7.2 Funerary Art: Tomb Architecture and Burial Objects
4 min read•july 30, 2024
funerary art was all about the . Tombs were built as underground palaces, filled with objects to keep the dead comfy. It's like they packed a suitcase for the ultimate trip, including mini servants, food, and even toiletries!
This shift from earlier dynasties shows how Han folks saw death. They believed life went on, just underground. The art got more realistic too, with detailed figurines and scenes from daily life painted on tomb walls. It's a snapshot of Han society, frozen in time.
Han Dynasty Tombs
Underground Complexes and Layouts
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Han dynasty - Wikipedia View original
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File:Dahuting tomb banquet scene with jugglers, Eastern Han Dynasty, mural.jpg - Wikimedia Commons View original
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- Han Dynasty tombs constructed as underground complexes featured multiple chambers and corridors
- Tomb layouts mirrored structures of palaces or houses reflected belief in continued existence after death
- Evolved from vertical pit tombs to horizontal chamber tombs allowed for more elaborate burial practices
- Incorporated defensive features (double gates, watchtowers, simulated city walls) protected deceased in afterlife
- Brick and stone construction replaced earlier wooden structures enabled more durable and complex designs
- Tomb ceilings featured intricate designs represented cosmological elements (stars, constellations, mythical creatures)
- Size and complexity varied greatly depending on social status of deceased
- Imperial tombs most elaborate and extensive
- Commoner tombs simpler in design and smaller in scale
Architectural Innovations and Materials
- Introduced use of vaulted ceilings increased structural stability and interior space
- Employed sophisticated drainage systems prevented water damage and preserved tomb contents
- Incorporated ventilation shafts improved air circulation within the tomb complex
- Utilized lime mortar strengthened brick and stone construction
- Implemented advanced engineering techniques (corbelled arches, load-bearing walls) enabled larger and more complex structures
- Introduced use of painted murals on tomb walls depicted scenes from daily life and mythological stories
- Incorporated architectural elements (pillars, brackets, roof tiles) mimicked above-ground structures
Burial Objects in Han Funerary Practices
Purpose and Symbolism of Mingqi
- (burial objects) served deceased in afterlife reflected Han belief in continued existence
- Types and quantities of burial objects corresponded to social status and rank of deceased
- Figurines representing servants, entertainers, and guards provided companionship and service in afterlife
- Ritual vessels and utensils symbolized continuation of ceremonies and daily activities
- Jade objects, particularly jade suits for elite burials, believed to have protective and preservative properties
- Models of buildings, granaries, and farmyards represented earthly possessions and ensured continued prosperity
- Cosmetic items, clothing, and personal ornaments maintained deceased's appearance and status in next world
Categories and Examples of Burial Objects
- Ceramic figurines depicted various professions and social roles (soldiers, musicians, acrobats)
- used for food and wine offerings (ding tripods, hu wine containers)
- Lacquerware items included food containers, cosmetic boxes, and writing implements
- Textile remnants preserved clothing styles and weaving techniques of the period
- Stone carvings featured tomb guardian figures (bixie, zhenmushou) warded off evil spirits
- Wooden models represented modes of transportation (chariots, boats) ensured mobility in afterlife
- Musical instruments (bronze bells, stone chimes) provided entertainment and ceremonial functions
Artistic Styles of Han Burial Objects
Materials and Techniques
- Glazed earthenware, particularly lead-glazed sancai (three-color) wares, created vibrant and durable objects
- Bronze casting techniques refined allowed for intricate vessels and figurines with detailed surface decorations
- Painted wooden figurines showcased advancements in pigment application captured lifelike details and expressions
- Lacquerware production reached new heights utilized complex techniques for lustrous, multi-layered designs
- Stone carving, particularly for tomb reliefs and steles, demonstrated sophisticated low and high
- Textile production and embroidery skills evident in remnants of silk garments and tapestries
- Jade carving techniques advanced created intricate designs and delicate forms
Stylistic Characteristics
- Blend of realism and stylization reflected shift towards more naturalistic representation
