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Art

Watchtower Model

The lead-glazed ceramic model of the watchtower is from the second century A.D. The height of the model is 90 cm with the basin having a diameter of 65 cm. These are measurements of the mother tower, which has a proportion of 1.13 to 1, whereas, for the child tower, the measurements proportion remains the same at 1.11 to 1 (119). From this, it is evident that building measurements vary depending on the grade with constant proportional measurements. The principle behind measurements was carried forth to the treatise of building standards (Yingzao fashi). In the Qin dynasty, Chinese used a considerable standardization of timber due to their building structures of grandiose.

Archaeological evidence and texts basis gives architecture historical evidence with their elaborate drawings that reconstruct imposing buildings that vanished long ago (119). However, the drawings are convincing because of their guise of exact plans of the architect. Nevertheless, discrepancies existed in some historical architecture and thus, the reconstructions are taken with a granule of salt. Even with reconstruction, striking relics of Han art include figures of bronze that are found in tombs. The transforms and wooden beams in watchtowers showed incisions made in the clay or either painted red (78). Precision is a tool that is enhanced among Chinese people because they uphold their traditions to the full.

The essence of these towers is a reflection of living conditions of people at the end of the Han dynasty. The figures are useful because they are a source of information with regard to the daily life, Han China economy, and beliefs (78). During this period, most of the people engaged in farming activities and the basic unit presenting political and economic power were land holdings. For that reason, they built towers at the four corners of their properties, which they believed gave them protection because archers and guards manned them from personal armies of wealthy landowners’. Additionally, the towers served as refuges during the war for families of landowners especially since the Eastern Han dynasty was a time of unrest.

In ancient Chinese history, this piece of artwork was made for Eastern Han – Dynasty burials. From my observation, the piece is well presented and observes all cultural and historical symbols representing the traditional way of giving respect to the dead. The Chinese people give the dead their due respect and honor their deeds through sculpture work, which is hand-sculptured by simple units thus, is affordable for all societal members. The tower has small roofs and sculpted tiles, which illustrates the basic elements present in Chinese architectural tradition. The features elaborated the common era of the first century where the Chinese people still favored their culture and tradition. In some regions, there are those who still follow their cultures and traditions to this day and era.

In 1969, a tableau was excavated at Jinan from a Western Han tomb and depicted the sort of entertainment with tumblers, music and dancers often presented on tomb walls and tomb shrines (78). In addition, at the time they elaborated the extent of China’s contacts in foreign lands. It should also be noted that the family did not place clay figures in their tombs. Art is a pride to the Chinese people, and they encourage each other with ideas and knowledge on how they can expand their territories to foreign lands where their culture will be appreciated.

Works Cited

The Qin and Han Dynasties.