Information of Terracotta Warriors and Horses in Qin Shihuang Mausoleum
(songkhla figurines; Images of soldiers and horses)
Terracotta warriors and horses are mostly made by combined farming. First, make the first tire with ceramic mold, and then cover it with a layer of fine mud for processing, carving and coloring. Some are fired first, others are fired first, with uniform heat, simple color and high hardness. In fact, all the terracotta warriors and horses had bright and harmonious paintings. In the process of excavation, we found that some pottery figurines were brightly colored when they were first unearthed, and their colors gradually fell off after they were unearthed because of the dry air. All you can see now are traces of painting. The chariots, infantry and cavalry of the Terracotta Warriors are arranged in various positions. The overall style is vigorous, bodybuilding and washing. Look carefully, there are differences in face, hairstyle, posture and charm. Ma Tao's ears stood upright, some opened their mouths and screamed, and some stood still with their mouths shut. All these terracotta warriors and horses of Qin Shihuang are full of touching artistic charm.
The Terracotta Warriors Pit is the largest underground military museum in the world. Terracotta warriors and horses pits have reasonable layout and strange structure. At the bottom of the pit about 5 meters deep, an east-west bearing wall is set every 3 meters, and the terracotta warriors and horses are arranged in the holes between the walls. There are three terracotta warriors and horses pits in the Qin Mausoleum, which are arranged in a zigzag pattern. The Terracotta Warriors Cave No.1 of Qin Shihuang is rectangular, with a length of 230 meters from east to west, a width of 62 meters from north to south and a depth of about 5 meters, with a total area of14,260 square meters, and inclined door openings on all sides. Most of the terracotta warriors and horses are in the pit, about 1.7 meters high, and the highest is 1.9 meters. Ma Tao is about 1.5 meters high and 2 meters long. The size of the chariot is the same as that of the actual vehicle. People, carriages and army formations are all artistic expressions through realistic techniques. Most Qin terracotta warriors and horses hold bronze weapons, including bows, crossbows, arrows, beryllium, spears, bows, swords, machetes and cymbals. Bronze weapons have been buried underground for more than 2000 years, and they are still as bright and sharp as new. They were actual combat weapons at that time, dressed in exquisite armor and knotted with colored threads on their chests. The military attache will wear a long crown, and the number of trials will be more. There are differences in the face, fat and thin, expression and age of Qin figurines. After the reunification of the six countries, the national conscription system was implemented, and soldiers came from all over the country, which is probably the main reason for their differences in face, expression and age. Craftsmen use realistic artistic techniques to express very realistically, and this huge group of Qin figurines contains many obviously different individuals, which makes the whole group more active, real and full of life. Throughout these thousands of soldiers and figures, their artistic achievements in sculpture have completely reached the height of artistic beauty. Whether it is the image of a thousand troops and horses with both form and spirit, or the eager horse shaping, it is not a mechanical imitation, but an effort to show their "inner vitality, emotional soul, character and spirit." Most of the images of pottery figurines are full of individual characteristics, realistic, natural and full of life breath. The discovery of all kinds of bronze weapons in the pit of Terracotta Warriors and Horses greatly enriched the research field of Qin weapons, among which beryllium and gold hook were first discovered in the archaeological history of weapons. The discovery and research of weapon casting standardization technology and weapon surface anti-corrosion treatment technology have filled the gap in the study of ancient science and technology history. In order to reproduce the majestic momentum of "striking a million" 2000 years ago, the designers of Qin figurines not only pursued the tall figure of a single pottery figurine, but also carefully designed a large-scale military array system composed of more than 8,000 tall figurines. On the right is a huge square, on the left is a sparse large array, and on the left is the headquarters. Thousands of warriors armed with weapons and hundreds of war horses pulling cars, row after row, formed a magnificent lineup. Some are dressed in a bun, in battle robes, boots and crossbows, as if they were leading soldiers from the front; Some of them wore helmets, robes, armor, crossbows and cymbals, and looked like witty archers. Some people wear soft hats, robes and armor, shallow shoes and long beryllium, which seems to be close combat. There are also knights wearing Hu clothes, armor, soft hats and booties, holding a bow in one hand; Wearing a long crown, two arms stretched forward, hands tied in a bun, skilled in imperial hands; A subordinate commander with a long crown, a shirt, a long armor and a hook in his hand; There was a general wearing a crown, colorful scales