meant that someone was alone with the warriors at night, and if that could happen, who knew what else might happen. Ho Lin was a deeply worried man. Later that night, the three detectives quietly left the house and approached the tomb area. Before they had set out, they had discussed what they were going to do. “We can’t just yell at him,” said Mei Ling. “It would scare him and if he had the brush in his hand he might make a terrible mess on the warrior that couldn’t be repaired. Wouldn’t that be awful!” “Or he might jump and accidentally knock the warrior over and break it,” suggested Chang Shen. “That would be even worse.” They thought about it and decided that they would make some small noises as they got closer to the painter, to sort of warn him a little bit, and then they would tell him right away that they didn’t mean him any harm. It wasn’t a perfect plan, but it was the best they could think of. They just hoped it would work. Wan Hai led his brother and sister to the spot where there was a small side door for deliverymen to get into the work area, out of the way of the busy workers. Just as he had left it, the door was open a tiny crack, and as silently as three mice they crept inside. At first the work area seemed as dark as a starless night, but as their eyes got used to it, they could see a faint glow far on the other side. Mouse like, they tip-toed toward the glow. As they got nearer, the glow brightened, and in the distance, past a few more rows of warriors, they could see a shadowy figure, the light from the small lamp on the floor casting an eerie light upwards onto his face. With brush in hand, he was meticulously applying paint to the armor of the warrior, emerald green and scarlet fish scales, each one looking as if it were part of the general’s real armor. Fascinated at what they were seeing, they forgot to be as mouse like as they planned, but the moustache painter was so absorbed in his work that he wouldn’t have noticed them if they had brought the real army and all of its horses with them. “Uh...,” began Mei Ling, not knowing how to begin now that they were really there seeing it all happening. The moustache painter turned around, a dreamy look in his eyes, blinked a couple of times, brushed back the hair off his forehead with an absent gesture, and then opened his eyes wide. “Oh,” he blurted out. “How did you get in here? Who are you? What are you doing here?” Suddenly he seemed to realize the position he was in, and he looked around, apprehensively, as if he were expecting to see First Emperor’s guards suddenly appear with swords drawn. “It is you, Yung Fu,” exclaimed Mei Ling. “I should have known. In fact, I did sort of guess.” “Don’t worry,” Wan Hai hastily reassured him. “We don’t mean any harm to you. We just had to find out who the moustache painter was. It was because of father, you see.” Yung Fu looked more confused than ever as he looked from Wan Hai to Mei Ling and then over to Chang Shen. “Moustache painter? Father?” he frowned. “What do you mean?” “Put your brush down,” said Mei Ling, “before you drip paint on the floor. Sit down, and we’ll explain.” Still puzzled, Yung Fu carefully placed his brush in its dish, and all four of them sat on the hard earthen floor. The three detectives began to explain, taking turns but interrupting each other all the time, and coming back again and again to the fearsome wrath of First Emperor if anything went wrong with the building of his tomb. “You see,” began Wan Hai. “Father noticed that the moustache had been painted by someone who shouldn’t have been in the tomb, and Father is supposed to keep track of everything that happens. That’s his job, and if the emperor found out that he hadn’t done his job correctly, well…….” “Yes,” Mei Ling rushed on, her words tumbling over one another, “He couldn’t go to his chief or tell any of the other workers. That would get him in trouble too, because it is his job to see that nothing like this happens. First Emperor never listens to excuses, you know.” “So,” said Chang Shen, “It had to be us. We had to solve the mystery and help Father. You understand, don’t you? We had to save Father.” Slowly Yung Fu nodded. “I didn’t think about that,” he said. “I would never have wanted to cause anyone trouble with the First Emperor. I never thought about what would happen. It’s just that... well... I mean... I want... well... I just have to paint.” Blushing furiously, he looked at the three detectives. “You do paint wonderfully,” said Mei Ling. “Remember that plum blossom you painted for me at Zhu’s shop? And your cricket cage? It looks like a cricket palace, it’s so beautiful. You ought to be one of the First Emperor’s painters. You’d be the best.” Yung Fu smiled and began to look a little bit happy for the first time. But then he sighed, “I don’t know how I could ever be allowed to do that.” “There’s only one thing to do,” said Chang Shen decidedly. “We’ll tell Father all about it. He’ll know what the best thing to do is.” Yung Fu looked alarmed. “But I’ve caused your father a lot of worry and trouble,” he stammered. “He’ll be very angry with me. And if he tells Master Jang I will surely lose my job. I need my job. My family depends on me.” “Don’t worry,” Wan Hai assured him. “When we explain it all to 8 Father, he’ll understand. After all, no harm has been done, and now that we know everything, no one will get in trouble. You will see.” (emperor) There was a great deal of conversation at morning noodles in Ho Lin’s house the next day. The three detectives were up early, very early, unable to wait to tell their father all that had happened the night before. “You mean that this boy, this Yung Fu, hid in the workplace and no one noticed?” Ho Lin asked in astonishment. “What do we have guards for anyway, I wonder.” “I bet they all went to sleep,” guessed Chang Shen. “After all, you can’t blame them. It’s dark and quiet in there and who could imagine that someone would hide in there just to paint a warrior.” “Well, you’re right,” agreed his father. “I guess I wouldn’t have thought of such a thing myself.” “It’s a good thing though,” said Mei Ling. “Otherwise Yung Fu would never have gotten a chance to paint.” “Hmmmm,” grumbled Ho Lin. “Maybe so, but I wish he had chosen a different way of applying for a job! Why if this sort of thing keeps up, we could have the workplace crawling with people all night every night! Then what am I supposed to do?” “Well, Father, I guess you’ll just have to get some better light in there and set up a 24 hour a day work schedule,” laughed Wan Hai. “I need to see this young man,” said Ho Lin, “and have a good talk with him. I have to admit that he did a wonderful job. We could use him on our work crew, but how can I hire someone who disobeyed the rules? You know how important it is to obey First Emperor’s rules.” The three detectives nodded, their faces serious as they thought of First Emperor, whom everyone obeyed without question. Nevertheless, it was a cheerful procession that wound its way to the shop of the bronze maker. Master Jang, who had no idea what this was all about, stared at his visitors with a puzzled face, bowing in greeting to Ho Lin. “Master Jang,” began Ho Lin. “I understand you have a young apprentice here who is named Yung Fu.” “Why yes,” replied the curious bronze maker. “Why do you ask? He is an excellent apprentice and always does his work carefully. Sometimes, though, I have thought that his thoughts often fly far away from our fiery furnace and molten metal here.” “Exactly,” said Ho Lin, while Chang Shen, Wan Hai, and Mei Ling watched anxiously. “I think you’ll find that even while he’s filling molds with your red-hot mixture of tin and copper, his mind’s eye is seeing a world of wonderful colors. He longs for red and blue, yellow, green, and deep purple. He needs to paint.” As Ho Lin spoke, Yung Fu had slid quietly into the room and was watching and listening, his mouth open and his eyes wide as he saw his three friends from the night before and the serious looking foreman of the tomb workshop. “Color,” mused Master Jang. “You have something there. Yes, he does talk about color. He notices the green fields. He says there are a hundred different kinds of green. Imagine that! How can green be anything but green? And I do know that he often spends his free time with Zhu in his paint shop next door. I never stopped to think about what he does there.” At that moment, Zhu himself, attracted by all the unusual visitors to his neighbor’s shop, appeared in the doorway and heard Master Jang’s words. “Oh, I can tell you that,” he exclaimed eagerly. “Yung Fu paints! He is drawn to paint like a bee to a flower. I have given him a few lessons and in no time at all, he was painting as if he had been born to do that one thing and only that thing. I tell you, this young man should have a different job. You make exquisite bronzes, Jang, but bronze has only one color, and Yung Fu needs a rainbow to make his life complete.” “Well,” said Ho Lin, “I think we’ll have to see what can be done about this. Come, Yung Fu,” and putting his hand on Yung Fu’s shoulder, he headed for the workshop of the emperor’s tomb. Wan Hai, Chang Shen, and Mei Ling looked at each other and followed after them. No one had told them they couldn’t, had they? And they knew they just had to know what was going to happen. As they neared the tomb, five workers hurried by, followed by the chief of the sculptors. The chief was carrying a long, brightly colored silk scarf over his arm. Ho Lin hurried his steps, pulling Yung Fu along with him. “What can be happening?” he muttered, a slightly worried expression on his face. When the group reached the door of the workshop, one of the workers met them. “It’s General Zhong Yi,” he told them breathlessly. “He’s just