Memory Making: The First Emperor's Legacy at the Asian Art Museum

by Gregg Chadwick

China's Terracotta Warriors: The First Emperor's Legacy

at the Asian Art Museum in San Francisco 

photo by Gregg Chadwick

 "I, Sovereign, am the First Emperor; my descendants will call themselves the Second Generation, the Third Generation, and will go on forever after." 
- The First Emperor, Qin Shihuang (259-210 BCE) 
   quoted by the historian Sima Qian (145-90 BCE)


China's Terracotta Warriors: The First Emperor's Legacy currently on view at the Asian Art Museum in San Francisco until May 27, 2013 provides tantalizing glimpses of an ancient culture and its rulers' attempts to influence cultural and political memory. Over two thousand years ago, Qin Shihuang - the first emperor of China, began constructing a massive mausoleum to ensure, what Li He, the Asian Museum's associate curator of Chinese art, describes as the personal and political "continuation of the family's ruling position and the long-lasting reign of the dynasty" as well as individual hopes for an afterlife. 

The First Emperor began to plan his eternal place of rest from the moment he ascended the throne. The mausoleum took almost 38 years of hard labor and exquisite craftsmanship to construct. Ongoing archaeological excavations continue to reveal new secrets and hidden cultural treasures created to ensure Qin Shihuang's memory and lineage. Eight human-sized terracotta warriors made the journey to San Francisco. Each figure seems imbued with the ability to speak. Buried in a vast tomb with more than 7,000 comrades, some with horses and chariots, surrounded perhaps by flowing liquid mercury rivers graced by bronze waterbirds and bells, these sculpted warriors were meant to ensure Qin Shihuang's trip through the cosmos and eventual crossing to another realm. According to historian Sima Qian (145-90 BCE) the emperor feared that the creators "might disclose all the treasure that was in the tomb...(that) after the burial and sealing up of  the treasures, the middle gate was shut and the outer gate closed to imprison all the artisans and laborers, so that no one came out." The mausoleum was forgotten over the centuries. The tomb was not revealed until the 20th century, when Chinese farmers found fragments of terracotta sculptures as they attempted to assuage the effects of a drought with a new well. 

Armored General

221-206 BCE China

Terracotta

Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi, China

 Installation at the Asian Art Museum in San Francisco 

photo by Gregg Chadwick

Rulers and politicians of all stripes are often in the business of memory-making. The recent unveiling of the George W. Bush Presidential Library comes to mind. Since President Calvin Coolidge, all American presidents have a stand-alone presidential library that holds their papers and memorabilia. But the G.W. Bush library is unique in that it is a museum that Rachel Maddow convincingly describes as a ridiculous attempt to make the Bush administration's invasion of Iraq seem like a good idea. Watch the Rachel Maddow video linked here and see if you agree that, as she puts it,"The case to invade Iraq was cooked up, a hoax put upon the nation." With this ridiculous attempt at memory-making by the Bush team in mind, I looked at Qin Shihuang's memory-mausoleum differently than I might have otherwise. What message was the First Emperor attempting to send on to future generations with his vast buried army of exquisitely crafted clay warriors?

Emperor Qin Shihuang used force to break up and subsume noble lands as well as compelling the noble families themselves to move to, his new capital, Xianyang. The emperor freed peasants from their feudal bonds, but then forced them into servitude for the state. Arthur Cotterell in his informative work, The Imperial Capitals of China, describes that the emperor's extensive construction and engineering program imposed a tremendous burden and that "this continued use of conscript labor strained the allegiance of the peasantry, especially when it was maintained by the naked force of cruel punishments." Due to this shift in labor allocations, agriculture suffered and famine ensued. Subsequently in 209 (BCE), starving, impoverished peasants staged the first large-scale rebellion in Chinese history. 