and a sword in both hands. This vivid image of thousands of troops, especially in expression and personality, is realistic, natural and full of life. For example, the image of a general figurine: burly, dressed in short brown, covered with colorful fish scales, wearing a long crown, with a double curly tail, holding his head high, with an extraordinary expression, dignified and charming. The general warrior's demeanor: some lips are upturned, and their hearts seem to be angry; Some eyebrows are round, and the muscles between them are twisted into knots, which seems to have superhuman courage; Some have thick eyebrows, wide mouths and thick lips, and are honest and honest; Some Shu Mei has beautiful eyes, slightly lowered head and elegant personality; Some eyes are focused and alert; Some people hold their heads high in meditation, while others hold their heads low in meditation. Although everyone should portray the word "thinking", the former gives the impression that it is magnificent and slightly arrogant, while the latter is quiet and elegant because of different expression methods. Terracotta Warriors and Horses show the ancient military theme. They didn't choose the war scene where the two sides fought and the soldiers fought, nor did they choose the scene where the soldiers trimmed their defenses. Instead, it captures the grim scene of soldiers standing in a row, armed to the teeth, waiting for the battle. Although I am in this orderly and static military camp, the artists strive to be "accidental and quiet" on the sculptures of pottery figurines. Make those samurai figures with sharp armor raise their eyebrows, stand straight and have firm and brave expressions. They seem to be ready to go, they seem to be in a state of war. And those who use the characters, arms stretched forward, holding the bun rope, looking ahead and waiting for them; Horse-drawn Taoma, ears erect, eyes wide open, nose screaming, eager to try; Knight figurines, holding a horse in the right hand and a bow in the left hand, are on guard in front of the horse, and once the order is given, they gallop on the battlefield. It is these thousands of pottery figurines full of life and different expressions that constitute the overall static military posture and achieve unexpected artistic effects. "Quiet is extremely vivid, and the quieter it is, the more it moves". Only this kind of static military array can make people feel that the depth of its great deterrent force is unpredictable. Such a magnificent formation and composition have never been seen before.
The pit of Terracotta Warriors and Horses No.2 of Qin Shihuang is in the shape of a curved ruler, which is located in the northeast of pit No.1 and east of pit No.3. It is 96 meters long from east to west and 84 meters wide from north to south, with a total area of about 6,000 square meters. The buildings in the pit are the same as those in the No.1 pit, but the arrangement is more complicated and the arms are more complete. It is the most spectacular military array in the three pits. Is composed of cavalry, chariots, infantry (including crossbowmen) multi-arms special forces. Pit 2 has an exhibition hall of 1.7 million square meters, which is the largest and most well-preserved exhibition hall of modern sites in China. There are more than 300 pieces of pottery figurines 1300, more than 80 chariots and tens of thousands of bronze weapons in the No.2 pit, among which general figurines, pommel horse figurines and kneeling figurines are found for the first time. There are four inclined doors at the east and west ends of the second pit, and two inclined doors at the north. The statue pit is located in the west and the main entrance is in the east. The layout in the pit is divided into four units. The first unit is located at the eastern end of the figurine pit, with 60 vertical crossbow figurines in the surrounding corridor, and the array center is composed of 160 crossbow figurines east of Badao Road. The crossbowman adopts the arrangement of stretching array in the array, and takes turns shooting when standing and kneeling to avoid the danger of slow tension. The second unit, located on the right side of the pit, consists of 64 chariots (chariots are made of wood, leaving only relics). 8 times per column, * * * 8 columns. There are four horse-sized terracotta warriors and horses in front of the car. Behind each car, there are three soldiers and figures. In the middle is the charioteer Lamar, and the other two are standing on the left and right sides of the car, armed with long-handled weapons. The third unit, located in the middle, consists of 19 chariot, 264 infantry figurines and 8 knight figurines, and is divided into three columns. In front of each horse stood a small statue of a knight, holding the reins in one hand and the bow in the other. In addition to the three riders, there are 8~36 infantry figurines after each ride. The fourth unit, located on the left side of the army array, consists of 108 knight figures and 180 pottery pommel horse figures arranged in 1 1 row to form a rectangular cavalry array. Among them, 1 and 3 are listed as 6 chariots. In front of each horse, there stands a knight figurine in Hufu, holding the horse in his right hand and holding a bow in his left hand. 108 cavalry figurines in the pit are a large number of images of ancient cavalry discovered for the first time in the archaeological history of China. In terms of clothing and height, it strictly simulates the wartime image of ancient cavalry. Obviously different from infantry and chariot figures. It wears a small round hat, which is buckled under the jaw, with buttons on both sides, a tight-sleeved coat with collar and right lapel, crotch pants, ankle boots, short and small armor, no shoulders and no hand armor. The clothes are short and light, and the armor is simple and flexible. The special costumes of cavalry figurines are also closely related to the tactical characteristics of cavalry.