arrived for a tour of inspection of the army. He especially wants to see himself.” “Himself?” said Wan Hai, puzzled. “Yes,” explained Ho Lin. “You know that many of the terra cotta warriors are modeled after real people. The general is one of them. And... uh-oh, my goodness, the general! He’s the one that Yung Fu painted! Oh, oh,” and he sped off into the tomb workshop. The three detectives and Yung Fu hurried after him. When they reached the row of warriors where the general stood, they gathered quietly in the shadow of another warrior to see what was happening. Ho Lin was watching as the chief of the sculptors bowed low before General Zhong and ceremoniously handed him the silk scarf. “Long life and many days may you have, General,” he said, bowing again. The general nodded as one of his aides put the scarf around his shoulders. Then he turned to “himself” and regarded the clay statue with interest. He turned his head to get a better view and then leaned closer to examine the tassels on his clay “armor.” Ho Lin and the chief of sculptors weren’t the only ones holding their breath. Four silent shadows behind a nearby warrior also held theirs. “Well,” said General Zhong, “Well, well.” He leaned back to get a better view. 9 “I do believe that it is really me,” he smiled. Six breaths were carefully and quietly expelled. “This is remarkable, truly remarkable,” continued the general, touching “his” clay moustache with the tips of his fingers. “These warriors look like they are alive. First Emperor may well be confident that they will protect him in the afterlife. I never imagined that anything could look like this. My uniform is perfect. My moustache is more handsome than the real one!” and he smoothed his real moustache with his hand as he smiled contentedly. He looked around at the workshop filled with busy workers. “Which of the workers made me?” he inquired, smiling. “Who made my moustache so handsome?” Wan Hai, Chang Shen, and Mei Ling gently pushed Yung Fu out into the aisle near the general’s statue. Ho Lin, hearing a small shuffle behind him, turned around. “Ah, General Zhong,” he said, bowing again and taking Yung Fu by the arm at the same time. “Here is one of our youngest workers. He is the one who painted such a fine moustache for you that the emperor himself would think it was real.” The general turned to Yung Fu, who bowed so low his heard nearly touched his knees, and smiled again. “How fortunate we are that the kingdom of Qin has such talent, such power to create beauty,” he said. “This young painter must be given high honors and he must paint many more soldiers of our emperor’s army.” Taking off the bright silk scarf, he placed it around Yung Fu’s shoulders and strode away, followed by his aides and the chief of sculptors. The three detectives grabbed Yung Fu, who was still open mouthed with shock, and began to dance and skip around the warriors. “Careful, careful,” admonished Ho Lin. “Now is no time to knock over a warrior and break a head. Come, we have much to do.” There was indeed much to do. First, Yung Fu must be introduced to the chief of painters. There would be time for the full story to be told later, but for now it was enough that the chief of the painters agreed that Yung Fu had shown himself to be an outstanding painter and deserved the praise of the general. “You can start tomorrow. We begin work just after sunrise, so be on time,” instructed the chief painter. “You are expected to have your hair combed and be neat and clean.” Next was a visit to Master Jang, who heard the astonishing story with amazement. “I am happy for you,” he told Yung Fu. “I’ll miss you, though. You have been a good apprentice, and I thought you had the talent to make beautiful bronze vessels. But I always knew that somehow metal wasn’t where your heart was. This is a great day for you.” He turned to his shelves and picked out six small bronze three-legged dings, beautifully formed with small taotie designs on them. “These are for you to keep your paints in,” he told Yung Fu, “and to remember me by too.” “Master Jang, I could never forget you,” Yung Fu assured him. “You have always been so kind and taught me much.” Next, of course, must be a visit next door to the shop of Zhu the painter. He had already heard the great news from some of the village children, and he too had something for Yung Fu. “To work on the emperor’s army, you must have the finest brushes. Nothing else is good enough,” he said, handing Yung Fu a pot filled with brushes of all sizes. “There! You have brushes for the smallest eyelash and the largest boots and everything in between. You are all ready to work for the emperor.” There was a great feast at the house of Ho Lin that night. The mystery of the moustache painter had been solved, and Ho Lin no longer worried about his job (or his head). He hugged the three detectives and told them that no father had ever had such good children. Yung Fu just smiled and smiled. His dearest dream had come true, and he could still scarcely believe it. He was a painter now. His life would be filled with color and beauty, and he didn’t think there could be a luckier boy in the entire kingdom. Mei Ling had just one last request. “Yung Fu,” she asked, “Will you paint me a cricket cage like yours?” (happiness) 10 Terra Cotta Warriors: Guardians of China’s First Emperor Battle-ready, an army takes position for eternity in a flat roofed-vault. Artist rendering by Hsien-Min Yang. I magine descending down a ramp into a dark, earthen pit. Out of the silence you think you hear the exhale of a horse. As you reach in that direction, you feel the form of a human face. Then you turn quickly as you think you hear the scrape of a sword being pulled from its case. Fear grips you in your uncertainty. As your eyes adjust to the darkness, you slowly perceive the outline of human forms – rows and rows of clay warriors, standing in silence, ready for battle. The army stretches as far as you can see. You are sure that you hear the rustle of armor, the click of metal. This army is one of the most impressive armies of all time. It has been battle ready for over 2200 years. It was created by Qin Shihuangdi (Qin Shihuangdi sounds like: Chin Shhr Hwong Dee), the First Emperor of the Qin dynasty, to protect him in the afterlife, throughout eternity. It remained unknown for centuries until it was discovered in 1974 by peasants digging a well for water about 20 miles east of the city of Xi’an, in central China. Since then three more warrior pits have been found nearby. One of them was empty, telling us that the complex was probably not complete when the emperor died. There has never been found such a massive artificial army from any other time in history. Today, the Museum of Qin Terra Cotta Warriors and Horses covers three acres containing three modern buildings. It is a unique museum where people come not only to see the warriors, but to also observe an archaeological dig site as scientists excavate the warriors from their burial chambers. Only a small fraction of the warriors have been excavated due to the painstaking care required to preserve their grandeur. It will take much longer to excavate the army than the 36 years it took to create it. The tomb of Qin Shi Huang is about 1/4 of a mile away from the warriors’ pits. What appears to be a hill (actually an artificial mound, or tumulus) in the middle of a peaceful corn field is the First Emperor’s burial mound which is about 150 feet high with three levels. Around the outer area had been a stone wall 23 feet thick with four corner watchtowers. The walls of the inner city were 1/4 mile long on each side. The inner tomb remains as it was left 2200 years ago with Qin’s coffin in the middle. The pits of the warriors are east of the First Emperor’s tomb to protect him from his enemies to the east. The tomb is protected by the mountains to the south (Mt. Li) and west (Qinling Mountains); water to the north (Wei River); and to the east is the Great Central Plains. There are believed to be at least 600 pits and tombs in all, covering 56 square kilometers (22 square miles). The warrior pits alone cover an area of over 25,000 square meters (29,900 square yards). It is believed that it took over 700,000 workers to complete the necropolis. The terra cotta warriors are considered one of the most important archaeological discoveries of all time. They give us valuable information about the history of China. UNESCO (United Nations Educational Scientific and Cultural Organization) has put Qin Shihuangdi’s tomb on its cultural heritage list. The international organization makes sure that historical sites are preserved. The First Emperor’s tomb has not been excavated. Archaeologists are waiting until it can be dug safely without hurting the precious objects inside. The tombs reproduce the realities of life for aristocrats in China in 200 BCE. Qin started building the tombs as soon as he became king of the state of Qin. Chinese leaders before him had built elaborate tombs with the belief that they could continue to rule forever in the afterlife, but none came close to the detail and magnitude of Qin’s. It is estimated that there were over 7,000 warriors, more than 600 horses, 100 chariots, and uncountable 12 Guard in head armor; armor made of pieces of limestone secured by bronze thread weapons. Each warrior is a few inches larger than real life. The warriors are arranged in the pits to protect the emperor from anyone who invades his tomb. Each pit lies 15 to 20 feet below current ground level and was constructed with the figures placed in corridors separated by earthen walls. Pit number 1 is the largest pit. It is 252 yards long and 68 yards wide with nine corridors which are about 11’ 4” wide. The ceilings were made of large tree trunks which