四川永合利拍賣有限公司，為藏品強(qiáng)大的傳播效應(yīng)向各位買家推薦經(jīng)國(guó)家一級(jí)鑒定專家甄選的藝術(shù)珍品,為藏家牽線搭橋,讓千百件藝術(shù)珍品價(jià)值被發(fā)掘與重視,在拍賣會(huì)上得以高價(jià)成交。
Sichuan Yonghe Li Auction Co., Ltd. For the strong dissemination effect of collections, we recommend to buyers the art treasures selected by experts of national first-level appraisal, and make a bridge for Tibetans, so that the value of thousands of art treasures can be excavated and valued, and high-priced transactions can be concluded at auction.
【名稱】花鳥(niǎo)紋葵花銅鏡
【規(guī)格】直徑：13cm
【類別】雜項(xiàng)
[Name]Peony Map
[Specification] Long: 139 cm wide: 70 cm
[Category] Calligraphy and Painting
中國(guó)銅鏡自齊家文化時(shí)期開(kāi)始，歷經(jīng)4,000年歷史，在不同的社會(huì)歷史進(jìn)程中，發(fā)展出不同的時(shí)代特征：古樸、靈巧、華麗、素雅、粗陋……形形色色；紋飾的不同內(nèi)容、形態(tài)的多樣化、工藝技術(shù)的高低，都成為時(shí)代的印記。在古代，最早的商代是用來(lái)祭祀的禮器出現(xiàn)，在戰(zhàn)國(guó)至秦一般都是王和貴族才能享用，到漢代銅鏡就慢慢的走向民間，是人們不可缺少的生活用具。
Chinese bronze mirrors have experienced 4,000 years of history since the period of Qijia culture. In different social and historical processes, they have developed different characteristics of the times: simple, smart, gorgeous, elegant and crude. Various forms, different contents and forms of decoration, and the level of technology have become the mark of the times. In ancient times, the earliest sacrificial utensils appeared in the Shang Dynasty. From the Warring States Period to the Qin Dynasty, they were usually enjoyed by kings and nobles. The bronze mirrors in the Han Dynasty slowly went to the people and became indispensable living utensils.
銅鏡一般是含錫量較高的青銅鑄。在古代，銅鏡就是古代用銅做的鏡子與人們的日常生活有著密切關(guān)系，它制作精良，形態(tài)美觀，圖紋華麗，銘文豐富，是中國(guó)古代青銅藝術(shù)文化遺產(chǎn)中的瑰寶,小如一面銅鏡，便記載了這一段悠長(zhǎng)的歲月,西漢前期是戰(zhàn)國(guó)鏡與漢鏡的交替時(shí)期。直到西漢中期漢武帝前后，一些新的鏡類流行起來(lái)了。這些新的鏡類對(duì)后世銅鏡的發(fā)展，起著承上啟下的作用。唐代銅鏡在造型上已突破了漢式鏡，如葵花鏡、菱花鏡、方亞形鏡等。圖案除傳統(tǒng)的瑞獸、鳥(niǎo)獸、畫像、銘文等紋外，還增加了表現(xiàn)西方題材的海獸葡萄紋，打馬球紋等。
Bronze mirrors are usually cast in bronze with high tin content. In ancient times, bronze mirrors are mirrors made of bronze in ancient times, which are closely related to people's daily life. They are exquisite in production, beautiful in shape, gorgeous in pattern and rich in inscriptions. They are treasures in the cultural heritage of ancient Chinese bronze art. They are as small as a bronze mirror, which records a long period of time. In the early Western Han Dynasty, they were mirrors of the Warring States and Han Dynasty. The alternating period. Until the mid-Western Han Dynasty, around Emperor Wudi of Han Dynasty, some new mirrors became popular. These new types of mirrors play a connecting role in the development of bronze mirrors of later generations. The Tang Dynasty bronze mirror has broken through the Han style mirror in the shape, such as sunflower mirror, diamond mirror, square sub-mirror and so on. In addition to the traditional patterns of Swiss animals, birds and beasts, portraits, inscriptions, etc., the pattern also adds the grape pattern of sea animals and polo pattern of Western themes.
