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新莽至东汉时期的铜镜制作很精致,是两汉时期铜镜发展的高峰,铜镜纹饰更为复杂多变,有规矩纹、神仙乌兽纹、四神纹、流云纹、波折纹和锯齿纹等,其中流云纹、波折纹和锯齿纹多饰于镜缘上。这个时期,铜镜上的花纹以单线勾勒轮廓为主要表现手法,线条纤细,繁缛,流畅生动。东汉中期以后,神兽镜、画像镜、龙虎镜等镜种出现,由于采用浮雕式技法,使得主体纹饰隆起突出,较之以前采用线条法装饰的纹样更为形象生动,开创了后代铜镜高圆浮雕的制作手法。其主体纹饰采用浮雕式技法,标志着中国铜镜发展到了一个新的阶段。这个时期的铜镜按形式可分为高浮雕、浅浮雕、画像镜三种。高浮雕技法的采用,使神、禽、兽的形态更为活灵活现。纹饰构思也多样化,如神兽镜充满幻想和神话色彩,展现出当时人们心目中的神仙世界。禽兽镜则
The bronze mirrors from Xin Mang to the Eastern Han Dynasty were very elaborate and were the peak of bronze mirrors during the Han Dynasty. The bronze mirrors were more complicated and changeable. They had rules, immortals, four gods, moire, Zigzag pattern, etc., which Yun Yun pattern, wave crease and jagged pattern and more decorated on the mirror edge. This period, the pattern on the bronze mirror with a single outline of the outline of the main performance tactics, lines slim, complicated, smooth and lively. After the Eastern Han Dynasty, sacred mirror, portrait mirror, dragon and tiger mirror and other mirror appears, due to the use of relief techniques, making prominent protuberance prominent, compared with the previous line patterns decorated more vivid patterns, creating a descendant of bronze mirror high Round relief production techniques. Its main ornamentation embossed technique, marking the development of Chinese copper mirror to a new stage. Bronze mirror of this period can be divided into high relief, bas-relief, portrait mirror three kinds according to the form. The use of high relief techniques, so that God, poultry, animal form more vivid. Decoration ideas are also diverse, such as animal mirror full of fantasy and mythology, showing the people’s mind at the time of the fairy world. Animal mirror is