唐代仙女飛天神獸銅鏡
Bronze Mirror of Fairy Flying Sky and Beast in Tang Dynasty
直徑18cm
Diameter 18cm
葵形，圓鈕，圓鈕座，鈕座外圍凸線圓形界格。界格內對稱布局，以飛天騎青龍、海獸為主體，高浮雕而成。造型生動傳神，其中青龍回首擺尾，雙角細長，鬃毛根根可辨，龍鱗片片可數，刻畫極為細致；海獸形體豐腴，造型巧致，肩披繁密華麗的鬃毛，瑞獸神態刻畫清晰，表現出一副自然得意的情景。工藝精湛，風格富麗華美。而坐于其上的飛天則裙裾飛揚，身姿曼妙，集妖嬈與端莊于一體，如此富有強烈藝術感染力的畫面在唐鏡中極為少見。神獸造型優美靈動，體態矯健，細微之處各有妙趣，極富動態之感。鏡沿八角葵口，指向八方，界格與鏡沿間淺浮雕以四飛天四仙鶴為圖案，祥和之景撲面而來，品相完美。
Sunflower shaped, round button, round button seat, circular boundary grid with convex line around the button seat. The symmetrical layout in the boundary grid is composed of flying sky, riding blue dragons and sea animals as the main body and high relief. The shape is vivid and vivid, in which the dragon looks back and swings its tail, with long horns, distinguishable mane roots, countable dragon scales and extremely meticulous depiction; the sea animals are plump in shape, delicate in shape, with dense and gorgeous mane on their shoulders, and the Ruibeast's manner is clearly depicted, showing a natural and proud scene. The craft is exquisite and the style is magnificent and beautiful. And the flying sky sitting on it is skirt flying, graceful posture, set enchanting and dignified in one, such a strong artistic appeal of the picture is very rare in the Tang mirror. The god beast is graceful and agile in shape, vigorous in body, interesting in its subtleties, and full of dynamic feeling. The shallow relief between the boundary grid and the mirror edge takes four flying sky and four cranes as the pattern. The peaceful scenery pours on the face, and the appearance is perfect.
唐代銅鏡在造型上突破了漢式鏡，創造出各種花鏡，如葵花鏡、菱花鏡、方亞形鏡等等。圖案除了傳統的瑞獸、鳥獸、畫像、銘文等紋飾外，還增加了表現西方題材的海獸葡萄紋，表現現實生活的打馬球紋等等。唐代銅鏡的紋飾和總體布局，也突破了前期的程式規范。該銅鏡的構圖雖然還是環繞式和對稱式的表現手法，但是布局清新明朗，流暢華麗，自由活潑，特別是高浮雕技法，生氣充沛，柔美自然。
Bronze mirrors in the Tang Dynasty broke through the Han-style mirrors in shape and created various flower mirrors, such as sunflower mirrors, diamond mirrors, square sub-shaped mirrors and so on. In addition to the traditional ornaments of Swiss animals, birds and animals, portraits, inscriptions and other decorations, the pattern also adds the grape pattern of sea animals expressing western themes, and the Polo pattern expressing real life and so on. The decoration and overall layout of the bronze mirrors in the Tang Dynasty also broke through the previous norms. Although the composition of the bronze mirror is still surrounded and symmetrical, its layout is fresh and clear, flowing and gorgeous, free and lively, especially the high relief technique, full of vitality, soft and natural.
唐代藝術中的神仙觀念與前代不同，該銅鏡遵循此制，不再是現實中的威嚇權勢，而是帶著更濃厚的主觀愿望色彩，在獅奔虎嘯，馬走龍潛的交錯中描繪出一個極為豐富飽滿，充滿旺盛的生命力的幻想世界，在粗線條、粗輪廓的整體形象的飛揚流動中，表現出力量、運動以及由之而來的氣勢美，即使是靜態的形象，也可以讓人感受到內在的運動、力量的速度感。這枚銅鏡便是遵循這種時代風格，以遒勁有力的線條和減低技法表現著動蕩而流逝的瞬間動作，四神獸形體矯健舒張，有極強的動態感和視覺張力，于方寸之間揮灑出萬千氣象，在行云流水般的構圖中，表現出一種瑰麗變幻的浪漫之美。
The concept of immortality in the art of Tang Dynasty is different from that of the predecessors. The bronze mirror follows this system. It is no longer a threat power in reality, but with a stronger subjective desire color, depicts a fantasy world full of richness and vitality in the intertwining of lions, tigers, and horses. The overall image of the flying flow, showing strength, movement and the resulting momentum beauty, even the static image, can also make people feel the internal movement, the speed of force. This bronze mirror follows the style of the times, expresses turbulent and passing moments with powerful lines and reducing techniques. The body of the four gods and beasts is vigorous and relaxed, with strong dynamic sense and visual tension. It spreads thousands of Meteorologies between cubic inches and shows a magnificent and changeable composition in the cloudy and flowing water. The beauty of romance.
此銅鏡契合了盛唐時期對于精神上開放自由和物質上綺麗奢華的追求。紋飾布局構思奇巧，獨具匠心，動物形象刻畫惟妙惟肖，盛唐時期豐滿華麗的審美風格一覽無余，鏡體厚重，銅質精良，即使在中國古代銅鏡鑄造業處于巔峰時期的大唐盛世，也只有皇家會不計成本，使用最好的工匠，最優質的銅料，最優秀的工藝大師去創造如此的力作藝術精品，極具藝術感染力的紋飾和厚重光潔的鏡體之和諧統一，愈益襯托出皇家鏡鑒的尊貴華麗氣派，堪稱盛唐時期高藝術性的創造，高技術的產品之經典，以美感人，以情動人，意可擄人，境能奪人之珍遺。
This bronze mirror is in line with the pursuit of spiritual freedom and material luxury in the flourishing Tang Dynasty. The decorative layout is ingenious, ingenious, vividly depicted in animal images. The rich and gorgeous aesthetic style of the Tang Dynasty is at a glance. The mirror body is thick and the copper quality is excellent. Even in the Tang Dynasty, when the ancient bronze mirror foundry industry was at its peak, only the Royal Society used the best craftsmen and the best quality regardless of cost. The bronze material, the best craftsmen to create such a force to create fine works of art, highly artistically appealing decorations and the harmony and unity of the thick and clean mirror body, more and more set off the Royal mirror of the noble and magnificent style, can be called the high artistic creation of the flourishing Tang Dynasty, high-tech products of the classic, touching with beauty, moving with emotion. If you want to take captives, you can take away treasures.