The discovery of bronze chariots and horses refreshed the world. The complexity of its craft, exquisite workmanship and outstanding skills are amazing. The second copper car in Qinling is a luxury car with a canopy. The car is near a square. It is 78 cm wide and 88 cm deep. Its width is only 4 cm longer than the first car, and its depth is 40 cm longer than the first car. Car number two is covered with a canopy similar to a turtle cover. The canopy not only covers all vehicles, but also covers the "cab" in front of the vehicle, forming a closed vehicle. In this way, the owner and the "driver" can pass the order. No.2 copper car belongs to the car type. The owner can ride or lie down. If you lie in such a spacious, comfortable and luxurious carriage, you can fully enjoy the comfort of "soft sleeper". Even a journey of thousands of miles can eliminate the fatigue of long-distance bumps. The equipment in car No.2 is quite distinctive. A beautifully painted cushion was exposed in the car. Archaeologists once found a large square copper plate at the bottom of Cheyusuo, which was about the size of the bottom of public opinion. Various bright geometric patterns are painted on the surface of the copper plate, and there are eight 3 cm high copper Zhi Ding brackets at the four corners and in the middle. This large-scale painted copper plate is undoubtedly the "Wen Yin" of ancient cars, which is similar to a cushioned product. If the carriage is two-lane, it will be more stable and comfortable, and its function is no different from that of modern "soft sleeper". It can be said that the No.2 car belongs to the earliest "soft sleeper" model in China. After careful cleaning, archaeologists found that the No.2 bronze chariot was composed of 3,462 castings, including 742 copper castings/kloc-0, 737 gold castings and 983 silver castings. The total weight is 124 1 kg, including more than 3 kg of gold castings and more than 4 kg of silver castings. The number of No.1 bronze chariots and horses castings will not be much different. The two cars add up to no less than 5000 parts. What makes people applaud is that all the parts here are cast. These more than 5000 parts, such as awnings, umbrellas, vehicles, bronze horses, bronze figurines and so on. The large one is 2 square meters and the small one is 0.2 square meters, all of which are cast at one time. Taking the casting of canopy and umbrella cover as an example, not only the area is large, but also the thickness is different. The thick part is 0.4 cm, and the thin part is only 0. 1 cm. In addition, both the canopy and the umbrella cover have a certain radian, so that the difficult canopy and umbrella cover can be successfully cast at one time, not to mention the Qin Dynasty 200 years ago, even today with advanced technology and complete equipment. The casting of bronze horse figurines also left our contemporary engineers behind. We found that the casting of eight bronze horses and two official figures has reached a vivid level, and the overall shape, manner, character and temperament can be comparable to the best general figures in the pit of Qin figurines. It is rare for bronze horse figurines to be cast with such precision and both form and spirit. For example, the halter of a bronze horse is made up of 82 small gold tubes and 78 small silver tubes, each flat gold and silver tube is only 0.8 cm long, and one gold and silver tube is connected in the form of a female needle, which is as thin as a modern watch chain and flexible. Surprisingly, the tassels hanging under the horse's neck are all copper wires as thin as hair. After repeated observation with a magnifying glass, the experts were surprised to find that the surface of the copper wire had no forging marks and the thickness was uniform, indicating that it was probably made of wire drawing. In particular, the links made of copper wires are welded by butt welding at both ends of the copper wires, and the butt joints are tightly stitched. What method is used to make such a thin copper wire (0.5 mm)? What kind of welding process is used? It is still a mystery. In a word, the casting technology of bronze chariots and horses is a great miracle of ancient bronze smelting and casting. Imagine that there were no lathes and modern smelting and casting equipment. Casting such exquisite gold, silver and copper parts with different sizes and specifications is a great initiative. In a word, the archers, light chariots and cavalry figurines unearthed in the second pit of Qin Terracotta Warriors and Horses show us the image data of ancient cavalry, light chariots and archers 2200 years ago for the first time, which is of great significance in the study of ancient military history.