rested on the partitions and outer rims. They were reinforced by planks and wooden pillars. A layer of matting was placed on the planks and then sealed by a layer of plaster over which was stamped earth. All but the earth and plaster has disintegrated. The corridors are paved with pottery bricks on which the warriors and horses stand. There are five ramps on each end leading down to the pit. The warriors in Pit 1 are arranged in regular army formation. In the front are three rows of standing archers with crossbows so that while one row was firing, the others were reloading. These wore no armor. The armored infantry line the corridors with spears, halberds, and battle axes. These are led by officers on chariots carrying the bell and drum used to give orders during battle. Troops are defended at the sides and rear by archers and crossbowmen facing outwards. The positions of the bodies and hands of the warriors tell the type of weapons they used, although most of the original weapons were deteriorated. Their uniforms tell their army position. The pants. Armor was made in overlapping plates probably made of lacquered leather representing fish scale designs. The cavalrymen wore light armor, and they wore a cap of leather. Officers wore more ornate armor and headgear. The infantry wore boots, some with upturned toes. Although the colors on the warriors’ uniforms have since faded, they were very bright and mixed. Color did not signify rank, so the final effect was a dazzling array of a real army of individual people. One can almost perceive movement by the positions of the warriors and tilt of their heads. Not only their soldiers wore padded coats fastened with a leather belt with a hooked buckle and knee length trousers. They wore flat shoes tied to their feet. The horsemen, in Pit 2, wore short tunics over tight uniforms but their scarves, tassels, bows, accessories, and hairstyles tell their rank so they can be seen by other soldiers, and unfortunately also by the enemy. There are no female figures because women were not allowed in the Chinese army. The faces of the warriors are all different. Art historians had not believed that such natural features appeared in Chinese art until long after the Qin dynasty. They have been astonished at the expressiveness of their faces. One feels that this exhibit is not about an emperor. Its importance lies in celebration of the lives of the individuals who built this empire. Not only are there warriors but chariots and their horses are positioned throughout the rows of warriors. There are four horses for each chariot. The horses’ features are so true to life that they appear alert to commands from their charioteers. Some of the pieces of the chariots are actually moveable. They were used in battle on inspection tours of the army. The horses with the chariots are tarpans, small horses which are now extinct. In addition to the army for protection, the First Emporer had pits created which contained many other 13 Back of head, showing hairstyle of terra cotta warrior consisting of managers, overseers, and workmen. For 36 years they worked on this feat of mass production. The figures include high ranking officers, officers, armored and unarmored infantry, charioteers, cavalrymen, kneeling and standing archers. The clay for the figures must have come from Lishan, (Mt Li) the mountain at the foot of which stands the emperor’s tomb. It was combined with ground quartz. The average weight of the warriors is about 200 types of figures – courtiers, civil officials, musicians and acrobats. The entertainers are sculpted as if in mid-performance. A variety of birds are with the musicians as if they were trained to dance with the music. Most figures are models, but there were also found some small coffins containing the bones of birds and other animals. Also discovered was a stable containing the bones of real horses, with clay figures of grooms to keep them fresh. We can imagine the First Emperor being prepared for a great hunting trip as well as for battle. When Qin Shi Huang became king he assembled a group of artisans to create his tomb and underground army to protect him throughout eternity. His officials combined technology from other crafts to organize factories throughout the area with teams kilos (440 pounds), and the average height is 1.8 meters (5.9 feet). The legs and feet of each warrior are made of a solid base of clay to give the figure support. Above the legs the body is hollow. The torso was built up with coiled clay. The head, arms and hands were modeled separately and then attached to the body with clay coils. They were made from an ancient molding technique. The unique faces of each warrior may have been copied from live humans believed to be his actual army. The facial features were created using fine artist’s tools such as sharp bamboo. Eyebrows, beards, and mustaches were carefully crafted. Hair and hats were modeled by hand and added separately. Clothes and armor were also hand finished. Each warrior was covered with lacquer and then colored with paint made from minerals. The statues were fired at a much higher temperature than previous methods utilized, thus making it possible for them to survive for 2200 years. Horses were fired in one piece except for their tails and forelocks. Bridles with stone Types of soldiers found in pits 14 Archer’s shoe showing details of hemp sole and beads and bronze bits have survived. Few of the statues have been found intact due to an invasion of the tombs soon after he died. In addition to what was plundered, the roof was burned and fell, smashing most of the statues. Each statue bears an inscription of one of the 87 foremen in charge of the construction of the army. Some worked for state workshops run by the central government. Some worked for non-government workshops. It is estimated that there were about 1530 craftsmen altogether who worked on the warriors. Each inscription tells the name of the workshop, the master artist, the office supervisor, and the year of the First Emperor’s reign that it was created. The inscriptions are found hidden on the statues, engraved or written with brush and black and red ink. Hundreds of bronze swords, halberds, daggers, and battle axes and thousands of arrowheads have been found mixed with the scattered pieces of the warriors. The swords and the tips of the arrowheads are still razor sharp. Some swords are made of an alloy of cooper, tin and 13 other elements including nickel, magnesium and cobalt. They are still covered with a coating of oxidized chrome, a true marvel of technology for any age. Probably the most amazing weapon of the time was the crossbow which used a three-part mechanism. The tomb of the First Emperor is believed to be a vast underground palace and will most likely prove to be one of the greatest marvels of all time when it is excavated. No documents from the Qin dynasty survive, so we must must rely on a description written 100 years later by Sima Qian, the official historian of the Han dynasty. Of course, he had a strong bias so we must be careful in reading what he says. He relays that over 700,000 conscripts were used to build the compound. Sima Qian wrote, “As soon as the First Emperor became king of Qin, excavations and building had been started at Mount Li, while after he won the empire, more than 700,000 conscripts from all parts of the country worked there. They dug through three underground streams and put down bronze for the outer coffin, and the tomb was filled with models of palaces, pavilions and offices as well as fine vessels, precious stones and rarities. Craftsmen were ordered to fix up crossbows so that any thief breaking in would be shot. All the country’s streams, the Yellow River and the Yangtze were reproduced in mercury and by some mechanical means made to flow into a miniature ocean. The heavenly constellations were above and the regions of the earth below. The candles were made of man-fish oil to ensure them burning for the longest possible time.” It is believed that the emperor’s burial chamber itself is 30-40 meters (32.8 yards-43.7 yards) below the A bundle of bronze arrows found at the site of the terra cotta warriors in Xi’an, China. The bronze arrow tips survived, while the wooden shafts have disentigrated. original ground 15 Bronze ban liang coin History of China Lead weight for measuring bags of grain I s it any wonder that the First Emporer conquered and united much of China after seeing such an impressive army? When Ying Zheng (the First Emperor’s birth name), ascended to the throne upon the death of his father in 246 BCE, he was only 13 years old. It is thought construction of the warriors was begun after he united China in 221. The previous Eastern Zhou Period laid the groundwork for the First Emperor to unify China. Due to the constant fighting during the Warring States Period, military, economic, social and political systems were created which gave him power and control to defeat the other states. In 230 BCE Ying Zheng began accomplishing his dream of unifying and bringing under his control all the Warring States – Han, Zhao, Wei, Chu, Yan and Qi. By 221 BCE he had succeeded in creating the first centralized empire in Chinese history and declared himself Qin Shihuangdi – the First Emperor of the Qin. He had united lands from the Gobi Desert to Vietnam to the Yellow Sea. It is said that Qin Shi Huang conquered China, “like a silkworm devouring a mulberry leaf.” The Period of the Warring States was over, yet he had to keep his army battle ready in order to deter rebellions by his conquered subjects and to protect his newly created empire from continued invasions from the north. In the period before Qin, the concept of the Mandate of Heaven developed. This meant that the ruler was given