Analysis of information sources in references of the Wikipedia article "Chinese sculpture" 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.
There were two stone statues of qilin [Chinese unicorns]. The flanks of each animal bore carved inscriptions. These once stood atop the tomb mound of the First Emperor of Qin. Their heads stood one zhang and three chi in height [approx. three meters].
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.
Looking at materials from along the route of the classic "Silk Road," the techniques of stone inscriptions and stone sculpture shows signs of having diffused from the West to the East. The practice was first transmitted from Egypt and Babylonia to Greece, and then throughout the Mediterranean islands and coastal areas. After that, from the territory of the Persian Empire, it spread to India during the Mauryan dynasty in the time of Ashoka, to Pakistan and Afghanistan, and finally arrived in China.
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.
There were two stone statues of qilin [Chinese unicorns]. The flanks of each animal bore carved inscriptions. These once stood atop the tomb mound of the First Emperor of Qin. Their heads stood one zhang and three chi in height [approx. three meters].
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.
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.
There were two stone statues of qilin [Chinese unicorns]. The flanks of each animal bore carved inscriptions. These once stood atop the tomb mound of the First Emperor of Qin. Their heads stood one zhang and three chi in height [approx. three meters].
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.
Looking at materials from along the route of the classic "Silk Road," the techniques of stone inscriptions and stone sculpture shows signs of having diffused from the West to the East. The practice was first transmitted from Egypt and Babylonia to Greece, and then throughout the Mediterranean islands and coastal areas. After that, from the territory of the Persian Empire, it spread to India during the Mauryan dynasty in the time of Ashoka, to Pakistan and Afghanistan, and finally arrived in China.