Terracotta Warriors and Horses Pit No.3 of Qin Shihuang is located on the north side of the western end of Terracotta Warriors and Horses Pit No.1, opposite to Terracotta Warriors and Horses Pit No.2 from east to west, 25 meters away from Pit No.1 in the south and 120 meters away from Pit No.2 in the east, with an area of about 520 square meters. There is a chariot in front of the concave gate, with 68 warriors inside. Judging from the layout of the No.3 pit, it seems to be the general headquarters, commanding the left, right and Chinese armed forces. Most of the terracotta warriors in the No.3 pit have no heads, and the heads of the terracotta warriors and horses are not complete, and even some broken pottery pits have disappeared. It is not difficult to see that the No.3 Terracotta Warriors pit has suffered serious man-made damage. No.3 pit is of great significance to the study of ancient military history. In the wars before the Spring and Autumn Period and the Warring States Period, the commanding generals often had to take the lead, so they often had to walk in front of the pawn. During the Spring and Autumn Period and the Warring States Period, with the increase of war scale and the change of combat mode, the position of commander-in-chief began to move to the China army. The Qin War separated the headquarters from China's army, which was a great progress in the development of military tactics. The headquarters independently studied and formulated a strict operational plan, and more importantly, the personal safety of the commanding generals was further guaranteed. This is an important symbol of the maturity of ancient military tactics. No.3 Qinkeng is the earliest image data of the military headquarters in the world archaeological history. Architectural structure, arrangement of pottery figurines, weapons and unearthed cultural relics all have certain characteristics. It provides valuable information for studying the shape of ancient headquarters, the rituals of divination and fighting, the system of commanding generals, and the costumes and equipment they rely on.