- Increased attention to individual facial features and expressions in figurines
- Development of narrative scenes in tomb murals and reliefs depicted historical events and myths
- Incorporation of calligraphy and inscriptions on burial objects added literary and documentary value
- Use of symbolic motifs (clouds, mountains, mythical creatures) conveyed cosmological concepts
- Emphasis on symmetry and balance in object design reflected Han aesthetic principles
- Integration of foreign influences (Hellenistic, Central Asian) resulted in new artistic styles and motifs
Han vs Earlier Dynasties Funerary Art
Thematic and Conceptual Shifts
- Han funerary art emphasized depicting daily life scenes and activities
- Earlier dynasties (Shang, Zhou) focused more on ritualistic themes
- Incorporated more Confucian and Daoist elements in tomb decorations and burial objects
- Earlier periods predominantly featured shamanistic themes
- Inclusion of texts (inscriptions, bamboo slips) became more prevalent reflected increased importance of literacy
- Greater emphasis on representing social hierarchy and bureaucratic structure in burial objects
- Earlier dynasties focused more on religious and ancestral worship
Technical and Material Advancements
- Han burial objects exhibited wider range of materials and techniques showcased technological advancements
- Terracotta figurines evolved from monumental Qin Dynasty terracotta army
- Han figurines smaller and more diverse in representation
- Expanded variety of objects represented all aspects of daily life
- Earlier dynasties primarily focused on bronze ritual vessels
- Introduced new pottery glazing techniques (lead glaze) enhanced durability and decorative possibilities
- Advanced metalworking methods allowed for more intricate and delicate bronze objects
- Developed sophisticated lacquer production techniques created more elaborate and durable designs
- Improved silk weaving and embroidery methods resulted in finer textiles and more complex patterns
Key Terms to Review (17)
Afterlife: Afterlife refers to the belief in a continuation of existence after physical death, which is a central theme in many cultures and religions. In the context of funerary art, it plays a vital role in shaping the design and purpose of tomb architecture and burial objects, as they are often intended to assist and guide the deceased in their journey into the afterlife. This belief influences not only the materials used but also the symbolic elements incorporated into burial practices.
Ancestor worship: Ancestor worship is a religious practice centered on honoring and revering deceased ancestors, believing they have a continued presence and influence in the lives of their descendants. This practice is deeply rooted in Chinese culture and intertwines with familial respect, rituals, and artistic expressions throughout history.
Bronze vessels: Bronze vessels are ancient artifacts primarily made from a copper-tin alloy, significant in Early Chinese art and culture, particularly during the Shang and Zhou dynasties. These vessels served various purposes, including ritualistic, ceremonial, and practical uses, reflecting the social hierarchy and spiritual beliefs of the time.
Burial mounds: Burial mounds are large earth or stone structures built as tombs to honor the dead, often associated with various cultural practices in ancient societies. They serve as significant archaeological markers that provide insights into the funerary customs, social hierarchies, and artistic expressions of the people who constructed them. The use of burial mounds reflects the beliefs surrounding death and the afterlife in early cultures, and they often contain grave goods and architectural elements that hold artistic value.
Cai yuanpei: Cai Yuanpei was a prominent Chinese educator, philosopher, and reformer during the early 20th century who played a crucial role in the modernization of education in China. His ideas emphasized the importance of liberal education and the need to integrate traditional Chinese culture with Western knowledge, which influenced many aspects of Chinese art and intellectual life, including funerary art practices.
Frescoes: Frescoes are a form of mural painting where water-based pigments are applied on freshly laid wet plaster, allowing the paint to bond with the wall as it dries. This technique has been significant in various artistic traditions, especially in the context of depicting scenes from daily life, mythology, or religious narratives in public and private spaces.
Han Dynasty: The Han Dynasty was a pivotal period in Chinese history that lasted from 206 BCE to 220 CE, marking a golden age of cultural, political, and economic development. It is significant for its contributions to the arts, literature, and advancements in technology, as well as the establishment of foundational elements of Chinese identity.
