Editing Chinese art (section)

==== Qin art ====
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| image1   = Qin Terracotta Attendant (grey background).jpg
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| image2   = Qin Terracotta Acrobat (9897907493).jpg
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| footer=A ''[[Terracotta Army]]'' attendant, and one of the ''[[The Acrobats|Acrobats]]''. These were meant to guard the [[Mausoleum of the First Qin Emperor]], 210 BCE
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The [[Terracotta Army]], inside the Mausoleum of the First Qin Emperor, consists of more than 7,000 life-size tomb [[terracotta]] figures of warriors and horses buried with the self-proclaimed first [[Emperor of China]] [[Qin Shi Huang]] in 210–209 BC. The figures were painted before being placed into the vault. The original colors were visible when the pieces were first unearthed. However, exposure to air caused the pigments to fade, so today the unearthed figures appear terracotta in color. The figures are in several poses including standing infantry and kneeling archers, as well as charioteers with horses. Each figure's head appears to be unique, showing a variety of facial features and expressions as well as hair styles. The spectacular realism displayed by the sculptures is an evidence of the advancement of art during the Qin dynasty.<ref>{{Cite book|title=Art history|last=Stokstad|first=Marilyn|author2=Cothren, Michael Watt|isbn=978-0-13-447588-2|edition= Sixth|location=Upper Saddle River|publisher=Pearson |oclc=953927607|date = 2018}}</ref> It is without precedent in the historical record of art in East Asia.<ref name="The First Emperor and sculpture in"/><ref name="NL"/>

A music instrument called Qin zither was developed during the Qin dynasty.
The aesthetic components have always been as important as the functional parts on a musical instrument in Chinese history. The Qin zither has seven strings. Although Qin zither can sometimes remind people of corruptive history times, it is often considered as a delivery of peace and harmony.<ref>{{Cite journal|last=Kouwenhoven|first=Frank|date=2001|title=Meaning and Structure: The Case of Chinese Qin (Zither) Music|journal=British Journal of Ethnomusicology|volume=10|issue=1|pages=39–62|doi=10.1080/09681220108567309|jstor=3060771|s2cid=191483792}}</ref>