摘要
自4000年前齐家文化出现青铜镜开始,我国青铜镜背面的图案便有着明确的构图方式:中心对称、轴对称以及四分区。直至唐宋时期逐渐打破了过去的布局形式,出现了以整个镜背作为主体设计的整体构图方式,这一转变主要体现在唐宋之际的人物故事为主题的镜上。本文通过对考古报告、出版著录中唐宋铜镜等资料的研究,认为此种变化有着盛唐准备期、中唐剧变期、晚唐宋金成熟期三个阶段;且与多种手工艺技法融入铜镜的制造过程、我国古人从“席地而坐”转为“垂足而坐”的生活习惯的改变有着密不可分的关系。
When bronze mirrors first appeared in the Qijia culture four thousand years ago,their patterns was composed in specific modes:central symmetry,axial symmetry and quartering.Such pattern layouts were not changed until the the emergence of the story mirrors in the Tang and Song dynasties.Base on published data of bronze mirrors of the Tang and Song,this paper thinks such a shift underwent three stages:the high Tang,middle Tang,as well as the late Tang and Song,and was inextricably linked with the change from sitting on the floor to on a chair.
出处
《洛阳考古》
2022年第3期22-30,共9页
Archaeology of Luoyang
关键词
铜镜构图
唐宋时期
演变
Composition of bronze mirror patterns
Tang-Song period
evolution
