【精品推薦】明代鎏金銅鏡

鎏金工藝是我國古代器物裝飾的一種特種工藝，是將金和水銀合成金汞劑，塗在銅器表面，然後加熱使水銀蒸發，而金則附著於器表不脫落。“黃白塗”、“金銀塗”等表明漢代對於鎏金銀工藝的稱謂，鎏金銅器發展到漢代已呈數量多、種類廣的趨勢，不僅區域性鎏金，還多見整體鎏金。陳直先生在《兩漢經濟史料論叢》中關於金礦一章中便指出“現在漢宮遺址所發現的宮禁服用器物，無不塗金”，滿城漢墓所出銅壺、盆、勺、爐等頗多鎏金之器，乃至銅劍也存在刃部鎏金的情況。可見鎏金工藝作為春秋戰國時期青銅器鑄造工藝的延伸，至漢代已較發達。而相較於鎏金銅器，鎏金銅鏡的發現顯得數量極少。

The gilding process is a kind of special craft for the decoration of ancient utensils in our country。 It is to synthesize gold and mercury to coat the surface of the bronze ware， and then heat the mercury to evaporate， while the gold is attached to the surface of the ware and does not fall off。 “Huangbai besmear”， “gold and silver besmear” wait to show han dynasty to the appellation of craft of fine gold and silver， fine gold bronze ware developed to han dynasty already showed the trend with much， kind wide quantity， not only local fine gold， still see whole fine gold more。 Mr。 Chen Zhi pointed out in the chapter on gold mine in the Collection of Economic and Historical Materials of the Han Dynasty that “all the utensils banned by the palace found in the ruins of the Han Dynasty are coated with gold”， and there are many gilded utensils such as copper POTS， basins， spoons and furnaces found in the tombs of the Han Dynasty in the city of Mancheng， and even the blade of the copper sword is gilded。 It can be seen that the gilding technology， as an extension of the bronze casting technology in the Spring and Autumn Period and the Warring States Period， was developed in the Han Dynasty。 Compared with the gilded bronze wares， the number of gilded bronze mirrors is very small。

文中此鎏金銅鏡直徑28cm。整個銅鏡佈局清新明朗，流暢華麗，自由活潑，浮雕技法，生氣充沛，柔美自然，實為不可多得的藏品，具有極高的收藏價值。其在歷經了多年歲月滄桑之後依然儲存完好，包漿自然，隱約的鏽跡更為其增添了許多歷史風韻，背部的圓形凸起之處，光滑自然，渾然天成，彷彿整面銅鏡的點睛之筆，讓其更加增添了立體雕塑感，實在是巧妙！鎏金鏡主紋為高浮雕紋刻。此鏡鑄造極為精細，鏡身鎏金，鏡鈕上嵌有金絲，細節之處將其藝術造詣表現得淋漓精緻，十分具有鑑賞研究價值，升值空間巨大。

The diameter of the gilded bronze mirror is 28cm。 The whole bronze mirror layout is fresh and bright， fluent and gorgeous， free and lively， relief techniques， energetic， soft and natural， it is a rare collection， with a high collection value。 It is still well preserved after many years of vicissitudes of life。 The paste is natural， and the faint rust adds a lot of historical charm to it。 The circular projection on the back is smooth， natural and natural， just like the finishing touch of the whole copper mirror， which adds a sense of three-dimensional sculpture to it。 The main pattern of gilt mirror is high relief pattern。 This mirror casting is very fine， gilt on the mirror body， the mirror button is embedded with gold wire， the details of the artistic attainments of the performance is exquisite， very has the value of appreciation and research， appreciation space is huge。

鎏金銅鏡的形式隨著時代的發展而有所變化，漢代時期有博局紋鏡和四乳神獸紋鏡，主要集中在前者，鎏金的範圍主要在鏡背紋飾區域，有的甚至在外圈部分未見鎏金，如浙江義烏的神獸紋鏡。六朝時期的鎏金銅鏡則鎏金範圍擴大，往往除鏡面部分外其餘均鎏金，鈕及緣側還會嵌錯金飾，如鄂城鏡，舒城鏡，泰州鏡等。鎏金銅鏡一般材質和紋飾的相互一致，強調了當時封建主義皇帝一統天下的社會思想。因此，儲存至今的鎏金銅鏡具有很高的歷史研究價值，得到了眾多收藏愛好者的青睞。

The form of gilt bronze mirror as the development of times and change somewhat， han dynasty period has mirror of rich bureau grain and mirror of beast grain of 4 milk god， basically concentrate in former， the range of gilt basically is in mirror back grain act the role of an area， some did not see gilt even in outer ring part， be like mirror of god beast grain of zhejiang yiwu。 The scope of the gilded bronze mirror of the six dynasties is expanded， often gilded except the mirror part， the button and the edge side will be inlay wrong gold ornaments， such as e cheng mirror， shu cheng mirror， taizhou mirror。 The mutual agreement that gilt bronze mirror general material and grain act the role of， stressed the social thought that feudalism emperor unified the world at that time。 Accordingly， the gilt bronze mirror that preserves up to now has very high historical research value， got the favor of numerous collect lover。