Reconstructing the Artistic Ontology of Qin-Han Clay Seals: Toward a New Paradigm of "Yinzong Qin-Han" Through Interdisciplinary Methodologies
Abstract
Background and Aims: Qin-Han clay seals have traditionally been viewed as bureaucratic artifacts with limited artistic value. This study challenges such views by examining these objects' aesthetic and cultural significance, situating them at the intersection of administrative regulation and artistic production. The research aims to: (1) catalog the typological spectrum and formal diversity of Qin-Han clay seals, (2) uncover aesthetic values and engraving paradigms, and (3) reinterpret the doctrine of “Yinzong Qin-Han” through material and symbolic analysis.
Methodology: An interdisciplinary methodology was employed, integrating archaeological typology, visual semiotics, and digital humanities. The study analyzed over 1,200 seal specimens using tools like 3D modeling, XRF composition analysis, and experimental archaeology. It introduced a “material-art-history” conceptual framework, combining institutional, material, and expressive dimensions.
Results: The analysis identified six major seal types and revealed significant regional and material variation. Notably, 14% of Qin seals contain hybrid scripts, contradicting long-standing assumptions of uniform script policy. Findings showed that artisans creatively negotiated institutional constraints through aesthetic deviation. Late Qing artists, particularly Wu Changshuo, intentionally revived and recontextualized Qin-Han visual motifs, demonstrating a lineage of artistic reinterpretation.
Conclusion: Qin-Han clay seals embody a complex interplay of institutional authority, material agency, and aesthetic innovation. The concept of “Administrative Aesthetics” redefines these artifacts as dynamic carriers of historical memory and cultural identity. This research not only reframes traditional art historiography but also proposes practical implications for heritage preservation, digital curation, and cultural revitalization.
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