A Study On The Bronze Mirror With Inscriptions Of Han Dynasty

Han Dynasty,with a length of over 440 years,witnessed the first peak in the history of Chinese bronze mirror and left us a large number of bronze mirror,among which,the inscription mirror weighs a lot.The common pattern of the Inscription mirror back contains both inscriptions and decorations,which together provided rich information of art,history,and culture of that age.It also reflected the social life in Han Dynasty.Therefore,researching in combination of the two would help us to have a clearer understand the Han Dynasty society.From its development process,inscriptions and decoration has gone through three stages.Firstly,in the early Western Han Dynasty,the inscriptions and the decorative images at the mirror back weighs almost the same,with a mutual restraint for each other in meaning expressing.From the late Western Han Dynasty to the early Eastern Han Dynasty,the inscriptions,replacing the decoration as the most important decorative elements,have become the main body of the common patterns for inscription mirror back.Inscriptions were then a symbol of the decorative art on the back of bronze mirrors.In the middle and late Eastern Han Dynasty,the decorative images re-occupied the main part of the patterns for inscription mirror back.Besides,the inner relationship between the image and the inscriptions changed,with the decorative images trying to free themselves from the constraints of the inscriptions.Thus the history of Bronze Inscription Mirror entered a new stage,in which inscriptions and decorative images interpret and verify each other.From a developing point of view,we can see that the function and change of relationship between inscriptions and decoration is very important in studying the Bronze Inscription Mirror.In that case,this article attempts to take the decorations and inscriptions on Han Dynasty inscriptions Mirror as a whole,and further study the relationship between them on the basis of a detailed study in both.This paper is divided into three parts: introduction,body and conclusion.The introduction focuses on the significance and the purpose of this study.Through the investigation of the data,it was found that most of the academic research on the inscription mirrors were focused on the separate elaboration and research of inscriptions or decorations,while the relationship between the two is not discussed in depth.There are five chapters in the body part.The first chapter is an overview of the Han Dynasty Inscription Mirrors,including its concept,chronology,and its development stages in the Han Dynasty.In chapter two,the specific inscriptions on the Han Dynasty Inscription Mirror,mainly from the local cultural institutions published in the relevant bronze mirror catalog,were compiled and illustrated.It was found that the understanding of the inscriptions should not only based on its surface meaning of the texts,but also on its coexistence relationship with the decorations and its layout on the Mirror back.Chapter three mainly analyzes the decorations on the Inscription Mirrors.The focus is on the connotation and significance of the decoration,which helps to understand the decorative features and the meaning of decorations.In chapter 4-6,the typical Inscription Mirrors of each period in Han Dynasty were concretely analyzed.The coexistence and the change of relationship between inscriptions and decoration in different stages were investigated.Through the study,we can realize that relationship between the inscriptions and decorations on the Han Dynasty Inscription Mirrors is symbiotic and dynamic.It is a unity of opposites.Thus,the development of Han Dynasty Inscription Mirrors experienced the three stages mentioned before.The last part of the article explored the history of the relationship between images and texts in the history of Chinese art,the origins of their relationship,and their performance and influence on the art and thinking of Han Dynasty,even the later generations.Finally,the process of argumentation of this article were sorted out and a conclusion was drawn.Therefore,the main innovation of this paper is to study the integrity of bronze mirror and inscriptions,rather than individual research,put forward inscriptions not only the text function,but also as a viewing object function,inscriptions are part of the image,and then that the Han Dynasty In the aesthetic relative to the past has been a major breakthrough,into the graphic and reward stage.