盛唐以后，以花為主，多為吉祥圖案，自由豪放，清新活潑，表現(xiàn)了大唐帝國(guó)蓬勃向上的精神面貌。裝飾方法有浮雕、彩繪、鑲嵌、鎏金等到，出現(xiàn)了金銀平脫、螺鈿鑲嵌、涂釉、涂漆等新工藝。唐代銅鏡的演變情況可分為三個(gè)時(shí)期。初唐，一方面繼承隋代傳統(tǒng)，多為四神鏡、十二生肖鏡、瑞獸鏡;另一方面又受外影響，出現(xiàn)海獸葡萄鏡。盛唐、中唐時(shí)，民族特點(diǎn)加強(qiáng)，多為花鳥(niǎo)鏡、瑞花鏡、人物故事鏡、盤龍鏡、對(duì)鳳鏡等，寓意吉祥。構(gòu)圖也不像傳統(tǒng)漢式鏡那樣嚴(yán)格對(duì)稱，而是采用繪畫風(fēng)格，但求均衡，不求對(duì)稱。裝飾手法也比以前增多，華麗精致，雄健豪放，是唐鏡的最盛期，代表了唐鏡的水平。晚唐處于衰落趨勢(shì)，多為八卦鏡，萬(wàn)字鏡，有宗教意義，整個(gè)看上去，簡(jiǎn)單粗放，單調(diào)乏味。
After the flourishing Tang Dynasty, flower-based, mostly auspicious patterns, free and bold, fresh and lively, showing the vigorous and upward spiritual outlook of the Tang Empire. Decoration methods include relief, color painting, mosaic, tantalum and so on. New technologies such as gold and silver flattening, screw and mole mosaic, glazing and painting have emerged. The evolution of bronze mirrors in Tang Dynasty can be divided into three periods. In the early Tang Dynasty, on the one hand, it inherited the tradition of Sui Dynasty, mostly the four gods mirror, the zodiac mirror and the auspicious animal mirror; on the other hand, it was influenced by the outside world and appeared the beast grape mirror. In the flourishing and mid-Tang dynasties, the national characteristics were strengthened, mostly flower and bird mirrors, auspicious flower mirrors, character story mirrors, Panlong mirrors and paired Phoenix mirrors, which implied auspiciousness. The composition is not as symmetrical as the traditional Chinese mirror, but in a painting style, but in a balanced way, not symmetrical. Decoration techniques are also more than before, gorgeous and delicate, bold and bold, is the peak of the Tang mirror, representing the level of the Tang mirror. Late Tang Dynasty is in a declining trend, mostly for the Eight Diagrams Mirror, Wanzi Mirror, with religious significance, the whole looks simple and extensive, monotonous.
中國(guó)銅鏡在唐代以前，以圓形為主，極少有方形的。到宋代后除繼承過(guò)去的圓形、方形、葵花形、菱花形外，葵花形、菱花形鏡以六葵花為最普遍。它們的棱邊與唐代有所不同，有的較直，形成六邊形鏡。此外還有帶柄鏡、長(zhǎng)方形、雞心形、盾形、鐘形鼎形等多種樣式。并出現(xiàn)了很多花草、鳥(niǎo)獸、山水、小橋、樓臺(tái)和人物故事裝飾題材的銅鏡，還有素面鏡，窄邊小鈕無(wú)紋飾鏡，這些題材都具有濃厚的生活氣息。此外，還有一些神仙、人物故事鏡和八卦鏡等。像花鳥(niǎo)紋葵花銅鏡經(jīng)以往的成交價(jià)來(lái)看，故具有收藏價(jià)值，藝術(shù)價(jià)值。
Before the Tang Dynasty, Chinese bronze mirrors were mainly round and rarely square. After the Song Dynasty, besides inheriting the past round, square, sunflower-shaped and diamond-shaped, sunflower-shaped and diamond-shaped mirrors were the most common. Their edges are different from those of the Tang Dynasty. Some of them are straight and form hexagonal mirrors. In addition, there are many styles such as handle mirror, rectangle, chicken heart, shield, bell tripod and so on. Many bronze mirrors with decorative themes of flowers, birds and animals, landscapes, bridges, terraces and character stories, as well as plain mirrors and narrow buttons without decorative mirrors, all of these themes have a strong flavor of life. In addition, there are some immortals, character story mirrors and gossip mirrors. The sunflower bronze mirror with flower-and-bird pattern is of collecting value and artistic value in view of past transaction price.