authority by Heaven and that if he ruled well, he would remain in power. The First Emperor believed he had received this power to rule the entire world. He created the concept of “emperor” and all subsequent rulers of China had that title. A dynasty is a succession of rulers who all came from the same family. Although the Qin dynasty lasted only 15 years, until the death of the First Emperor’s son in 206 BCE, it set into motion much of the groundwork that would maintain China as a leading power throughout world history. Some of his most long lasting accomplishments include: • Unified the seven Warring States ending centuries of war • Did away with much corruption by abolishing the inheritance of titles and offices and creating a strict hierarchy based on merit and achievement • Built a 4,700 mile network of roads throughout the empire with regular stops to provide a place to sleep • Linked and added to the great wall of China in order to protect his citizens from barbarian nomadic attacks • Built a canal system for irrigation and transportation • Established a single width for cart axles so goods could be transported easily from province to province • Standardized weights and measures making trade more uniform • Created a single currency • Combined the Chinese characters in writing which helped promote cultural unity • Pioneered the use of mass production and interchangeable parts (for the production of weapons and agricultural implements) • Codified the legal system by making all laws the same in all parts of the empire, and although harsh, was consistently applied The First Emperor is well known in Chinese history for his amazing advancements yet he is also known for his ruthlessness towards his people. As he conquered the adjoining Warring States, he forced the leading families to move to his capital at Xianyang, so he could keep them under the watchful eye of his bureaucracy. He rebuilt their palaces in Xianyang. The First Emperor chose his own assistants to go to their kingdoms to be the governors and judges. He set up a system of 36 commanderies with governors and other officials appointed by the capital. By doing so he did away with a fragmented country and established a central government. The Chinese philosopher, Confucius, lived not long before the Qin dynasty. Confucianism stresses social harmony, justice, and devotion to family ancestors. Change meant going against one’s ancestors. The First Emperor felt that the teachings of Confucius conflicted with his progressive programs and laws. He burned any writings that did not have to do with agriculture and what he considered necessary occupations. 16 Imperial capital Artist’s rendering by Hsien-Min Yang The First Emporer had one of each book retained in a library which was burned by his enemies after his death. Much of the teachings of Confucius had to be rewritten from the memory of his followers. The First Emperor was influenced by the Legalist writings of Han Feizi who wrote that people are selfish and rulers should reward their subjects for loyalty and severely punish disloyalty. The First Emperor established an absolute right of command. This meant that the ruler had complete power over the people who had no rights. This was exercised by establishing “responsibility groups”; households were organized into groups which were obligated to inform authorities if anyone failed to carry out their assigned duties or broke the law. People who turned in lawbreakers were rewarded; people who did not turn in lawbreakers were executed. This tradition of absolute power remained a principle of government in China to modern times. To carry out the First Emperor’s grand projects required huge numbers of laborers. Men who would have normally worked in the fields raising food were conscripted into the army for a year or more and then to work in the emperor’s service for another year. They were forced to work on the building projects such as the roads, canals, palaces, his tomb and the great wall. Thousands of people died carrying out his commands. Shortages of farmers led to food shortages which led to rebellions against the emperor. Embittered subjects from farmers to aristocrats and intellectuals hated him for his oppressions and heavy taxation. Several assassination attempts against him led the First Emperor to build secret passageways throughout his great palace. When going out in the evening, he went in disguise. And every night he slept in a different location. The First Emperor toured his conquered states to establish his legitimacy and impress his subjects, but also to find magicians who could promise him eternal life. Unfortunately one of their solutions contained mercury. It is believed he died from mercury poisoning while on one of his tours. When he died in 210 BCE, the peasants rebelled against Hu Hai, the emperor’s successor, who was a less powerful ruler. They destroyed the First Emperor’s great palaces and buildings, yet the tombs survived. Out of the chaos emerged the Han dynasty. A sunflower surrounded by clouds is featured on the roof tile that once decorated the First Emporer’s palace. The tile was excavated in 1995 when a road-widening project next to the tomb revealed the palace. 17 Details of warriors and horses found in the tomb Daily Life in Ancient China Details of warriors and horses found in the tomb I n ancient China there were two classes of people, the upper class and the lower class, and a hierarchy existed within each. The upper class consisted of the emperor and his family, government officials, scholars who were not rich but were respected for their knowledge, and the land-owning gentry who had land they could rent to others. Those in the upper class lived in wooden houses with a tiled roof. The emperor was the wealthiest of the upper class, and the rich ate well and wore silk. The skill of making silk was a secret kept by the Chinese for centuries. Both men and women wore robes with sashes and wealthy women wore silk slippers. The lower class consisted of soldiers, merchants, and peasants. Although generals were respected, soldiers were in the lower class because they were sent to fight and die. Merchants were looked down on because they sold things others had made. The peasants usually worked the gentry’s land and remained in poverty due to high taxes. The lower class lived in houses made of mud and straw. Few of the poor could read or write. They did not own their own land, and some families were so poor they sold their daughters to the rich as servants. Farmers did not keep the majority of their crops; the crops were used to feed others. The men wore baggy pants and a cotton shirt. All shoes were made of straw. The poor people’s diet included wheat noodles, rice, steamed bread or bean curd. Meat was rare. Workers performed most jobs by hand, spending long hours doing manual labor. The First Emperor forced his subjects into occupations which he chose. He felt the only productive occupations were agriculture and the military. A few individuals were needed as bureaucrats to carry out the management of these people. He felt that all other occupations such as merchants and intellectuals had no value in society. Qin did not believe in education for the common man because it would take time away from farming. If workers were too slow or tried to do something different, they were put to work on the great wall. 19 Traditional Values Workers use tools to uncover shards F amily was very important to the Chinese. If a family could afford it, as many as 100 relatives would live in one household. Most common people could not afford to live this way, but common households included grandparents. Sons were considered to be more valuable than daughters because they could carry on the family name. Men were expected to work and women were expected to keep house and raise children. Children were expected to obey their parents, and it was not against the law to kill a child who disobeyed. Most marriages were arranged when children were born, and often the bride and groom did not meet until their wedding day. Modern Way of Life A lthough the Qin dynasty lasted only 15 years, the influence of the First Emperor has continued to this day. When Mao Zedong brought communism to China and created the People’s Republic of China in 1949, he praised the First Emperor for his foresight and ability to carry out programs that benefited the people of China. Time has softened the view of his cruelty, and his determination continues to be admired by the people of China. Because of Western influences, modern China has changed. The people dress like westerners and modern high rises and apartments can be seen everywhere. Both males and females work outside the home. Families live in smaller groups, generally adding grandparents who watch after the home and children who are not yet attending school. Children are still expected to be respectful, to obey and to uphold family honor. Marriage is more likely decided by the couple, but they include their parents in the decision. Rural families tend to hang on to traditional values, still living in mud and straw houses, still valuing a male child over a female, and continuing to arrange marriages. 