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童子纹饰一直作为生育题材的艺术形式出现在铜镜上,但是不同时代赋予了不同的表现形式和内容。唐代童子镜反映了佛教莲花生子的思想,宋代童子镜主要是体现民间习俗。但它们都不是当时的主流品种,相对来说金代童子镜是金代铜镜中一个较为流行的类型,显现着金代铜镜的独特风格,它蕴涵了金代丰富的文化、民俗、以至宗教思想。首都博物馆馆藏四童攀花枝镜(包括八角形镜缘、圆形镜缘两种)、二童玩莲镜、三童戏花镜、五童举花钱纹镜、五童举花镜,基本涵盖了金代童子镜的主要类别。本文以馆藏金代童子镜为基础,结合考古发掘及征集实物资料,对童子镜纹饰文化及其时代背景略作分析。
Boy decoration has always been on the bronze mirror as an art form of childbirth, but different forms and contents have been given to different ages. Child mirror in Tang Dynasty reflected the thought of lotus and lotus in Buddhism, and Child Mirror in Song Dynasty mainly embodied folk customs. However, none of them are the mainstream varieties of the time. The Golden Boy Mirror is a relatively popular type of bronze mirror in the Bronze Mirror. It shows the unique style of the Bronze Mirror of the Bronze Mirror. It contains rich culture, folklore and even Religious thinking. The capital museum collection of four pedicel climbing mirror (including octagonal mirror edge, two circular mirror edge), two children play lotus mirror, three children play the mirror, five children to spend money mirror, five children spent reading glasses, basically covered Golden boy mirror main categories. This article is based on the collection of gold boy mirror, combined with archaeological excavations and collection of physical data, the boy mirror mirror decoration culture and the background of the times a little analysis.