Was this sculpted army intended as a symbol to the living as well as the dead? With the rebellions that signaled the coming end of Qin Shihuang's short lived dynasty, it is unlikely that the emperor's memory-making had an initial effect on the Chinese populace. Gish Jen in her marvelous new book, Tiger Writing, quotes Chinese author Lin Yutang from his 1935 work My Country and My People, "that the Chinese are given to a farcical view of life, and that 'Chinese humor... consist[s] in compliance with outward form ... and the total disregard of the substance in actuality.'" 

 China's Terracotta Warriors: The First Emperor's Legacy is an exhibition that provokes cultural and historical critique as well as artistic engagement. Political art is rarely this exquisite. Don't miss it!

China's Terracotta Warriors: The First Emperor's Legacy includes objects from the Museum of Terracotta Warriors and Horses, the Shaanxi Provincial Institute of Archaeology, and the Shaanxi History Museum.

On Site View of Unrestored Warriors
at the Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi, China
Courtesy: Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi, China

More at:

The Imperial Capitals of China by Arthur Cotterell
Terracotta Warriors at the Asian Art Museum  SF Chronicle

Provocative Chinese Artist Ai Weiwei Creates His Own Gangnam Style Video

Provocative Chinese Artist Ai Weiwei Creates His Own Gangnam Style Video

Here's Ai Weiwei's twitter announcement:

@aiww 
艾未未 Ai Weiwei

给债主的礼物。。疯转吧！！！RT @aiww: 草泥马stylehttp://t.co/OmLdJjP3 来自 @youtube

October 24, 2012 3:15 pm via weiweiweb Reply Retweet Favorite

Chinese Consulate in New York City Carries a Ghostly Image of Falsely Imprisoned Artist Ai Weiwei

Nemesis-Ai Weiwei: The Elusiveness of Being. By Geandy Pavon

"The concept of the project is to impose the face of the victim on buildings walls that house government offices … The light on the wall is a symbol of revelation."
-Geandy Pavon

Provocative work by Cuban-American artist Geandy Pavon as he projects a billboard sized portrait of Ai Weiwei onto the Chinese consulate in New York City.

More at:
Geandy Pavon Website
Video: Imprisoned Artist Ai Weiwei's Face Projected On Chinese Consulate

International Concern for the Plight of Chinese Artist Ai Weiwei

A Berlin Museum Calls for China to Free Ai Weiwei

Last week, Salman Rushdie in the New York Times, wrote an important piece on the plight of Chinese artist Ai Weiwei. Excerpts below:

"The great Turbine Hall at London’s Tate Modern, a former power station, is a notoriously difficult space for an artist to fill with authority. Its immensity can dwarf the imaginations of all but a select tribe of modern artists who understand the mysteries of scale, of how to say something interesting when you also have to say something really big. Louise Bourgeois’s giant spider once stood menacingly in this hall; Anish Kapoor’s “Marsyas,” a huge, hollow trumpet-like shape made of a stretched substance that hinted at flayed skin, triumphed over it majestically."


Chinese Artist Ai Weiwei at the Tate Modern in London - October 2010

"Last October the Chinese artist Ai Weiwei covered the floor with his “Sunflower Seeds”: 100 million tiny porcelain objects, each handmade by a master craftsman, no two identical. The installation was a carpet of life, multitudinous, inexplicable and, in the best Surrealist sense, strange. The seeds were intended to be walked on, but further strangeness followed. It was discovered that when trampled they gave off a fine dust that could damage the lungs. These symbolic representations of life could, it appeared, be dangerous to the living. The exhibition was cordoned off and visitors had to walk carefully around the perimeter."