People who have visited the Terracotta Warriors may still remember a few residual paintings on their faces. In fact, all the terracotta warriors and horses had bright and harmonious paintings. The robes of the terracotta figures are painted with scarlet, orange, white, pink green, green and purple. Pants are painted blue, purple, pink purple, pink green, vermilion and other colors. Most nail plates are dark brown, and most nail plates and bands are scarlet. At the same time, Group A and part of the armor belt were painted purple. The face, hands and feet of the terracotta figures are all pink, showing the texture of muscles. In particular, the face painting is particularly wonderful. The white corners of the eyes, black eyes and even the pupils of the eyes are vividly painted. The bun, beard and eyebrows of pottery figurines are all black. The overall color is gorgeous and harmonious. At the same time, the painting of pottery figurines also pays attention to the contrast of colors. Personally, some wear long green rafts and green shorts. On the whole, for example, a row of pottery figurines behind the expedition's 20 chariots, the first wearing a red robe, the second wearing a green robe, the third wearing a purple robe and the fourth wearing a white robe. Clothes of different colors are in sharp contrast. Further enhanced the artistic appeal. Ma Tao also has bright and harmonious paintings. For example, a batch of pottery horses unearthed in Expedition 20 still retain bright colors in some parts. All four horses look like white-hoofed Bordeaux horses, but there are obvious differences in local colors. For example, the horse's body is purple, the front body cavity and abdomen are green, and the genitals are painted black. The surface of the horse leg is also jujube red, the inside is pink green, and the hoof is white. The two small night eyes on the inside of the horse's front legs are also painted white. The color of the horse's head is carefully drawn. The cheeks and eyes are white, the nose is purple, the nostrils are pink, the lower part of the lips is purple, the tongue is pink, the teeth are painted white, and the mane and ponytail are black. In a word, the colors of Ma Tao are vivid and gorgeous, which makes the static image of Ma Tao more vivid and artistic. There are eight main colors in the painting of Qin figurines: red, green, blue, yellow, purple, brown, white and black. If you add different shades of color, such as vermilion, pink, bordeaux, medium yellow, pink purple, pink green and so on. There will be more than a dozen colors. Tests show that these colors are minerals. Red is made of cinnabar, red lead and ochre. Green is malachite, blue is azurite, purple is the synthesis of lead and azurite, brown is limonite, white is lead white and kaolin, and black is amorphous carbon. These minerals are the main pigments in China's traditional paintings. The use of such rich mineral pigments in the Terracotta Warriors shows that the working people in China were able to produce and widely use these pigments more than 2,000 years ago. This is of great significance not only in the history of painting art, but also in the history of world science and technology. The painting techniques of Qin terracotta warriors also have many unique features. Generally, the surface of pottery figurines is treated before painting. Because pottery figurines are plain pottery without glaze, there are many capillary holes, and the surface can't be smooth. But painting requires that the pores should not be too many or too few, and the surface should not be too slippery or too astringent. In order to meet this requirement, it seems that the surface of pottery figurines is evenly coated with very fine mud before firing, and after calendering, the pores are reduced and the smoothness is improved. At the same time, the fired pottery figurines seem to have undergone chemical and physical treatment. From the observation of the cross section of the pottery figurines, it is also proved that the surface of the pottery figurines was coated with fine mud before firing, and some parts were coated more than once. The surface of the pottery figurines is also coated with a thin layer of colloidal substance, which reduces the close adhesion between the pottery figurines and makes the paintings difficult to fall off. Painting techniques adopt different methods according to different parts. Generally, the faces, hands and feet of pottery figurines are painted with a layer of ochre, then with a layer of white, and then with a layer of pink, so that the color tone is as close as possible to people's skin color. Colorful paintings of robes, shorts, shoes, etc. The plane painting of one color is adopted, but different colors are used for comparison between sleeves and cuffs, and between nail plates and nail belts, showing the texture of nail clothes. Some beards and eyebrows are treated with fine black hair. In short, the painting process is complex, the techniques are diverse, and the coloring is exquisite, which fully shows the level and texture of painting, so that sculpture and painting can achieve the artistic effect of complementing each other. Some of these painting techniques were inherited by the Han Dynasty. Painted pottery figurines and horses strictly simulate real objects, but warm colors are the main colors in the mastery of color tones, and cold colors are rarely used. The use of red, blue, green and other colors subtly shows the power of Qin Jun.
[Edit this paragraph] ◎ Introduction to the Mausoleum of the First Qin Emperor
The Mausoleum of the First Qin Emperor is located about 5 kilometers east of Lintong District, Xi City, and about 37 kilometers away from downtown Xi, with Mount Li in the south and Weishui in the north. Why did you choose the seat here? Some people think that this is inseparable from the ancient superstition of geomantic omen. In recent years, according to the pictures taken by satellite, geologists can see that it seems like a dragon from Jiao Shan to Huashan, and the Mausoleum of the First Qin Dynasty is in the leading eye. As we all know, there has been a saying that "make the finishing point" since ancient times. It is unclear whether the ancients had the ability to "foresee" or whether today's people are too attached to meetings.
