On October 16, during a visit to the East China Normal University Museum, I had the opportunity to delve into the “Qin and Han Bronze Mirror Exhibition,” showcasing 100 exquisite bronze mirrors from the pre-Qin to the Qin and Han periods.
Bronze mirrors were essential everyday items used by ancient people for personal grooming. The variety of designs and the rich inscriptions on these mirrors serve as key carriers of ancient culture, art, philosophy, and social customs. They reflect the distinctive cultural characteristics and rich ideas of that era, and they play a significant role in promoting traditional Chinese culture and highlighting the essence of Chinese heritage.
The exhibition, organized by the museum, spans a considerable time frame from the Spring and Autumn period through the late Eastern Han and into the Three Kingdoms and Six Dynasties. It includes a wide range of types and styles, featuring geometric patterns, animal motifs, and inscriptions.
The exhibition offers a glimpse into the evolution of bronze mirror design, from simple geometric patterns and animal motifs to more complex inscriptions. It highlights subtle differences among various designs such as the cord button, round button, and connected peaks, ultimately narrating the artistic characteristics and historical importance of bronze mirrors throughout the Qin and Han periods. These artifacts not only showcase the remarkable craftsmanship of ancient artisans but also embody a profound historical and cultural legacy, offering visitors a unique insight into the charm of traditional Chinese culture.
China’s history of bronze mirror casting dates back over 4,000 years to the Qijia culture. As a significant category within bronze ware, these mirrors were originally made from metals like copper, tin, and lead. The differences in their metallic composition, along with changes in preservation conditions over thousands of years, have influenced the various colors seen today, such as “red copper,” “green patina,” “peacock blue,” “black lacquer,” and “mercury seep.” Many of the inscriptions on these mirrors describe their raw materials.
Geometric patterns are typical of early bronze mirrors, with main types including cord patterns, connected arc patterns, and whirlpool cloud patterns. Among the exhibits are multiple mirrors featuring the connected arc pattern, illustrating the ancient art of mirror making, often seen in 8 or 16 connected arcs, with variations like 6 and 10 arc designs.
Animal motifs on bronze mirrors can be divided into mythical representations like dragons and phoenixes, as well as real animals like tigers. The dragon patterns, in particular, demonstrate the ancient reverence for this creature. Some mirrors display dragon heads in profile, showcasing intricate details such as the horns, eyes, and teeth, while others feature the dragon’s head and body entwined within a central diamond-shaped “thunder zone,” reminiscent of mythical dragons whose full forms remain elusive.
The inscriptions on these mirrors reflect the aspirations of ancient people for a better future. For instance, one featured mirror bears the inscription: “Longing for each other, do not forget, longing for wealth and happiness, joy remains endless.” Another carries the message of enduring happiness and prosperity.
Leiqili, a member of the Party Committee and Vice President of East China Normal University, expressed that this exhibition aims to help in the transmission and promotion of excellent traditional Chinese culture through the exploration of its historical context.
During the interview, I learned that the mirrors on display were generously donated by Wang Ganghuai, an expert in ancient Chinese bronze mirrors, and relevant organizations. Mr. Wang, who has devoted years to the collection and study of bronze mirrors, has published 31 works, including “Research on Qin Mirror Culture” and “Atlas of Han Mirror Inscriptions.” In support of educational efforts at East China Normal University, he donated 100 bronze mirrors along with related rubbings.
Xu Hui, a representative from the donor organization Zhida Group, expressed hope that this donation would spark students’ interest in history and broaden their academic horizons, aligning with the mission of invigorating enterprises through education and contributing to the nation.
Mao Hanqing, Mr. Wang’s granddaughter, articulated the significance of her grandfather’s collection and donation of the bronze mirrors, reflecting on her personal connection to these artifacts and her understanding of traditional Chinese culture.