"Art can be dangerous. Very often artistic fame has proved dangerous to artists themselves. Mr. Ai’s work is not polemical — it tends towards the mysterious. But his immense prominence as an artist (he was a design consultant on the “bird’s nest” stadium for the Beijing Olympics and was recently ranked No. 13 in Art Review magazine’s list of the 100 most powerful figures in art) has allowed him to take up human rights cases and to draw attention to China’s often inadequate responses to disasters (like the plight of the child victims of the 2008 earthquake in Sichuan Province or those afflicted by deadly apartment fires in Shanghai last November). The authorities have embarrassed and harassed him before, but now they have gone on a dangerous new offensive.On April 4, Mr. Ai was arrested by the Chinese authorities as he tried to board a plane to Hong Kong. His studio was raided and computers and other items were removed."
-Salman Rushdie in the New York Times.

Continue reading the entire piece at:
Dangerous Arts

A Call for China to Free Unjustly Imprisoned Artist Ai Weiwei

Ai Weiwei with musician Zuoxiao Zuzhou in the elevator when taken in custody by the police, Sichuan, China, August 2009
100 cm x 130 cm color photograph
Courtesy Ai Weiwei and Christine König Galerie, Vienna

“We can perhaps bet on art to win over tyrants. It is the world’s artists, particularly those courageous enough to stand up against authoritarianism, for whom we need to be concerned, and for whose safety we must fight.”
- Salman Rushdie

On April 3, 2011, the internationally recognized Chinese artist Ai Weiwei was detained by Chinese officials at the Beijing airport while en route to Hong Kong, and his papers and computers were seized from his studio compound.

The international arts community has rallied around Ai Weiwei's unjust incarceration and an online petition is being sponsored by museum directors and cultural figures across the globe: 'By using Ai Weiwei’s favored medium of “social sculpture,” we hope to hasten the release of our visionary friend."

Please take a moment and sign the petition here:
Call for the Release of Ai WeiWei

Your signature will join the growing list sampled below:

Richard Armstrong, Director, Solomon R. Guggenheim Museum and Foundation
and Alexandra Munroe, Samsung Senior Curator, Asian Art
Juan Ignacio Vidarte, Director General, Guggenheim Museum Bilbao,
and Deputy Director and Chief Officer for Global Strategies, Solomon R. Guggenheim Foundation
Glenn Lowry, Director, The Museum of Modern Art, New York
Sir Nicholas Serota, Director, Tate and Chris Dercon, Director, Tate Modern
Kaywin Feldman, President, Association of Art Museum Directors and Director
and President, Minneapolis Institute of Arts
Yongwoo Lee, President, The Gwangju Biennale Foundation
Michael Govan, Director, Los Angeles County Museum of Art
Vishakha Desai, President and Melissa Chiu, Vice President of Global Arts, Asia Society
Jim Cuno, President and Director, Art Institute of Chicago
Julián Zugazagoitia, Director, Nelson Atkins Museum, Kansas City
Ann Philbin, Director, Hammer Museum, University of California, Los Angeles
Olga Viso, Director, Walker Art Center
Alfred Pacquement, Director, Musée national d'art moderne/Centre de création industrielle, Paris
Arnold Lehman, Director, Brooklyn Museum
Jill Medvedow, Director, Institute of Contemporary Art, Boston
Julia Peyton-Jones, Director and Hans Ulrich Obrist, Co-director of Exhibitions and Programmes
and Director of International Projects, Serpentine Gallery, London
Poul Erik Tøjner, Director, Louisiana Museum of Modern Art, Denmark
Nathalie Bondil, Director and Chief Curator, Montreal Museum of Fine Arts
Neal Benezra, Director, San Francisco Museum of Modern Art
Tony Ellwood, Director, and Suhanya Raffel, Deputy Director, Queensland Art Gallery, Australia
Thomas W. Lentz, Elizabeth and John Moors Cabot Director, Harvard Art Museums
Ann Goldstein, Director, Stedelijk Museum, Amsterdam
Apinan Poshynanda, Bangkok Art and Culture Centre Foundation, Bangkok, Thailand
Carolyn Christov-Bakargiev, Artistic Director, dOCUMENTA (13) and Bernd Leifeld, CEO, documenta
Manray Hsu, Founding Director, Taipei Contemporary Art Center
Holly Hotchner, Nanette L. Laitman Director, Museum of Arts and Design, New York
Joel Wachs, President, Andy Warhol Foundation for the Visual Arts, Pittsburgh

More at:

Op/Ed piece Dangerous Arts by Salman Rushdie in the New York Times.

