Analysis of information sources in references of the Wikipedia article "Chinese art" in English language version.
Before the appearance of the large-scale stone sculptures in front of the tomb of Huo Qubing 霍去病 (d. 117 BCE) of the middle Western Han period (see Figure 9), no monumental works of sculptural stone art like this had ever been seen in Qin culture or in those of the other Warring States polities.
The sixteen large stone sculptures in front of the tomb of the Han general Huo Qubing 霍去病 (ca. 117 BCE), are mostly sculpted following the form of the original stone (see Figure 9). They employ techniques such as sculpting in the round, raised relief, and engraved intaglio lines to carve stone sculptures of oxen, horses, pigs, tigers, sheep, a fantastic beast eating a sheep, a man fighting a bear, a horse trampling a Xiongnu warrior, and other images. It is hard to find any evidence in China for this type of crude but concise lifelike rendering before these monuments.
Other noteworthy terracotta figurines were found in 1995 in a 4th–3rd century BCE tomb in the Taerpo cemetery near Xianyang in Shaanxi Province, where the last Qin capital of the same name was located from 350 to 207 BCE. These are the earliest representations of cavalrymen in China discovered up to this day. One of this pair can now be seen at the exhibition in Bern (Fig. 4). A small, ca. 23 cm tall, figurine represents a man sitting on a settled horse. He stretches out his left hand, whereas his right hand points downwards. Holes pierced through both his fists suggest that he originally held the reins of his horse in one hand and a weapon in the other. The rider wears a short jacket, trousers and boots – elements of the typical outfit of the inhabitants of the Central Asian steppes. Trousers were first introduced in the early Chinese state of Zhao during the late 4th century BCE, as the Chinese started to learn horse riding from their nomadic neighbours. The state of Qin should have adopted the nomadic clothes about the same time. But the figurine from Taerpo also has some other features that may point to its foreign identity: a hood-like headgear with a flat wide crown framing his face and a high, pointed nose.Also in Khayutina, Maria (2013). Qin: the eternal emperor and his terracotta warriors (1. Aufl ed.). Zürich: Neue Zürcher Zeitung. p. cat. no. 314. ISBN 978-3-03823-838-6.
近年来，考古发现的一些西汉墓葬，如陕西咸阳西汉阳陵、河南商丘梁孝王陵园、[32] 江苏盱眙江都王刘非陵园、江西南昌海昏侯刘贺墓园等，都发现墓葬周围有冢茔、庙寝、门阙、司马道等，此时墓上石刻还没有发展起来，除汉武帝时期的霍去病墓、张骞墓外，其他墓葬均未发现墓上石刻。西汉晚期至东汉时期，墓上石刻逐渐发展起来
{{cite web}}: CS1 maint: bot: original URL status unknown (link)Before the appearance of the large-scale stone sculptures in front of the tomb of Huo Qubing 霍去病 (d. 117 BCE) of the middle Western Han period (see Figure 9), no monumental works of sculptural stone art like this had ever been seen in Qin culture or in those of the other Warring States polities.
The sixteen large stone sculptures in front of the tomb of the Han general Huo Qubing 霍去病 (ca. 117 BCE), are mostly sculpted following the form of the original stone (see Figure 9). They employ techniques such as sculpting in the round, raised relief, and engraved intaglio lines to carve stone sculptures of oxen, horses, pigs, tigers, sheep, a fantastic beast eating a sheep, a man fighting a bear, a horse trampling a Xiongnu warrior, and other images. It is hard to find any evidence in China for this type of crude but concise lifelike rendering before these monuments.
{{cite book}}: CS1 maint: location missing publisher (link)Before the appearance of the large-scale stone sculptures in front of the tomb of Huo Qubing 霍去病 (d. 117 BCE) of the middle Western Han period (see Figure 9), no monumental works of sculptural stone art like this had ever been seen in Qin culture or in those of the other Warring States polities.
The sixteen large stone sculptures in front of the tomb of the Han general Huo Qubing 霍去病 (ca. 117 BCE), are mostly sculpted following the form of the original stone (see Figure 9). They employ techniques such as sculpting in the round, raised relief, and engraved intaglio lines to carve stone sculptures of oxen, horses, pigs, tigers, sheep, a fantastic beast eating a sheep, a man fighting a bear, a horse trampling a Xiongnu warrior, and other images. It is hard to find any evidence in China for this type of crude but concise lifelike rendering before these monuments.