20 An archer lies in partly excavated section of Pit 2 Student and Class Activities Terra Cotta Warriors: Guardians of China’s First Emperor 1. Practice the pronunciation of the Chinese name for the First Emperor: Qin Shihuangdi sounds like: Chin Shhr Hwong Dee Practice writing Qin Shihuangdi’s name in Chinese: 2. Class Discussion on Ancient K(now) W(ant to Know) L(earned) China Create a class KWL chart about ancient China. On a KWL chart, students write in the first column what they already Know about a topic. In the middle column students write what they Want to know about a topic. In the last column, after exposure to a topic, they write what they Learned. What they learned can line up to answer what they want to know or not. 22 As students discuss their KWL, write a list on the board of the topics or categories they bring up such as technology, wildlife, resources, music, architecture, food, military, occupations, art, government power, etc. For example if a student says, “pandas come from China,” write the word, wildlife. Tell the students that they will see pictures and artifacts at the Terra Cotta Warriors: Guardians of China’s First Emperor exhibition relating to all these topics. Discuss the meaning of the words you used. When needed, show a picture to illustrate. Create a chart such as the one to the right and fill in the topics you want the students to look for in the exhibit. Tell them they will write the name of the artifact and what it tells us about life during the time of the First Emperor. Have the students share their observations about life in ancient China using the information they collected on their charts. Discuss what they could NOT tell from the objects in the exhibit. Have them write a story about one of the people in the list below: Emperor Palace cook Laborer Warrior Official Musician Palace guard Peasant farmer Topics Artifact Information 3. Class Film Screenings Mulan. Takes place in the time period following the Qin dynasty. (Walt Disney Studios, 1998.) Technology Wildlife Hero. (Directed by Zhang Yimou, Beijing New Picture Film Company Edko Films/Elite Films, 2002.) The First Emperor: The Man Who Made China (documentary). (Directed by Nic Young, Discovery Communications/ Lion Television, 2006.) The Emperor and the Assassin. (Directed by Chen Kaige, Beijing Film Studio/Canal Plus/China Film Co-Production Corporation/NDF International/ New Wave Company/ Prizel/ ShinCine, 1999.) Resources Music Architecture Food Military Occupations Art Government Power Other: 23 4. Comparing Ancient China, Modern China and Life as a Chinese American The students can read and compare three books about life in ancient China, life in China today, and life as a Chinese American. This can be a class or individual activity. Students may use this activity to practice their reading aloud skills. As they read, ask the students to look for comparisons such as: 1. What conclusions did the author reach about life for each time and place? 2. How are the lives of the characters in the stories alike or different? 3. How are the lives of the characters in the stories alike or different from your own? 4. What questions would you like to ask a character? 5. What do you think a character would find strange about your life? 6. Create a postcard a character might send you. What would be on the front of the card? What would the message be? Create a postcard you might send the character. 7. Create a chart comparing the lives of a character from ancient China, a character from modern China, a Chinese American, and yourself. Book and Character Responsibilities 5. Observation Skills The TCW exhibit is a great place for students to practice their skill of observation. After their visit, students may write about what they observed. It is helpful to gather words while at the exhibition that they can use in their writings. Before coming to the exhibit, they will make a class list of things to look for such as qualities, properties, values, and descriptive words. To prepare, place the students in small groups. Give each group two objects that are similar such as two different dolls, different objects, or different pictures. Tell the class that they are to see which group can find the Family life most features or descriptive words to compare about the two objects. They must work quietly so that other groups do not steal their ideas. After about five minutes, find which group has the most items to compare by asking one group to read its list, and the other groups mark off anything they name that is on their list. Then the next group tells the class the items on their list that were not already named by the first group. There will be class discussion generated about what items are the same or too similar to rename. Continue this through all the groups. Determine which group had the most items to compare. If one Education Leisure Time group has many more properties to compare, discuss how they created their list. If many properties to compare are left out by all the groups, prompt the class to add more by saying such things as: How do they feel? Are they pretty? How valuable are they? What are they used for? If time allows, blindfold one student and see if he/she comes up with any other ideas by touching the objects. As they are sharing their lists, create a class list on the board or overhead projector. Remember to look for color, shape, texture, size, patterns, to use all of their senses, and to use words describing emotions. Comments The day of the trip to see the exhibt, remind the students of these things to observe, so that they see more details. Remind them to use all of their senses. 6. Writing Activity During your tour of the exhibition, chose one aspect of the exhibit that you enjoyed the most. After your visit to the museum, write a persuasive letter to a friend to convince him/ her to come see Terra Cotta Warriors: Guardians of China’s First Emperor. Remember to use your observation techniques to generate descriptive language in order to make your letter more convincing. 24 Detail of warrior, framed by warriors in foreground Your letter should contain the following parts: 1. An introduction that engages the reader and states the purpose of the letter. 2. Facts that back up your opinion. Use descriptive adjectives and action words that will help the reader “see” the exhibit. 3. A conclusion which summarizes your purpose and details. 7. World Communities Before coming to see Terra Cotta Warriors: Guardians of China’s First Emperor, brainstorm and discuss human needs (food, water, shelter, safety, etc.) with the class. Relate these needs to jobs in your community, such as a grocery store and restaurant provide food. Discuss why people have jobs. Discuss a variety of jobs and how they meet the community’s needs. Discuss what students will see on the ride to the museum. Remind the students that they will see some landforms (rivers, fields, hills, etc.), and some things that are man-made (buildings, bridges, trucks, farms, etc.) On the trip to the museum, the students will observe their community and find ways the community helps people meet their needs. The teacher can use clip art to create an activity where the students mark pictures they see of community resources along the way. At the exhibit, have the students look for examples of ways that community needs were met in ancient China. For example, when they see the chariots, they may observe that horses and chariots were used for transportation. A chart may be created ahead of time with community needs listed. The students can fill in the chart in the exhibit of objects they see and how they meet those needs. Students may also draw pictures of objects if preferred. After their visit to the exhibit, discuss with the students how the needs of a community were the same during the time of ancient China. Compare how these needs are met today. 8. Natural Resources Since the terra cotta warriors were created 2,200 years ago, most of the materials used at that time have disintegrated. Only very strong artifacts made of such materials as stone, clay, and metal have survived. We do not have clothing or items made of wood or plants, because they break down chemically and disappear. Many natural resources do still remain. From those we can infer what other materials were used at that time. For example, in the terra cotta warrior pits, we think that wood beams were placed above the rows of warriors because of the indentations in the clay walls left by the wood. What are natural resources? They are materials that are made by nature. They are not man-made. Some examples are plants, minerals, water, petroleum, and rocks. The products that people create depend on the natural resources available in the area. As a homework assignment, have the students make a list of the materials used to construct their houses. Discuss the lists before coming to the exhibit. Which resources do they expect to find used in ancient China? Which do they NOT expect to find? Why? At the exhibit, students will see many materials used at the time of the Qin Dynasty. They will see a model of the First Emperor’s palace. Have the students look for natural resources and observe how they are used. After the visit to the exhibit, they will discuss natural resources. The following terms are used to describe artifacts in the exhibit. Some of them are defined in the Glossary: inlaid, inscribed, relic, height, circumference, diameter, length, width, thickness, cast in relief, excavated, inscription, edict, 25 decree, plaque, scale weight, mold, ceremonial, percussion, gilding, dagger, mechanism, helmet, armor, fragment, torso, archaeology, site, pigment, archer, civilian, infantry, acrobat, official, general The following materials are represented in the exhibit. Tell the students to look for artifacts made from each resource and list it next to each. bronze clay – terra cotta jade wood limestone iron stone The following weapons are found in the exhibit: spear, lance, sword, arrow, crossbow, halberd, dagger, axe Natural Resources Post Activity: After their visit to the exhibit, refer to the list of artifacts filled in at the exhibit on their list of resources. Discuss the resources and their uses. Discuss how these same objects are made today. Discuss the use of plastic to make many products. What are plastics made of? Research the history of jade. See bibliography. 