銅鏡是我國古代青銅器中一種非常重要的日常生活用品，也常作為墓葬中的隨葬品。它本是古代照面的用具，但從唐初王度的《古鏡記》中描寫古鏡法力無邊，能鎮百邪來看，鏡子又是道教中的重要法器。由于銅鏡的形制、紋飾、銘文等具有較明顯的時代特征，因此，考古學上一直將銅鏡作為重要的斷代器物。迄今為止，我國最早的銅鏡出土于四千多年前的青海齊家文化遺址。之后，銅鏡歷經西周、春秋、戰國、秦、漢、三國魏晉南北朝，至隋唐時達到鼎盛，宋元以后日趨衰退，直至清代中晚期時為玻璃所替代。迄今為止，我國最早的銅鏡出土于四千多年前的青海齊家文化遺址。之后，銅鏡歷經西周、春秋、戰國、秦、漢、三國魏晉南北朝，至隋唐時達到鼎盛，宋元以后日趨衰退，直至清代中晚期時為玻璃所替代。
銅鏡是我國古代青銅器中一種非常重要的日常生活用品，也常作為墓葬中的隨葬品。它本是古代照面的用具，但從唐初王度的《古鏡記》中描寫古鏡法力無邊，能鎮百邪來看，鏡子又是道教中的重要法器。由于銅鏡的形制、紋飾、銘文等具有較明顯的時代特征，因此，考古學上一直將銅鏡作為重要的斷代器物。迄今為止，我國最早的銅鏡出土于四千多年前的青海齊家文化遺址。之后，銅鏡歷經西周、春秋、戰國、秦、漢、三國魏晉南北朝，至隋唐時達到鼎盛，宋元以后日趨衰退，直至清代中晚期時為玻璃所替代。迄今為止，我國最早的銅鏡出土于四千多年前的青海齊家文化遺址。之后，銅鏡歷經西周、春秋、戰國、秦、漢、三國魏晉南北朝，至隋唐時達到鼎盛，宋元以后日趨衰退，直至清代中晚期時為玻璃所替代。
Bronze mirror is a very important daily necessities in ancient bronze ware of China, and it is also often used as burial objects in tombs. It used to be an ancient tool for looking at the face, but from the description of ancient mirror in the book of ancient mirror by Wang Du in the early Tang Dynasty, the mirror is an important tool in Taoism. Because the shape, pattern and inscriptions of bronze mirrors have obvious characteristics of the times, they have always been regarded as important artifacts in archaeology. So far, the earliest bronze mirrors in China were unearthed in Qijia cultural site in Qinghai province more than 4000 years ago. After that, bronze mirrors went through the Western Zhou, spring and autumn, Warring States, Qin, Han, Three Kingdoms, Wei, Jin, southern and Northern Dynasties. They reached their peak in Sui and Tang Dynasties, declined gradually after song and Yuan Dynasties, and were replaced by glass in the middle and late Qing Dynasty. So far, the earliest bronze mirrors in China were unearthed in Qijia cultural site in Qinghai province more than 4000 years ago. After that, bronze mirrors went through the Western Zhou, spring and autumn, Warring States, Qin, Han, Three Kingdoms, Wei, Jin, southern and Northern Dynasties. They reached their peak in Sui and Tang Dynasties, declined gradually after song and Yuan Dynasties, and were replaced by glass in the middle and late Qing Dynasty.
