古玩城2019精品推荐第11期：铜镜

“君不见高堂明镜悲白发，朝如青丝暮成雪。”“晓镜但愁云鬓改，夜吟应觉月光寒。”这些饱含情感的诗句中，都出现了同样一件物品——镜。铜镜，作为我国青铜制造的产物之一，其发展几乎贯穿了我国整个古代历史，是对青铜文化的一种延续。在古代，铜镜无比贴近民众生活，是人们日常生活中不可缺少的用具;而它背面的那些丰富美丽的纹饰、瑰奇繁复的铭文以及一些华丽难解的图案，那方寸之间展示出来的精湛工艺，不得不说又是精美的工艺品，令人叹为观止。

"If you don't see the bright mirror in the high hall, you will feel sad and have white hair. It will be like snow in the morning." "Xiaojing is worried about the change of clouds and sideburns. You should feel the cold moonlight when chanting at night." In these emotional poems, there is the same thing - mirror. Bronze mirror, as one of the products of bronze manufacture in our country, its development almost runs through the whole ancient history of our country and is a continuation of bronze culture. In ancient times, the bronze mirror is very close to people's life, and it is an indispensable tool in people's daily life. The rich and beautiful decorative patterns, strange and complicated inscriptions and some gorgeous and difficult patterns on the back of the bronze mirror, the exquisite craftsmanship displayed in that square inch, must be said to be exquisite crafts, amazing.

历代铜镜的铸造工艺、铜质、纹饰、铭文等无不反映特定的时代背景，反映当时的政治、经济、宗教、文学、艺术及风俗习惯等，是我国古代文化遗产中的瑰宝。

The casting technology, copper quality, ornamentation and inscriptions of the bronze mirrors in the past dynasties all reflect the specific background of the times, and reflect the politics, economy, religion, literature, art and customs at that time. They are treasures in the ancient cultural heritage of our country.

我国古代铜镜的起源可以追溯到齐家文化时期，然而夏商周时期的铜镜还处在刚刚萌芽的阶段，铜镜上的纹饰多为简单的几何纹样。到了战国时期，青铜铸造工艺达到了顶峰，中国古铜镜也发展成熟，出现了真正意义上的铜镜。汉代是继战国之后在铜镜艺术史上的第二个高峰，有了两个全新的发展——四神纹饰和铭文。西汉早期出现的铭文，是中国古铜镜发展史上一个巨大的创新和成就，后期历代沿用。铭文的内容大多为祈求神明护佑、表达愿望以及男女之间的相思之情。总之，铭文的出现改变了以往铜镜上只有图案的特点，创造出图文并茂的式样，使铜镜充满了诗情画意。

The origin of ancient bronze mirrors in China can be traced back to the period of Qijia culture. However, the bronze mirrors in Xia, Shang and Zhou dynasties are still in their infancy, and the patterns on the bronze mirrors are mostly simple geometric patterns. In the Warring States period, bronze casting technology reached its peak, and ancient Chinese bronze mirrors also developed and matured, and a real bronze mirror appeared. The Han Dynasty is the second peak in the history of bronze mirror art after the Warring States period. There are two new developments: the four gods pattern and inscription. The inscription appeared in the early Western Han Dynasty is a great innovation and achievement in the development history of ancient Chinese bronze mirror, which was used in later dynasties. The contents of the inscriptions are mostly praying for the protection of gods, expressing wishes and the love between men and women. In a word, the appearance of the inscriptions has changed the characteristics of the only pattern on the bronze mirror in the past, creating a pattern with both pictures and texts, which makes the bronze mirror full of poetry and painting.

汉代的皇帝们开始追崇炼丹升仙，期望长生不老，这为道教在汉代的盛行创造了条件，也为当时民间艺术文化提供了新的素材。此时的铜镜开始出现了大量反映道教文化的“朱雀、玄武、青龙、白虎”四神纹饰，这四神是守卫四方的神灵，也是中国古代四方星宿的名称。朱雀作为其中之一，无可厚非成为人们羽化升仙的幻想载体。朱雀纹以动态王气的头部姿势、生动活泼的身体造型、优美有力的羽尾走势等形式语言特征，成为一种经典的纹样造型;其羽化升仙的想象特征、矫健有力的线性特征和大气洗练的王者之风，使其成为当时的主流纹饰，在中国汉族传统装饰艺术中具有独特的价值。这款朱雀纹铜镜，铜质优良，背圆形桥钮，桥钮两侧绘朱雀，振翅翘尾，生动流畅，洒脱舒展，寓意吉祥。

The emperors of the Han Dynasty began to pursue alchemy and immortality, hoping for immortality, which created conditions for the prevalence of Taoism in the Han Dynasty, and also provided new materials for the folk art and culture at that time. At that time, a large number of "Zhuque, Xuanwu, Qinglong, and white tiger" four God patterns reflecting Taoist culture began to appear in the bronze mirror. These four gods are the gods guarding the four sides and the names of the four stars in ancient China. As one of them, Zhuque is undoubtedly the carrier of people's imagination. Zhuque pattern has become a classic pattern shape with dynamic Wang Qi's head posture, lively body shape, beautiful and powerful feather tail trend and other formal language features; its imaginative features of rising to immortality, vigorous and powerful linear features and the king's style of atmospheric washing make it the mainstream pattern at that time, which has unique value in the traditional decorative art of Han nationality in China. This bronze mirror with rosefinch pattern is of excellent copper quality. It has a round back button and two sides of the button are painted with rosefinches. It is lively, smooth, free and easy, and implies good luck.

汉以后，镜的使用更加广泛，镜的制作也更加精良。它的质料包括金、银、铜、铁等，以铜最为多，也有镀金银的、背面包金银的、或镶嵌金银丝的。隋唐以来，还有带柄的、四方的，各种花纹应有尽有。古铜镜自青铜器时代初期出现以来，历时几千年长盛不衰，直到清代中叶，水银玻璃镜传入中原，古铜镜渐渐被替代，退出了实用领域。这意味着我国的青铜器制造工艺也基本上划上了句号。此铜镜制作精良，形态美观，图纹华丽而富有寓意，无不凝结着当时工匠的智慧，而闪烁着民族艺术历史的光辉，且完整保存至今，极为珍罕，不仅具有很高的 文物价值、学术价值、艺术价值，还具有巨大的升值空间和投资潜能。

After the Han Dynasty, the use of mirrors was more extensive and the production of mirrors was more sophisticated. Its materials include gold, silver, copper and iron, most of which are copper. There are also gold-plated, bread backed or inlaid with gold and silver wires. Since the Sui and Tang Dynasties, there have been handle and square patterns. The bronze mirror has been flourishing for thousands of years since its appearance in the early Bronze Age. Until the middle of Qing Dynasty, mercury glass mirror was introduced into the Central Plains, and the bronze mirror was gradually replaced, leaving the practical field. This means that the manufacturing process of China's bronzes has basically come to an end. This bronze mirror is well made, beautiful in shape, gorgeous in pattern and rich in implication, all of which coagulate the wisdom of craftsmen at that time, and flash the brilliance of national art history. It is extremely rare since it is completely preserved. It not only has high cultural relic value, academic value, artistic value, but also has huge appreciation space and investment potential.

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