9. Chinese Calligraphy While at the Terra Cotta Warriors: Guardians of China’s First Emperor exhibit, students may observe and practice Chinese calligraphy. Discuss with the students that Chinese characters are very different from the phonetic English language. Each Chinese character represents a syllable and also has a meaning. Chinese characters are made with brush strokes and look like drawings. See sample below. The symbols originally were pictures of people, animals, and other things but over the centuries these are no longer recognizable. Although there are about 80,000 characters, only about 3,500 are commonly used. Each character takes the same amount of space no matter how complicated it is. There are no spaces between the characters so the reader has to figure out which syllables go together. http://www.omniglot.com/writing/ chinese_evolution.htm 10. What is Art? Class Discussion: What is art? “Art” is a very difficult word to define, and everyone can have their own opinion of what they think it means. Does art have more to do with the actual item, the intention of its creation, or the ability of the creator? Try to come to a class consensus of what is art. Then create a class consensus of how the art in the exhibit can be critiqued. The exhibit presents a good opportunity to think about the differences between art and something that is just utilitarian. During their visit to the museum, ask the students to think about their definition of art and whether the artifacts are art or not. Since the warriors were created for something rather than an aesthetic purpose, are they art? Note the beauty of the warriors and their design. After the class visits the exhibition, show the class their answers to “What is Art?” and ask if they still feel the same way they did before the visit. Have their opinions changed? How is the culture of ancient China represented in the artifacts found in the pits and tomb? Have the students imagine that they are creating a set of items they wish to accompany them in the afterlife. List the items and tell why. If their items were found 2,000 years from now, would people consider their artifacts art? The exhibit reflects art at the time of the Qin Dynasty. Show the students several samples of modern art. (A pre-activity can be for students to bring a picture from home of a piece of modern art to be used in this discussion, or the art teacher can be involved in the selection of artwork.) Just as the terra cotta warriors told us much about life during the time of the Qin Dynasty, what does modern art tell us about life today? The warriors were created to “protect” the First Emperor throughout eternity. Give each student a ball of clay. Have them create their own personal protector. Write and discuss their choice of protector. Is it an animal? A specific person? Do they consider their statue a work of art? Why or why not? As an extension, students may research and share the definition of art with the class. They will find many definitions. Encourage them to choose their favorite and tell why. 11. Chinese Symbolism The Chinese use various animal-like symbols in much of their art and decorations. These symbols represent virtues and wishes of good fortune. For instance, a dragon is an example of a symbol believed to ward off evil spirits and lightening. Cranes symbolize longevity, a long life. Much symbolism was used in artwork in ancient China as well as today. Before coming to the exhibit, have the students research Chinese symbolism and then look for these symbols in the exhibit. At the exhibit the students will see examples of decorated roof tiles with Chinese symbols. The Chinese believed that the roof of a building was a landing platform where spirits connected with the human world. The roof slanted upwards in order to send evil spirits back to heaven. Roof decorations were utilized to help communicate with the spirits in order to attract good fortune, blessings and protection. Activity: Have the students research Chinese symbolism and create a drawing or clay model of their own roof tile to use to protect their own home. 12. Preserving Artifacts Class discussion: While at the museum, the students were asked 26 to consider how artifacts could deteriorate. Ask the students to list some items in their home that came from their grandparents. How are these items treated? (Hopefully with respect so they do not get damaged.) Discuss why families want to preserve their heritage. Have students list some items they own that they hope to some day show to their grandchildren. What will they do to be sure these items are kept safe? Discuss with the class why artifacts should be conserved. Artifacts in a museum are conserved for the “world family.” They tell about our collective past. Some techniques to preserve museum artifacts include: • Handle the objects very carefully • Keep the artifacts clean by removing dust, dirt, mold and other harmful matter that may contribute to deterioration • Do not use harmful chemicals on or near the artifacts • Keep artifacts in a display case which reduces the amount of dust etc. that can come into contact with the artifacts • Keep the light low since some forms of light cause damage • Do not allow pictures to be taken with flash cameras • Photocopy documents • Keep the temperature cool • Look at the artifact regularly to check for signs the artifact is deteriorating so it can be stopped or slowed down. Signs of deterioration are fading colors, parts loose or missing, and insect infestation After visiting Terra Cotta Warriors: Guardians of China’s First Emperor, discuss which items seem to be better preserved than others (such as items made from rocks and more sturdy resources). 13. Legalism vs. Confucianism Although his systems, standardizing writing and weights and measures, proved quite beneficial in unifying his new empire, standardization was disastrous for philosophical ideas. The First Emperor outlawed all schools of thought other than the officially sanctioned Legalism. This philosophy assumes that people are selfish and anti-social, and that the state is always more important than the individual. People must be harshly punished or rewarded to behave correctly in a way that would benefit the state and its ruler. This was a departure from the most popular school of thought at the time, Confucianism, which states that the strength of a government ultimately is based on the support of the people and virtuous conduct of the ruler. It emphasizes human goodness and social nature, as well as the right to rebel against those who stand in its way, such as unjust rulers. The following points can be covered on a chart, in a comparative essay, or in a class discussion: • What are the core ideas of each philosophy? • What are the major points of difference in each? • Are there any similarities between the two? • Find at least one Chinese dynasty or ruler that employed each school of thought. How were they beneficial/detrimental to their respective societies? 14. Map Activity Use an outline map of China to identify the following geographical features and locations: Cities • Xi’an The Museum of the Terra Cotta Warriors and Horses is about 36 kilometers (22 miles) east of Xi’an. • Beijing • Tianjin • Nanjing • Shanghai • Guangzhou • Chongqing • Hong Kong Rivers • Yellow River • Yangtze River • Pearl River Bordering Countries • Afghanistan • Bhutan • Burma • India • Kazakhstan • North Korea • Kyrgyzstan • Laos • Mongolia • Nepal • Pakistan • Russia • Tajikistan • Vietnam Bodies of Water • East China Sea • Korea Bay • Yellow Sea • South China Sea • Pacific Ocean • Philippine Sea Provinces • Anhui • Fujian • Gansu • Guangdong • Guizhou • Hainan • Hebei • Heilongjiang • Henan • Hubei Locate the Three Gorges in this province. It is southeast of Xi’an. • Hunan • Jiangsu • Jiangxi • Jilin • Liaoning • Qinghai • Shaanxi • Shandong • Shanxi • Sichuan • Yunnan • Zhejiang 15. Great Wall There is much visible evidence of the influence of the First Emperor on the history of China. Besides the terra cotta warriors, one can visit the Great Wall, one of the largest man-made structures of all time. Parts of the wall were initially begun before the time of the Qin dynasty in order to keep out invading nomads from the north. Even though the emperor did not start the building of these walls, he contributed a great deal by unifying and expanding them. The First Emperor conscripted labor for the job of expanding the wall and many of these laborers died while working on the project. It is rumored that these bodies were buried in the 27 Bell used to sound retreat for troops wall; this is why it is called the longest cemetery in the world. During the First Emperor’s time, the walls were reinforced with earth, wood, and stone. Later during the Ming Dynasty (1368-1644 CE), the use of bricks, tile, and limestone made the building of the wall move at a faster pace. Although the Great Wall has been a UNESCO World Heritage Site since 1987, much of it is in disrepair. In some areas, nearby villagers have taken parts of the brick wall to build their homes, while in other areas the wall is crumbling and is not safe for touring. In Beijing the most well-preserved parts of the wall are visited by about four million visitors each year. The Great Wall today is more than 4,000 miles long. Activities: Individually, or in groups, research different areas of the Great Wall listed below: • Great Wall in Liaoning • Great Wall in Hebei • Great Wall in Beijing • Great Wall in Tianjin • Great Wall in Shanxi • Great Wall in Inner Mongolia • Great Wall in Ningxia • Great Wall in Shaanxi • Great Wall in Gansu Create a visual aide and give a presentation summarizing your section of the wall. Include information such as: • Where your portion is located • When it was built • What materials were used • A brief history of the dynasty responsible for that section Conduct research on the Great Wall and write a persuasive essay arguing whether the Great Wall should be preserved or whether it is not worth saving. Use the website listed in the Resource Guide. 