Wilma Fairbank’s classic articles on Han murals and Shang bronzes evolved from her empirical investigations and are gathered here in a single, fully illustrated volume. A new Introduction describes her journeys through China, and the people and circumstances that fostered her continuing interest in Chinese art.

Standing guard around the tomb of Qin Shihuangdi, the ranks of a terracotta army bear silent witness to the vast power of the First Emperor of the Qin Dynasty, who unified China in 221 BCE. Six thousand warriors and horses make up the army, while chariots, a military guard, and a command post complete the host. A new look at one of the most spectacular finds in the annals of archaeology, this book also considers the historical and archaeological context of the Terracotta Army, as well as the extensive research and excavation carried out since its discovery in 1974.

In richly illustrated chapters, experts in the field describe the Qin's rise and military conquest, the empire's ideology and practices, and the emperor's achievements and legacy. The authors examine the site itself, including new discoveries such as terracotta bureaucrats, acrobats, and strongmen, life-size bronze birds, hundreds of suits of stone armor, and terracotta warriors with colored faces preserved with new technology.

From explorations of the massive mausoleum and the rituals that surrounded it, to explanations of the actual manufacture of the Terracotta Army, the book offers a detailed and authoritative tour of one of ancient history's most eloquent memorials, with all it says of China's long and coherent cultural past--and future potential.

In Classical China, crafted artifacts offered a material substrate for abstract thought as graphic paradigms for social relationships. Focusing on the fifth to second centuries B.C., Martin Powers explores how these paradigms continued to inform social thought long after the material substrate had been abandoned. In this detailed study, the author makes the claim that artifacts are never neutral: as a distinctive possession, each object—through the abstracting function of style—offers a material template for scales of value. Likewise, through style, pictorial forms can make claims about material “referents,” the things depicted. By manipulating these scales and their referents, artifacts can shape the way status, social role, or identity is understood and enforced. The result is a kind of “spatial epistemology” within which the identities of persons are constructed. Powers thereby posits a relationship between art and society that operates at a level deeper than iconography, attributes, or social institutions.

Historically, Pattern and Person traces the evolution of personhood in China from a condition of hereditary status to one of achieved social role and greater personal choice. This latter development, essential for bureaucratic organization and individual achievement, challenges the conventional opposition between “Western” individuals and “collective” Asians.

Tian, or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death.

Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven—as the mandate, the fantasy, and the sky—into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into. Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge.

By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.