Immortality: Immortality refers to the idea of living forever or having an eternal existence beyond physical death. In the context of funerary art, this concept is closely tied to the belief systems that influence how cultures construct tombs and burial objects, aiming to provide the deceased with a secure passage to the afterlife and ensure their continued existence. Artifacts and architecture in tombs often serve as a means to represent and facilitate this journey, reflecting a deep-rooted cultural significance attached to life after death.
Jade burial suits: Jade burial suits are elaborate ceremonial garments made of jade pieces that were used to cover the bodies of elite individuals during burial in ancient China. These suits not only served as protective coverings but also reflected the importance of jade in Chinese culture, symbolizing immortality, purity, and the connection between the physical and spiritual worlds. Their intricate designs and the significance attributed to jade connect deeply with themes of ritual objects, funerary practices, and the underlying cultural and philosophical beliefs prevalent in ancient Chinese society.
Liu Sheng Tomb: The Liu Sheng Tomb, also known as the Tomb of the Liu Family, is a significant burial site from the Han dynasty located in the Hebei province of China. It represents a remarkable example of ancient funerary art, showcasing elaborate tomb architecture and intricate burial objects that reflect the beliefs and practices of the time regarding death and the afterlife.
Mausoleum of the First Qin Emperor: The Mausoleum of the First Qin Emperor is the grand burial site of Qin Shi Huang, the first emperor of China, located in Shaanxi province. This mausoleum is famous for its Terracotta Army, which consists of thousands of life-sized sculptures created to accompany the emperor in the afterlife. The significance of this site lies not only in its scale and artistic value but also in its reflection of ancient Chinese beliefs about death and the afterlife.
Mingqi: Mingqi refers to the ritualistic and symbolic burial objects that were placed in tombs during the Han Dynasty and other periods of Chinese history. These objects, which included figurines, pottery, and various items, were believed to serve the deceased in the afterlife, reflecting the cultural beliefs about death and the importance of maintaining connections with the spiritual realm.
Protection in the afterlife: Protection in the afterlife refers to the belief that deceased individuals require safeguarding and support as they transition into the next realm of existence. This concept is prevalent in various ancient cultures, emphasizing the importance of ensuring that the deceased have the necessary provisions and guardianship to thrive in their afterlife journey. In this context, funerary art, including tomb architecture and burial objects, serves a dual purpose: to honor the deceased and to provide spiritual protection against malevolent forces.
Relief sculpture: Relief sculpture is a three-dimensional artwork that is carved or modeled to project from a flat surface, creating a sense of depth and dimension. This art form can be classified as high relief, where the figures stand out significantly from the background, or low relief, where they barely protrude. Relief sculpture has been widely used in funerary art, often to decorate tombs and burial objects, providing not only aesthetic value but also conveying cultural beliefs and commemorating the deceased.
Shao yung: Shao yung refers to the practice of creating miniature representations or models, particularly in funerary contexts, to accompany the deceased in their afterlife. This tradition is significant in Chinese funerary art, as these miniature objects often include replicas of daily life items and are believed to serve the deceased's needs in the afterlife. The use of shao yung reflects the importance of ensuring comfort and continuity for the departed, showcasing the beliefs surrounding death and the afterlife in early Chinese culture.
Spiritual journey: A spiritual journey refers to the personal quest for understanding, meaning, and connection with the transcendent or divine. This concept often encompasses life experiences, introspection, and transformation, which are commonly represented in funerary art through architectural and burial elements that guide the deceased's transition to the afterlife.
Tomb architecture: Tomb architecture refers to the design and construction of burial structures that are intended to honor and protect the deceased in the afterlife. These structures are often elaborate and can include various features such as burial chambers, altars, and decorative elements, all reflecting the beliefs and customs surrounding death and the afterlife in early Chinese culture. Tomb architecture serves not only as a final resting place but also as a means to communicate status, wealth, and spiritual beliefs of the individual and their family.