16. Math/Geography Activity If the Great Wall were moved from China to North America, how far would it reach? On a map of North America, show the distance of 4,000 miles. It does not have to go in a straight line. The wall could go from ________(name a city) to __________(name a city). You may list many cities along the route. Research the border between the U.S. and Mexico. Compare its use, composition, and problems to that of the Great Wall of China. 17. Entertainment The First Emperor wanted to be sure he was protected in the afterlife which is why he created his terra cotta warriors. He also wanted to be entertained. Based on recent archaeological discoveries of acrobats and strongmen, we believe that the emperor was entertained by a circus, as well as musicians, and water birds. We already knew about his ability to conquer and protect, now we are beginning to learn that there is more to him than warfare. Archaeologists who discovered the 11 acrobats and strongmen claim that these performers appear to look like those in the modern day Shanghai Circus. Historians had believed that the idea for acrobatics did not evolve until the Han dynasty, however this new discovery disproves that theory. Acrobatics have a long and rich history in ancient China. It is even said that Confucius’s father was a strongman. When the First Emperor was not being entertained by his circus performers, he enjoyed the music of a string orchestra. When these musicians played, the water birds would dance around a stream. The emperor had 15 terra cotta musicians and 46 bronze water birds placed in his tomb. During the Qin Dynasty, the Imperial Music Bureau was founded. The bureau was responsible for supervising court and military music. The Music Bureau decided which folk music would be officially recognized. This was a very important task because the First Emperor believed that this music would keep harmony and longevity within his state. The placement of the string orchestra in the First Emperor’s tomb emphasizes the importance of music. Activities: Class discussion: List the types of circuses the students have seen. Visit the three websites below, and create a chart listing items the students might see in the Shanghai Circus, Ringling Brothers and Barnum Bailey Circus, and Cirque Du Soleil. How are these circuses different? How are they the same? Observe that this form of entertainment has remained similar for over 2,000 years. http://acrobatsofchina.com/en/ history.htm http://www.ringling.com/ http://www.cirquedusoleil.com/ 28 cirquedusoleil/default.htm Music Conduct a class discussion or write an essay to express individual ideas about music: • Do you feel that music is an important part of daily life? • What would our lives be like today if we did not have music? • Would you be upset if you were forced to listen to only one kind of music which a Music Bureau chose? • Why do you think the First Emperor wanted to control what music was officially recognized by the palace? • Do you think officially recognizing one type of music would limit different styles of music? Why? 18. Responsible Research Class Discussion: The First Emperor’s tombs have contributed invaluable information about how the Chinese people lived long ago. The artifacts tell us much about their culture such as their work, beliefs, entertainment and daily lives. Yet the First Emperor did not allow people to create artwork, so there are not pictures of him that we can use to tell what he looked like. People were not allowed to write about his life or his activities. He did not allow common people to learn to read and write. Why do you think these informative activities were not allowed? How did this enforce his desire to control his subjects? About 100 years after the First Emperor died, a man named Sima Qian wrote a history book called Shi Ji, also called the Records of the Grand Historian of China. Sima Qian was a palace official at the court of Han. His writing about the First Emperor is very negative, which is a sign that he may have been writing to serve another purpose than preserving history. The Han Dynasty took control of China away from the Qin Dynasty so the book may have been written in order to assert their right to rule. It is also possible that some of what was written about the First Emperor was secretly written to criticize the Han Dynasty and Emperor Wudi. Many books and articles are written as if they are true, but in reality they are devised to serve another purpose rather than being informative. With the availability of the internet and its valuable research use, it is imperative that students learn how to evaluate all that they see, hear, and read. Studying the First Emperor presents an opportunity to discuss the importance of education and how and why information is presented. Conduct Internet Evaluation activities as the students use the internet to do research. Evaluation activities can be found on the internet. 19. Math Activities Pit I is estimated to contain 7,000 warriors known as the Right Army. The pit is five meters deep. It measures 230 meters east to west and 62 meters north to south. Convert meters to yards. Compare the size of the pit to a football field. Draw a scale model of the pit and a football field side by side. Decide what scale to use and how much detail you want to show. For example, the pit is divided into nine columns going east to west. How is a football field divided? You could also show how the warriors in the pit are arranged and how the players might be arranged on the football field. In creating the warriors, foremen supervised teams of subordinates. So far the names of 87 foremen have been found. It is assumed that about a dozen workers served under one foreman. How many people does this show worked on the warriors? Work on the army pits went on for at least 12 years. Seven thousand warriors were produced. How many warriors could each team (foreman and subordinates) produce in one year? Below is a timeline marked in one hundred year increments. More information can be added if it is created vertically or using the landscape layout. Directions: Use the timeline below and fill in the information listed. • Mark 300 BCE at the left end of the time line • Mark 2100 at the right end of the line • Find the point that would be 0 and mark it. Discuss the meaning of this point. What does it indicate? • The First Emperor, Qin Shi Huang, was born in 259 BCE. Mark this date. • Mark today’s date. (What year is it?) • If a generation is considered to be thirty years, how many generations have lived since Qin Shi Huang’s birth? • You may mark events in China on the top of the time line and worldwide events on the bottom of the timeline. You may include events that are important to you such as your own birth. • What observations can you make by creating this timeline? For example, was Columbus’s trip to the Americas closer to the time of Qin dynasty or to today? 29 Pronunciation Guide To Chinese Sounds C hinese names and places are Romanized (written in the Roman alphabet) according to the pinyin system, the standard form used throughout China to write Chinese in English. (Please note that Taiwan still uses the older Wade-Giles system.) Consonants Q Qi chee Qin dynasty Chin dynasty Qing dynasty Ching dynasty X Xi’an Shee-an Z Zeng Dzung How are you? Ni hao ma? (Nee haow ma?) I like you Wo xihuan ni (Wo shee-hwang nee) Jo Jang Vowels a e i ian ou u ua ui Hello! Ni hao! (Nee haow) I am (insert your name) Wo shi . . . (for girls) Wo shir . . . (for boys) C ts Q ch X sh Z dz Zh j C Cong tsong Cizhou Tsi-jo ZH Zhou Zhang Speak Chinese a, as in Alice u, as in sung ir, after certain consonants (shi, chi, zi, zhi) Ee, after others (di, zi, bi) yen o, as in toe oo wa way She/He is Chinese Ta shi Zhongguoren (Ta shir Jong-gwo-rin) I am not Chinese Wo bu shi Zhongguoren (Wo boo shir Jong-gwo-rin) I am American Wo shi Meiguoren (Wo shir May-gwo-rin) I want to go to China Wo yao qu Zhongguo (Wo yaow choo Jong-gwo) I like Chinese art Wo xihuan Zhongguo meishu (Wo shee-hwang jong-gwo may-shoo) 30 Glossary Bi – a disc form usually made of jade, from the Neolithic period onwards as a ritual object used in burials. The significance of the form is not entirely clear, though its round form may symbolize heaven. Buddhism – a religion based on the teachings of the Buddha, the “Enlightened One,” who lived in northern India in the 6th century BC. He taught that suffering is caused by attachment or clinging, and advocated living a life of moderation, non-attachment and compassion. Calligraphy – literally, “beautiful writing,” one of the most respected art forms in China. Chinese characters are written with a brush and ink on paper or silk in a number of different styles. Celadon – a high-firing, greenish glaze that derives its color from tiny quantities of iron oxide that turn the glaze green in an oxygen-starved kiln atmosphere. Confucianism – a philosophy based on the teachings of Confucius, who lived in China in the 6th century BC. He taught the importance of relationships, particularly between ruler and subject and parent and child, and the need for benevolence on the part of the ruler and parent, and respect on the part of the subject and child. Cong – a cylinder with a square cross-section made of jade and used in burials. The significance of the form is not entirely clear, though its form may represent heaven (round) and earth (square). Daoism (pronounced Dow-ism, also spelled