The mausoleum of Qin Shihuang is approximately square, with a flat top and a slightly stepped waist. It is 76 meters high, 345 meters long from east to west and 350 meters wide from north to south, covering an area of 120750 square meters. According to preliminary investigation, the cemetery is divided into two parts: the inner city and the outer city. The inner city is square with a circumference of about 3000 meters. There are two doors on the north wall, and 1 doors on the east, west and south walls respectively. The outer city is rectangular, with a circumference of more than 6200 meters, and each corner has a house address. There are horse burial pits, rare birds and animals pits and pottery pits between the inner and outer cities; There are more than 400 stables, martyrdom pits, prison pits and tombs of grave repairers outside the mausoleum, covering an area of 56.25 square kilometers. The center of the underground palace of the mausoleum is the place where Qin Shihuang's coffin is placed.
Starting from 1974, three pits for burying Terracotta Warriors and Horses were found at 1.5 km east of the cemetery. The finished products were arranged in a zigzag pattern, covering an area of more than 20,000 square meters, and 8,000 pottery barrels, 100 chariots and tens of thousands of physical weapons were unearthed. Among them, about 6,000 pieces of Bai Tao and Ma Tao are as big as real horses and buried in No.1 pit. There are 1300 pottery barrels and horses and 89 chariots in the No.2 pit. There are 68 warrior barrels in the third pit, 1 chariot and 4 Ma Tao.
1980, large bronze chariots and horses were unearthed on the west side of the cemetery. Gao Che and Che An, the painted bronze chariots and horses, are the largest, most gorgeous, most lifelike and complete ancient bronze chariots and horses discovered in China so far, and are known as the "crown of bronze". In addition to the tomb pit, the mausoleum of the First Qin Emperor also found a website of a stone processing factory. Architectural relics include door anvil, column foundation, tile, ridge, tile, stone waterway, ceramic waterway and so on. The scale of Qin Shihuang's mausoleum can be seen, but does Qin Shihuang's mausoleum have a blueprint?
According to historical records, "the water phase ordered the world's criminal slaves to build 720,000 tombs and chisel the articles of association". The construction of the Mausoleum of the First Qin Emperor was by no means arbitrary, and it must be built in a planned way according to the design drawings. Throughout the history of the construction of emperors' tombs, it is not difficult to imagine the connection. The specific design blueprint is still under further study.
Who presided over the construction of the mausoleum of Qin Shihuang? It is speculated that Shaofu is responsible for the construction and the National Mausoleum should be managed by it. Of course, the highest management level is true, but true nature is busy, and it is handled by Shaofu. However, there is still a problem here, that is, there is an office in Shaofu named after the reunification of Qin Dynasty. It is impossible to verify whether this office existed before reunification, but whether it exists or not, there must be an institution specializing in civil engineering of the imperial court. As for the name of this institution, further research is needed.
How deep is the mausoleum of Qin Shihuang? The Historical Records of the First Qin Emperor says that it "wears three springs". The description of Qin Shihuang's mausoleum in the old books of Han Dynasty is "extremely deep" and "extremely deep". Some people think that the underground palace of Qin Mausoleum is neither shallow nor deep, and the "three springs" mentioned in the book are nothing more than what people often say "under the nine springs". According to Lu Chunqiu, "Shallow is the rise of the fox, deep is the spring", that is, the deepest is the spring. In ancient times, due to technical limitations, it was not easy to construct under springs. Moreover, if the underground palace is located below the groundwater level, long-term infiltration of groundwater will definitely cause the underground palace to be "soaked". Qin Shihuang and the designers of his mausoleum could not have failed to take this into account. Of course, these are just speculations, and the specific situation is unknown.
