Art Analysis

Name

Formal Analysis of Haniwa Figure of a Warrior

The Haniwa Figure of a Warrior is from the sixth century Kofun period (ca. 300 -710) in

Japan. The statue is 22 7/8 inches high. The work is made from earthenware, with incised and

applied decoration. The artwork was originally painted, although most of the paint is no longer

visible. In this sculpture, composition, form, and line work together to create a stylized depiction

of a strong and capable warrior.

The Haniwa Figure of a Warrior is a sculpture in the round. The work is modeled from

clay (earthenware), and carved/incised to add detail such as the armor. The helmet was added to

the work, and additional clay pieces were modeled and applied at the neck area, perhaps to

represent jewelry or some other warrior -related equipment. The sculpture is stylized, or

simplified, as viewers are able to identify the basic form of the warrior but it is not realistic . The

head is complete with a moderate amount of detail, but the arms are incomplete or perhaps

broken . The torso is covered in pattern, likely to represent armor, and the legs are missing

altogether.

The composition of the work is mostly symmetrical giving a sense of overall balance.

The nose appears to be directly in the center of the work, and the eyes are set equidistant from

one another, while the mouth is centered directly below the nose. The symmetry and rigidity of

the facial features conveys the strength of the warrior to the audience.

The form of the work is composed of two pyramids, stacked on top of each other forming

an hourglass . The top pyramid is inverted to represent the warrior’s broad shoulders at the top,

funneling down to the tip signifying a narrowed waist. The bottom pyramid , which is upright,

connects to the waist and forms the lower half of the body. There is an overall geometric

appearance to the form of this figure which suggests the regularity and order of a soldier’s life.

Lines are another important element of this work. They run mostly vertically, with a few

horizontally, creating a pattern which serves as the warrior’s armor. Some of the lines are

incised, while others are modeled. There is texture to the work with the incised lines, as well as

the eyes and mouth and the modeled nose, helmet and body. The patterned body creates a sense

of movement and rhythm.

The artist’s use of symmetry, form, line, pattern, and stylization combine to convey the

warrior’s strength, power and serious demeanor to the viewer. Further, the lines and geometric

form reinforce the strength and vitality of the warrior. Overall, the formal elements work

together harmoniously to strikingly express the warrior’s imposing qualities to the audience.