Taoism) – an ancient Chinese philosophy based on the concept of the Dao, or “Way,” a force that animates the universe and inhabits all things. The philosopher Laozi, who lived in the 6th century BCE, is believed to have written the Daode jing, a text which taught the importance of living in harmony with the Dao. Ding – ancient tripod vessel used in burials to contain wine for the deceased. Divination – the art of predicting future events using supernatural powers. Dynasty – a succession of rulers who belong to the same family and rule over generations. Earthenware – a low firing clay (up to 1,000°C) resulting in porous, less durable ceramics such as roof tiles, flower pots, etc. Usually unglazed. Glaze – a glassy coating added to ceramics for protection and decoration. Han Chinese – an ethnic group originating in China and constituting 92% of the population of China, a total of about 1.3 billion people. Huaniao – literally, “bird and flower,” traditional Chinese paintings of birds, flowers, insects and other details of nature. Jingdezhen – a city in Jiangxi province in southern China that has produced the bulk of China’s porcelain since the 11th century AD. Lacquer – a coating made from the sap of the lacquer tree (Rhus verniciflua), which is applied to objects to make them resistant to water, heat, acid and insects. It is often colored – for example, black, red and green – and decorated with painted, carved or inlaid designs. Manchus – a northern nomadic people from Manchuria, who conquered the Han Chinese and established the Qing dynasty in 1644. They considered themselves descendants of the Mongols. Mongols – a nomadic people who originated in the Central Asian plateau, north of the Gobi desert and south of Siberia, in what is now Mongolia, China and Russia. Under the leadership of Genghis Khan (c.1160–1227), the Mongols created the second largest empire in world history, extending from Manchuria in the east to Hundary in the west. They ruled China under the Yuan dynasty (12791368). Nomadic – a lifestyle that involves moving from place to place, usually according to the seasons, in search of food and water for oneself and one’s herds of animals. Neolithic Period – literally, “New Stone Age,” the period of transition from a nomadic, hunting existence to a more settled, agricultural lifestyle. Oracle Bones – Animal bones and shells used in divination. Questions were written on them in China’s earliest form of writing and heat was applied to create cracks which were believed to provide answers to the questions. Pictograph – literally “writing with pictures,” ancient script made up of pictures that evolved into a written language. Porcelain – a high-firing clay (c.1300°C) resulting in a pure white, translucent, ringing, nonporous, highly durable ceramic, usually glazed and decorated with 31 under- and over-glaze designs. Sancai – literally, “three-color,” – a type of decoration seen first on Tang dynasty burial ceramics, usually made up of green glaze (from copper), a yellowish glaze (from iron) and the white of the clay beneath a transparent glaze. Silk Road – a network of trade routes that extended from China through Central Asia and the Near East all the way to Rome from the 1st to 12th century AD. Shansui – literally, “mountain and water,” traditional landscape paintings. Stoneware – a medium-firing clay (1,000-1250°c), resulting in nonporous, fairly durable ceramics which are usually glazed. Taotie Mask – a monster face found on early bronzes, jades and other burial objects, probably with a protective function. Wenren – literally, “person of literature,” a scholarly gentleman who has mastered the arts of poetry, painting, calligraphy and music. Zhong – an ancient bronze bell with flat sides that are struck with a hammer, usually played in sets. Books for Teachers and Books and Magazines for Children Teachers Chase, W. Thomas, Ancient Chinese Bronze Art: Casting the Precious Sacral Vessel, New York: China Institute of America, 1991. Clunas, Art in China (Oxford History of Art Series), Oxford/New York: Oxford University Press, 1997. This is a good paperback introduction to Chinese art and culture. Hutt, Julia, Understanding Far Eastern Art, Oxford: Phaidon, 1987. Though out of print, this can still be found at used book stores and websites. It gives good, clear explanations of the arts of silk, porcelain, jade, lacquer and painting in East Asia. Los Angeles County Museum of Art, The Quest for Eternity: Chinese Ceramic Sculptures from the People’s Republic of China, Los Angeles/San Francisco: Los Angeles County Museum/Chronicle Books, 1987. A good introduction to ancient Chinese burials and burial ceramics. Children McArthur, Meher, Asian Art: Materials, Techniques, Styles, London: Thames & Hudson, 2005. This book is divided into ten chapters introducing ten different Asian art materials – jade, silk, porcelain, lacquer, ivory, bamboo, paper, gold, wood and stone. Rawson, Jessica (ed.), The British Museum Book of Chinese Art, London: The Trustees of the British Museum, 1992. This volume is particularly helpful on jades, bronzes and ceramics, with very useful chronologies, glossaries and other appendices. So, Jenny F., ed., Music in the Age of Confucius, Washington D.C.: Smithsonian Institution, 2000. Waley, Arthur, trans., The Analects of Confucius, New York: Vintage Books, 1989. Bramwell, Neil D., Ancient China, Berkeley Heights, New Jersey: MyRoprtLinks.com Books, 2004. A Coloring Book of Ancient China, Santa Barbara, CA: Bellerophon Books, 1985. This coloring book includes line drawings of emperors, empresses, bronze animals and handscrolls. “China’s First Emperor: ShiHuangdi.” Calliope, A Cobblestone Publication (October 1997). This issue focuses on the first Chinese emperor, from his birth to his rise to power. Fang, Marisa Lin, and Jung, Helen Ma, Far East Chinese Culture for Children, Far East Children’s Books, 2004. “The Han Dynasty.” Calliope, A Cobblestone Publication (October 1998). This issue explores the Han dynasty, including the arts, technology and creative minds of the period. Shuter, Jane, Ancient China, Chicago: Heinemann Library, 2006. Tracy, Kathleen, The Life and Times of Confucius, Mitchell Lane Publishers. 2005. 32 Films, Videos, DVDs and CDs Feature Films Educational Videos/DVDs Musical CDs The Emperor and the Assassin by Chen Kaige (1998) This film is about the attempted assassination of the First Emperor of China, Qin Shi Huang. This film is not only worth seeing for the story but also the sets and costumes which recreate China during the late Warring States period and Qin dynasty. Ancient China (1985, video, 50 minutes) This video traces Chinese history and explores the roots of Chinese culture, including topics such as ancestor worship, Buddhism, Daoism and the Great Wall. (Available to rent or purchase through UCLA Center for East Asian Studies 310.825.0007 or www.international.ucla.edu/asia). Ancient Civilizations for Children China (video, 23 minutes) Designed for children 3rd-7th grade level, this video examines the Shang and Zhou dynasties and the reign of the First Emperor. It looks at Chinese innovations such as silk, calligraphy and the yo-yo, and the history of the Silk Road. It comes with a teacher’s guide pamphlet. (Available for purchase from Crizmac Art and Cultural Educational Materials, Tuscon, AZ, 800.913.8555, www. crizmac.com. The Imperial Bells of China (Fortuna Records, 1990) This CD features music by nine contemporary Chinese composers based on ancient Chinese bell music, played on replicas of fifth-century BC bronze bells and recorded by the Hubei Song and Dance Ensemble at the Cathedral of St. John the Divine in New York. Symphony 1997: Heaven Earth Mankind (Sony Classics). This CD features music composed by Chinese Academy-Award winning composer Tan Dun and recorded using replicas of ancient Chinese bronze bells to commemorate the reunification of Hong Kong with China. Hero by Zhang Yimou (2002) Also about assassination attempts on the First Emperor, this visually stunning and thought-provoking film asks questions about the price of peace and national unification. Throughout Chinese history, much blood is shed as states battle for supremacy – then one state is victorious and declares a new dynasty. The Last Emperor by Bernardo Bertolucci (1987) This rich film depicts the life of Pu Yi, the last emperor of the Qing Dynasty. Declaration issued by emperor’s successor announcing he will continue the policies established by Qin Shi Huang Mulan by Tony Bancroft and Barry Cook (1998) To save her father from death in the army, a Chinese maiden secretly goes in his place and becomes one of China’s greatest heroes in the process. This animated film set in ancient China contains important Chinese Confucian themes such as filial duty and honoring the ancestors. 33 Museums and Educational Resources National Museums, Educational Resources and Useful Websites Asian Art Museum 200 Larkin Street San Francisco, CA 94102 Tel. 415.581.3500 www.asianart.org Pacific Asia Museum 46 North Los Robles Avenue Pasadena, CA 91101 Tel. 626.449.2742 www.pacificasiamuseum.org Asia for Educators East Asian Curriculum Project/ Project on Asia in the Core Curriculum afe.easia.columbia.edu Asia Society Education Department 725 Park Avenue New York, NY 10021 Tel: 212.327.9227 www.asiasociety.org/education/ China Institute 125 East 65th Street New York, NY 10021 Tel: 212.744.8181 www.chinainstitute.org China Historical Geographic Information System (CHGIS) Harvard Yenching Institute www.fas.harvard.edu/~chgis Metropolitan Museum of Art China: Dawn of a Golden Age educational website www.metmuseum.org/special/China/ index.asp The Freer-Sackler Galleries of Asian Art, Smithsonian Institution http://www.asia.si.edu/collections/ chineseHome.htm 34