銅鏡背面的紋飾是銅鏡的主要組成部分，也是判斷銅鏡年代的重要依據之一。同時，紋飾的題材圖案和銘文從不同的角度反映出了各時代的一些思想情趣和社會意識等文化面貌。文中此組“十二生肖小銅鏡”。該組銅鏡制作精良，品相完整，包漿肥厚。秦始皇統一天下以后，歷法也需要統一。于是，有人將“十二字”與“十二獸”相融合而配伍，形成流行至今的“十二生肖”：子鼠、丑牛、寅虎、卯兔、辰龍、巳蛇、午馬、未羊、申猴、酉雞、戌狗、亥豬。在漢代以后，道教又把十二生肖定為道教中的神靈，例如，在太原北齊婁睿墓（武平元年，公元570年）壁畫中，發現了十二生肖的形象。從這面鏡子里面的銘文，可以折射出，古人在生活用品中處處賦予人文情感與文化，反映當時社會人們希望通過讀書這種方式，在古代，鏡子與人們的生活息息相關。鏡子本身不會說話，但它卻能每天警示和教育少年書生勤勉努力，奮發圖強，來求取功名的殷殷期盼與美好愿望。此十二生肖銅鏡紋飾精工細琢，整體造型生動自然，十二生肖紋飾細膩，且鏡體碩大厚重，鑄造工藝精湛，紋飾繁復華美，當為此類鏡中之極品。
The pattern on the back of the mirror is the main part of the mirror, and it is also one of the important bases to judge the age of the mirror. At the same time, the motifs, patterns and inscriptions of the patterns reflect some cultural features of the times, such as ideological interest and social consciousness, from different perspectives. This group of "bronze mirrors of the Chinese Zodiac". This group of bronze mirrors is well made, with complete appearance and thick coating. After the first emperor of Qin unified the world, the calendar also needed to be unified. Therefore, some people combined the twelve characters with the twelve animals to form the popular twelve zodiac animals: zirat, ugly ox, Yin Hu, Mao rabbit, Chenlong, Si snake, afternoon horse, Weiyang, Shenhou, Youji, Xugou and Hai pig. After the Han Dynasty, Taoism regarded the zodiac as a God in Taoism. For example, the image of the zodiac was found in the frescoes of lourui tomb (the first year of Wuping, A.D. 570) in Northern Qi of Taiyuan. From the inscriptions in this mirror, it can be reflected that the ancients gave human feelings and culture everywhere in their daily necessities, reflecting that at that time, people wanted to read books. In ancient times, mirrors were closely related to people's lives. The mirror itself can't speak, but it can warn and educate the young scholars every day to work hard and strive for fame. The twelve zodiac bronze mirrors are exquisitely carved, with vivid and natural overall shape. The twelve zodiac bronze mirrors are exquisite, large and thick, with exquisite casting technology and complicated and gorgeous patterns. They should be the best of these mirrors.
近年來青銅鏡的收藏價值一直受很多專業收藏的業內人士的緊密關注，秋拍專場拍品264件(銅鏡131方)，成交率58.33%，成交額635.58萬元，估價55萬至70萬元的元代纏枝花卉鏡拍到100.8萬元，是首方價超百萬元者。2009年春拍上拍284件(銅鏡199方)，拍出72.54%，成交額586萬元。單方銅鏡交易的價格繼續走高，估價50萬至60萬元的隋唐十二生肖四神鏡拍至112萬元;秋拍時無論單方拍品的成交價，還是整體成交額都有突破——207件(銅鏡143方)成交79.71%共165件，成交額1179.81 萬元，以268.8萬元成交的唐代海獸葡萄鏡標志著銅鏡步入高價時代。今年春拍，銅鏡專場208件(銅鏡162方)成交80.76%，成交額已達1626.5萬元，編號7264的銅鏡估價30萬至50萬元，拍至120.96萬元，打破了銅鏡拍賣的紀錄，這些數據說明中國古代銅鏡的價值被市場認可。
In recent years, the collection value of bronze mirrors has been closely concerned by many professional collectors. There are 264 pieces (131 square meters of bronze mirrors) in autumn auction, with a transaction rate of 58.33%, and a transaction value of 6.3558 million yuan. The Yuan Dynasty flower mirror with a valuation of 550000-700000 yuan has a transaction value of 1.08 million yuan, which is the first one with a price exceeding one million yuan. In the spring of 2009, 284 pieces (199 square meters of bronze mirrors) were shot, 72.54% of which was sold, with a turnover of 5.86 million yuan. The price of single side bronze mirrors continued to rise, and the price of the four gods mirrors of the Sui and Tang zodiac, estimated at 500000-600000 yuan, was 1.12 million yuan. In autumn, there was a breakthrough in the transaction price of single side products and the overall transaction value - 207 pieces (143 sides of bronze mirrors) were 79.71% and 165 pieces, with the transaction value of 11.7981 million yuan. The Tang sea animal grape mirrors, valued at 2.688 million yuan, marked that bronze mirrors entered the era of high price. In this spring's auction, 208 bronze mirrors (162 square meters of bronze mirrors) were sold 80.76%, with a turnover of 16.265 million yuan. The 7264 bronze mirrors were valued at 300000-500000 yuan and sold at 1.296 million yuan, breaking the record of bronze mirror auction. These data show that the value of ancient Chinese bronze mirrors was recognized by the market.
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