The underground palace is the place where coffins and funerary objects are placed, and it is the core of the building of Qin Huangling. There have always been different opinions about the location of Qinling underground palace. About the depth of the underground palace of Qin Shihuang's mausoleum, it is introduced in the historical material Nine Meanings of Han Dynasty: In 2 10 BC, Prime Minister Lisi reported to Qin Shihuang that he had taken 720,000 people to build the tomb of Mount Li, which had been dug deep, as if it were underground. After hearing this, Qin Shihuang ordered "to walk another 300 feet or even." The statement of "300 feet away" makes the location of the Qin Mausoleum even more confusing. It has been said that the underground palace of the Qin tombs is on Mount Li, and there is an underground passage between Mount Li and the Qin tombs. Every time it rains on a cloudy day, there are "Yin soldiers" in the underground passage. People are cheering and horses are neighing, which is very lively. It is reported that archaeologists have conducted many investigations according to this legend, but they have never found this legendary underground passage.
"We use remote sensing and geophysical methods to detect respectively. In fact, the underground palace is just under the mound. " According to Duan Qingbo, this large-scale underground palace is located below and around the mound top platform, 35 meters deep from the ground, with a length of 170 meters from east to west and a width of 145 meters from north to south. The main body and tomb are rectangular. The tomb is located in the center of the underground palace, with a height of15m, which is equivalent to a standard football field.
Zhou Xiaohu, an engineer from the Institute of Remote Sensing Application of China Coal Aerial Survey and Remote Sensing Bureau, told the reporter an interesting phenomenon: at the beginning of this year 1 month, the temperature of the Qin Shihuang Mausoleum dropped to MINUS 12 degrees Celsius, and the pomegranate tree on the mound was in normal bloom, while the pomegranate tree outside the south wall of the mound was severely frozen and could not blossom and bear fruit normally, and the difference was particularly obvious. "The soil outside the wall has not been disturbed, but the soil structure and water content in the sealed mound have changed, and because there is an underground palace under the wall, the relative temperature of the soil is higher, resulting in differences in plant growth." Zhou Xiaohu explained.
In this exploration, the researchers found that under the sealed mound, there was a thick fine rammed earth wall around the tomb, which was called the palace wall. According to textual research, the palace wall is about168m long from east to west, 14 1 m long from north to south,16m long from north to south and 22m long from north to south. "When building the palace wall, in order to test whether the palace wall compacted with soil is hard, the construction workers will stand in the distance and shoot the wall with bows and arrows. If the arrow can be inserted into the wall, then the repaired palace wall must be demolished and rebuilt. " Duan Qingbo said that the palace walls are made of layers of fine soil, each layer is about 5-6 cm thick, which is quite delicate and strong. "To our surprise, the top surface of the palace wall is even much higher than the ground of the Qin Dynasty at that time, and it has been 33 meters under the sealed soil until now. The height of the whole wall is about 30 meters, which is very spectacular! " Inside the earth wall, the researchers found another stone palace wall. Duan Qingbo said that according to the test, it was found that there was no water in the tomb and the whole tomb did not collapse. "There has been a major earthquake of magnitude 8 or above in the history of Guanzhong area, but the mausoleum of the First Qin Emperor is intact, which is closely related to the firmness of the palace wall!"
"This kind of palace wall is an unprecedented discovery! This brand-new tomb form can be called "Qin Mausoleum Style". It is still unpredictable how much the Qin Mausoleum-style palace wall can promote the study of the ancient mausoleum system in China. " Duan Qingbo said.
In addition to the palace wall, the researchers also found that there were huge underground drains around the Qin tomb.
Duan Qingbo said that this drainage channel about 1000 meters long is actually a wall. The bottom is tamped with17m thick plaster mud, and the upper part is tamped with 84m wide loess. The scale is unimaginable. "The drainage design is quite clever. Qin Shihuang's mausoleum is high in the southeast and low in the northwest, with a drop of 85 meters, and the drainage channel just blocks the flow of groundwater from high to low, effectively protecting the mausoleum from flooding. " Duan Qingbo said that in the "crossing three springs" recorded in Historical Records, "three" is actually a rough number. In fact, it should refer to the flood during construction, so a drainage channel was built. Duan Qingbo said humorously: "Qin people are too smart. The Beijing National Grand Theatre, which is under construction, is to solve the flooding problem in this way. "