157947

What are the characteristics of Han Dynasty bronze mirrors

Recently, more than 80 exquisite Han Dynasty bronze mirrors were unearthed in Shaanxi. So what are the characteristics of Han Dynasty bronze mirrors?

In addition to continuing to use the Warring States mirrors in the Han Dynasty, the most popular bronze mirrors are: panchi pattern mirror, panfrog pattern mirror, Zhangcao pattern mirror, nebula mirror, cloud and thunder arc pattern mirror, bird and animal pattern regular mirror, double column god beast mirror , continuous arc inscription mirror, heavy ring inscription mirror, four-breast animal pattern mirror, multi-breast animal pattern mirror, deformed four-leaf mirror, beast mirror, portrait mirror, dragon and tiger pattern mirror, sunlight continuous arc mirror, four-breast mirror, Mirrors with seven breasts and four gods, birds and beasts, etc.

The Han Dynasty was an important period for the development of bronze mirrors in my country. The number of Han mirrors unearthed is the largest and is widely used. Not only is the number of Han mirrors more than that of the Warring States period, but also great development has been made in the form of production and artistic expression. From its development trend, it can be divided into three major stages. Important changes occurred in the period of Emperor Wu of the Han Dynasty, the period of Wang Mang in the late Western Han Dynasty, and the middle period of the Eastern Han Dynasty.

The early Western Han Dynasty was the alternation period of Warring States Mirror and Han Mirror. Until the mid-Western Han Dynasty around Emperor Wu of the Han Dynasty, some new mirrors became popular. These new types of mirrors play a link between the past and the future for the development of later bronze mirrors.

The bronze mirrors of the Han Dynasty are characterized by a round shape, a thin body, a flat edge, a round button, and stylized decoration. There are different styles in different periods, and its development can be divided into three periods.

The first period refers to the early to middle period and the end period of the Western Han Dynasty. The bronze mirrors of this period were carved flat, with flat mirror surfaces, flat patterns, simple mirror edges, and strong decoration.

In the early Han Dynasty, the decoration style of the bronze mirrors of the Warring States was followed, and the overlapping technique of combining the base pattern and the main pattern was mostly used. Casting inscriptions usually include words such as Long Lovesickness, Never Forget Each Other, Chang Fugui, and Le Weiyang.

In the middle of the Western Han Dynasty, before and after Emperor Wu, the shape and pattern of the bronze mirror changed significantly, and the ground pattern gradually disappeared. Strictly symmetrical to the center of the round surface of the mirror, or evenly divided into four areas, in addition to the popular simplified pan chi pattern mirrors, nebula pattern mirrors and grass leaf mirrors were also popular at that time. The nebula pattern is actually evolved from the panchi pattern. Because there are many breasts, the nebula pattern mirror is also called the white milk mirror.

The button seat of the grass-leaf mirror is square, surrounded by symmetrical grass leaves, some are like petals, some are like leaves, and the outer edge is edged with sixteen inward continuous arcs. This kind of bronze mirror occupies an important position in Han mirror because of its long popularity.

Around the beginning of Emperor Xuan, there appeared the Sunlight Mirror with a circle of inscriptions on the Ming Dynasty in the world, and the Sunlight Mirror with inscriptions inscribed in two circles of sun and moon, with Jomon in between. The pattern is a concentric double circle organization, and the inscriptions are used as the main decoration.

The second period refers to the late Western Han Dynasty to the early Eastern Han Dynasty. During this period, regular mirrors were mainly popular. In order to show off his political achievements, Wang Mang made a batch of gorgeous and exquisite works, and the Han mirror was the most exquisite in Wang Mang’s period.

Regular mirror: It is named for its fine and regular casting and carving, and the regular TLV-shaped decorative pattern of the mirror pattern. Foreign scholars also call it TLV mirror. Its formula is quite standard. Generally, the back of the mirror is divided into several decorative areas. Starting from the button base, the round button is the center as a single decorative unit. The shapes of the button base include round, square, and calyx-covered shapes.

The format next to the button seat is the inner area, which is the part of the main pattern. The TL shapes in the pattern are usually arranged on the four sides of the inner area of ​​the bronze mirror symmetrically in the main flower, playing an interspersed role. Then outward is the outer area, which is mostly decorated with ribbon patterns composed of curly grass patterns, bird and animal patterns, and geometric patterns.

In the final outer edge area, some are completely plain, some are made of simple arc patterns, and some are decorated with Jomon and zigzag lace. Inscription tapes are added between the inner and outer areas.

It is divided into five areas, and the layout is rigorous and correct, but the machinery is rigid and changes little, giving people a stereotyped feeling. Rule mirrors were still popular in the early Eastern Han Dynasty, but certain changes have taken place.

Most of the bronze mirrors of this period cast the so-called four gods of Qinglong, Baihu, Suzaku, and Xuanwu at the main flower position in the inner area. Words and sentences, so it is also called the four mirrors of rules and regulations.

TLV is actually an ancient Liubo chess game. A stone Liubo plate was unearthed in Feixian County, Shandong, and a complete set of game equipment was unearthed from Mawangdui Tomb No. 3 in Changsha. The chess boards all have TLV patterns. In the development of Han mirror, regular mirror is the longest popular one, and it is also the most outstanding one in Han mirror.

The third period refers to the middle period to the end of the Eastern Han Dynasty. During this period, the mirror surface was slightly convex, which was convenient for showing the full shape of the surface, which was in line with scientific principles. The mirror button has become thicker and stronger. Contrary to the first period, there are more arcs in the inner area.

The layout of bronze mirrors in this period is also more lively, and the division of regions is simple, usually with auspicious words such as Changyi high-ranking officials or Changyi descendants, Wei to Sangong, etc. as inscriptions. During this period, a relief-style method was also created, with higher decorations, mainly including double-kui pattern mirrors, bat-pattern mirrors, portrait mirrors, and square inscription mirrors.

The Shuangkui pattern mirror broke the introverted or extroverted radiating technique centered on the button seat, which was popular at that time, and used a symmetrical format to achieve a unique effect; the bat pattern mirror is actually the deformation and expansion of the persimmon pattern. The pattern is abstract and the form is beautiful.

Portrait mirrors represent figures, birds, animals, flowers and plants in the form of bas-reliefs, which tends to be consistent with the style of portrait stones and brick portraits at that time. Most of these mirrors were unearthed in Shaoxing, Zhejiang, accounting for almost 90%; There is a circle of protruding semicircles and squares around the mirror, which mostly represent the theme of immortals and animals.

Shaoxing, Zhejiang was the most important bronze mirror manufacturing center in the late Eastern Han Dynasty. The re-listed animal mirrors and portrait mirrors cast there marked the new development of bronze mirror decoration. The difference between the latter and the former is that in addition to the images of gods and animals, there are relief images of songs and dances, chariots and horses, historical figures and legends.

In the late Han Dynasty, a new pattern arrangement appeared in the animal mirrors, that is, a stepped arrangement in one direction, similar to the scattered perspective of wood carvings, called stage mirrors, popular in the Jian’an period, also known as Jian’an style.