石渡美江，〈唐鏡における西方銀器の影響〉，《古代オリエント博物館紀要》Vol. XVIII (1997)
Influence of "Western" Silver Wares on Tang Bronze Mirrors
Abstract
As for the design on the backside of bronze mirror in China, a new pattern was introduced to Tang mirrors, which differed from those of the earlier periods. In Tang period the contact between Tang and Sasanian Persia, Oasis cities of Central Asia ("Western Countries") became more active than before, and consequently many new products of these regions were brought to China, giving strong influences on the designs and shapes of Tang mirrors.
As far as the design of Tang mirrors is concerned, Sasanian influences have been discussed by many scholars since Yoshito HARADA and Kousaku HAMADA pointed out the Sasanian origin of the so-called Animals-and-Vine-Scrolls design.
However, in spite of the fact that many scholars recognized "Western" influences on Chinese Vine-Scrolls, Twin-Birds, Fantastic Flower Pattern and so forth, no concrete comparative study of them has not been attempted.
The Eight-Lobed Gilt and Silver-Inlaid Bronze Mirrors with Animals-and-Birds Design now in the possession of the Gotoh Museum were made before the end of 7th or 8th century. I investigated the designs of knob, both outer and inner circular divisions of the back of this mirror, and arrived at the conclusion that they include various decorative elements of Late-Sasanian and Sogdian silver wares.
However, it must be noted that Chinese artisans were not satisfied with copying exactly the Sasanian and Sogdian designs but modified them in order to adapt them to Chinese taste. Furthermore, as this mirror is inlaid with silver, it is more strongly influenced by Sasanian silver wares than the contemporary bronze mirror wares.
On the other hand, this mirror is eight-lobed. Prior to Tang period Chinese mirrors are circular or square in shape and no mirror’s edge is shaped like flower-petals. Such flower-shaped form is found among Tang silver wares and can be assumed to have been derived from the silhouette of the so-called Fantastic Flower Pattern. This pattern composed of symmetrically-set palmettos and lotuses originated from Assyria and were then transmitted to Central and Northern Asia and China.
The shape of this mirror was made following the silhouette of Fantastic Flower Pattern which is similar to those depicted on the stone-coffin found in the Tomb of the Princess Yongtai (永泰公主) of Tang period , and different from those of previous periods.
From the above it is clear that Tang artisans studied Late-Sasanian and Sogdian decorative patterns in detail and created new design for bronze mirrors.
Influence of "Western" Silver Wares on Tang Bronze Mirrors
Abstract
As for the design on the backside of bronze mirror in China, a new pattern was introduced to Tang mirrors, which differed from those of the earlier periods. In Tang period the contact between Tang and Sasanian Persia, Oasis cities of Central Asia ("Western Countries") became more active than before, and consequently many new products of these regions were brought to China, giving strong influences on the designs and shapes of Tang mirrors.
As far as the design of Tang mirrors is concerned, Sasanian influences have been discussed by many scholars since Yoshito HARADA and Kousaku HAMADA pointed out the Sasanian origin of the so-called Animals-and-Vine-Scrolls design.
However, in spite of the fact that many scholars recognized "Western" influences on Chinese Vine-Scrolls, Twin-Birds, Fantastic Flower Pattern and so forth, no concrete comparative study of them has not been attempted.
The Eight-Lobed Gilt and Silver-Inlaid Bronze Mirrors with Animals-and-Birds Design now in the possession of the Gotoh Museum were made before the end of 7th or 8th century. I investigated the designs of knob, both outer and inner circular divisions of the back of this mirror, and arrived at the conclusion that they include various decorative elements of Late-Sasanian and Sogdian silver wares.
However, it must be noted that Chinese artisans were not satisfied with copying exactly the Sasanian and Sogdian designs but modified them in order to adapt them to Chinese taste. Furthermore, as this mirror is inlaid with silver, it is more strongly influenced by Sasanian silver wares than the contemporary bronze mirror wares.
On the other hand, this mirror is eight-lobed. Prior to Tang period Chinese mirrors are circular or square in shape and no mirror’s edge is shaped like flower-petals. Such flower-shaped form is found among Tang silver wares and can be assumed to have been derived from the silhouette of the so-called Fantastic Flower Pattern. This pattern composed of symmetrically-set palmettos and lotuses originated from Assyria and were then transmitted to Central and Northern Asia and China.
The shape of this mirror was made following the silhouette of Fantastic Flower Pattern which is similar to those depicted on the stone-coffin found in the Tomb of the Princess Yongtai (永泰公主) of Tang period , and different from those of previous periods.
From the above it is clear that Tang artisans studied Late-Sasanian and Sogdian decorative patterns in detail and created new design for bronze mirrors.
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