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历史上各朝各代铜镜纹饰的发展都有一个显著的变迁过程。铸造技术的变革体现在由整体庞大的重器铸造到精致的局部技术实现的过程,而纹饰的变化虽然随时代变迁与社会思潮变化不断地有创新与发展,但总体来说是一个由抽象到具象、由图形到图像的过程。在铜镜研究中,已知的社会背景与思想史的内容也能为铜镜的研究带来新的证据与宽泛的研究思路。但是在出现—反映这一过程之中,一个新出现的思维观念,不会马上就反映到铜镜的纹饰之上,无疑会出现某些错位的现象,这就是所谓的滞后性问题。同时,在实际文物研究工作中,存在着大量的铜镜纹饰的定名问题。
The history of the various generations of bronze mirror decoration has a significant change in the development process. The transformation of foundry technology is embodied in the process of casting from a huge scale to an elaborate local technique. Although the change of ornamentation is constantly being innovated and evolved with changes in the times and changes in social thought, it is generally a matter of abstraction Representation, from graphic to image. In the study of bronze mirror, the content of the known social background and thought history can also bring new evidence and broad research ideas for the study of bronze mirror. However, in the course of appearing and reflecting this process, an emerging concept of thinking will not be immediately reflected on the bronze mirrors. There will undoubtedly be some misplaced phenomena. This is the so-called lagging problem. In the meantime, there are a large number of naming issues of bronze mirrors in the actual cultural relics research.