The Han-Tang Dynasties’ terracotta figurines in Luoyang, as an outstanding representative of ancient Chinese sculpture art, vividly record the historical trajectory of social life, aesthetic trends, and cultural integration during the medieval period. This article systematically reviews the remains of the Han-Tang Dynasties terracotta figurines unearthed in the Luoyang area. By employing archaeological typology and iconographic analysis methods, and considering the historical and cultural background, it delves into the differences and connections between the two dynasties’ terracotta figurines in terms of aesthetic characteristics, connotations, and aesthetic ideology. Research shows that Han Dynasty terracotta figurines are characterized by their simplicity and expressiveness, using concise lines to convey inner spirit and highlighting the romanticism influenced by Chu culture. In contrast, Tang Dynasty terracotta figurines exhibit a tendency towards realistic and full-bodied forms, reflecting the openness of the Tang Dynasty through the tri-colored glazing technique and secular themes. This paper proposes that Han-Tang Dynasties’ terracotta figurines jointly constructed a Chinese creation aesthetic system that embodies “both spirit and form”. Its creative concept of “expressing spirit through form”, cultural connotation of “utensils carrying the Tao”, and innovative spirit of “diverse integration” provide possibilities for innovation in contemporary object design. Research emphasizes the enlightening value of inheriting the aesthetics of terracotta warriors for contemporary Chinese design in the context of cultural confidence.
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