Materials:

An abundance of clay and especially large deposits of ochre-colored loess in Northern China, which the Chinese refer to as 'yellow earth' proved to be a suitable material due to its plasticity and adhesive quality. Clay of this type was produced in the area near Mount Lishan where the Qin Mausoleum was constructed. A group of kilns were established around the mausoleum in Shangjiao Village, Yuchi Village and Chengou Village.

Figure Creation:

The clay was firstly panned and crushed into a malleable form is suitable for molding. The mould was started from the bottom of the body. The feet of the warrior were formed on a square base, and legs were then added. When half-dry, clay was coiled into 3 to 5 cm ropes wound upwards to create the hollow upper body. This was carefully smoothed using a paddle on the exterior pressing against an anvil or block on the inside wall. Next, the half finished head and hands were pasted onto the body. The structure of the base prevented the figure from collapsing. Fashioning heads represented a complicated process. Facial features were achieved using a mould, with piling and sculpting to form the back. Ears were pasted to the heads prior to adding sculpted or molded hair buns.

Refinement:

A procedure was adopted to give individuality to each rough mould. The artisans smeared fine clay on the rough surface, then by pinching, pasting, cutting, and carving, facial details like eyes, hair, moustache, ears were elaborately represented. Excavations indicate that dozens of heads might be made from the same mould.

Skilful refinement produced the individual life like facial features and impressive stance, representative of the powerful Qin army. No two figures have an identical face; some appear solemn in deep thought while others are of a cheerful countenance. Archeological research confirms that these facial features are truly representative of the real men.

Firing:

Kilns built to fire the terra cotta figures were easily found around the site of the tomb. Firing within a kiln facilitated experimentation with different firing temperatures, raw materials, and types of decoration. The well formed nature of the earthenware would have been obtained by maintaining a temperature between 800 C and 900 C. Greater heat would have destroyed the even thickness while less will caused brittleness and breakage. The pure luster, high density and hardness of the figures are unique. Modern attempts have failed to create figures of similar quality.

Glazing and Coloring:

Gelatin or raw lacquer was applied thinly to the surface, then pink or similar color added to depict skin tones. Another layer of white paint applied to form a glaze. The black pupils in the yellowish brown irises of eyes give the statue a lifelike expression. Excavations indicate that various shades of red, pink, blue, even bright yellow were applied.

The same applies to the muscular horses, which stand with forelegs straight and hind legs slightly bent. The horses, with flaring nostrils, ears erect and eyes blazing seem ready to engage in a battle charge at a moment's notice.