Ai Weiwei's Blog

Free Ai Weiwei

And the World Bears Witness in China: The Heroism of Tursun Gul

"Our private lives continuously intersect with the history of our time. Rarely was this more evident than in Tiananmen Square in 1989 when I saw a million students rise up in protest. My friend climbed atop our taxi and shouted, 'Democracy is not only for America! Democracy is not only for China! Democracy is for the whole world!'"
-Huston Smith


The images from around the world bear witness to a global reality. "We are not sheep", they cry from the streets of Tehran to the streets of Urumqi. In both Iran and China, the ruling forces have duped many of the poor, rural citizens of their country into acting as proxy agents for their power grab. In China especially in Tibet and the Uighur regions, much like the British did during the height of their empire in the 18th and 19th centuries, ethnic groups are set against each other to distract the people away from the real foe - the unjust government.

The riots this week in China were bloody and many innocents died. It is time for the Han Chinese and the Uighurs to realize that their common enemy is the corrupt government that wants to keep all the citizens of China in bondage.

Background from the New York Times:

"Many Han migrants, at the encouragement of the Chinese government, have settled among the Muslim Uighurs, a Turkic-speaking race that is the largest ethnic group in oil-rich region of Xinjiang. The influx of Han, the dominant ethnic group in China, has transformed Xinjiang: the percentage of Han in the population was 40 percent in 2000, up from 6 percent in 1949.

But migration has fueled ethnic tensions, as Uighurs complain about the loss of jobs, the proliferation of Han-owned businesses and the disintegration of their own culture.

On Sunday at least 156 people were killed in the deadliest ethnic violence in China in decades. Raging Uighurs battled security forces and attacked Han civilians across Urumqi.

The riot had evolved from a protest march held by more than 1,000 Uighurs to demand that the government investigate an earlier brawl between Han and Uighurs in southern China."

Now we must look at the image of Tursun Gul standing fearlessly against the iron war horses of the Chinese military much like the celebrated photo of Man against tank in Tiananmen Square in 1989. Huston Smith, probably the world's foremost scholar on religion was in China and at Tiananmen Square during the uprising in 1989. Huston writes in his just published autobiography, "Our private lives continuously intersect with the history of our time. Rarely was this more evident than in Tiananmen Square in 1989 when I saw a million students rise up in protest. My friend climbed atop our taxi and shouted, 'Democracy is not only for America! Democracy is not only for China! Democracy is for the whole world!'"

From ABC News:

Her name is Tursun Gul. She is a migrant worker and she is not from Urumqi. In person, she looks younger than she does in the pictures but her eyes are tired. She was injured in a car accident and now uses a crutch to help her walk.

She told us why she took to the streets in protest on Tuesday.

“My husband, younger brother and older brothers, 5 in all, were arrested,” she said, “We were eating when it happened. The police came and took them away and they never returned. I don’t know why they took them.”

When we asked if she was not frightened walking up to a line of heavily armed soldiers she retorted, “How could I be afraid when I did not commit any crime? We’re just migrant workers from another part of Xinjiang. We’re not guilty of anything.”

Tursun, a mother of two young children, said she does not know where her brothers and her husband are being held and she does not know when, or if, they will be released. And she does not know how she will support her family now.

“There is no one to take care of us,” she lamented.

Other local residents we spoke to told us that more than 20 men were taken from the area. None of them have been seen since. According to official figures, more than 1400 people have been arrested in connection with this week’s violence.

More at:
Uighur Woman Who Stood Against Soldiers - ABC News
Buy Huston Smith's Autobiography at:
Tales of Wonder: Adventures Chasing the Divine, an Autobiography by Huston Smith