摘要
明清铜镜在继承宋金民间铸镜传统的同时,其纹饰及铭文更多地反映了当时普通人士的心态,融入了市井文化内容,形成独特的时代风格。乾隆时期,清宫内府铸制了一批独具特色的宫廷用铜镜,其工艺精湛,纹饰别具一格,是铜镜艺术的一枝奇葩。本文通过对明清铜镜造型、纹饰、款识与铭文、特殊工艺镜、仿古镜以及清宫内府造镜等几个方面进行分析比较,勾划出其时代特征,并对形成这一特征的社会根源作进一步的探讨。
At the same time as Ming and Qing bronze mirrors perpetuated the casting traditions of Song and Jin dynasty vernacular bronze mirrors, their decorative elements and inscriptions more often reflected the preoccupations of educated commoners and the urban culture of their own time, endowing them with the unique temperament of their own period. In the Qianlong pericxl, the Qing palace workshops cast a group of unique bronze mirrors for palace use. The workmanship of these was exquisite and the decoration unique, endowing them with a rare beauty within the genre of bronze mirror artistry. In this multi - faceted comparative study of the design, decoration, marks and inscriptions on unusual, 'archaistic and Palace Workshop bronze mirrors produced in the Ming - Qing period, the author delineates the temporal features that distinguish the mirrors of this period, furthering our knowledge of the specific social underpinnings that informed this art.
出处
《故宫博物院院刊》
北大核心
2003年第5期76-85,共10页
Palace Museum Journal
关键词
明朝
清朝
铜镜
纹饰
铭文
市井文化
圆形浮雕
方镜
菱花镜
带柄镜
bronze mirrors
mirrors produced in workshop of the Imperial Court
auspicious inscriptions
mirror marks
the desire for examination success.
