【藏品名稱】：宋代雙龍峙蛟銅鏡
Collection name: bronze mirror of the Song Dynasty
【藏品數(shù)量】：一件
[collection quantity]: one piece
【藏品簡(jiǎn)介】：中國(guó)古代任何產(chǎn)品的生產(chǎn)，都會(huì)與當(dāng)時(shí)社會(huì)的政治經(jīng)濟(jì)、科學(xué)技術(shù)以及文化藝術(shù)緊密相關(guān)。政治經(jīng)濟(jì)決定著社會(huì)財(cái)富，科學(xué)技術(shù)支持產(chǎn)品的生產(chǎn)，生產(chǎn)出的產(chǎn)品，即是當(dāng)時(shí)文化藝術(shù)的載體。因此，中國(guó)每一面古代銅鏡鑄制工藝技術(shù)的發(fā)展，無(wú)不凝聚著當(dāng)時(shí)社會(huì)的政治經(jīng)濟(jì)、科學(xué)技術(shù)以及文化藝術(shù)的真實(shí)面貌。宋代崇尚以文治國(guó)的思想理念，因此，宋代的文人墨客地位非常之高。而許多文人學(xué)士又對(duì)金石學(xué)有濃厚的興趣，因而金石學(xué)在宋代能夠大力發(fā)展起來(lái)，金石學(xué)的發(fā)展同時(shí)也帶動(dòng)了宋代各種仿古之風(fēng)的盛行。其中銅鏡藝術(shù)方面，宋代鑄鏡的匠人多喜歡仿制前朝的精美銅鏡以展現(xiàn)自己非凡的技藝。
[collection introduction]: any product production in ancient China will be closely related to the political economy, science and technology and culture and art of the society at that time. Political economy determines social wealth, science and technology support the production of products, which is the carrier of culture and art at that time. Therefore, the development of each ancient bronze mirror casting technology in China has been a real feature of the political economy, science and technology and culture and art of the society at that time. Song Dynasty advocated the idea of governing the country by literature, so the position of literati in Song Dynasty was very high. Many Bachelor of Arts and scholars have a strong interest in the study of epigraphy, so it can be developed vigorously in Song Dynasty, and the development of epigraphy also led to the prevalence of various ancient imitations in Song Dynasty. In the art of bronze mirror, the craftsmen of the Song Dynasty liked to imitate the exquisite bronze mirrors of the previous dynasties to show their own extraordinary skills.
宋代銅鏡更加注重鏡子的實(shí)用性，而摒棄了奢華和繁縟之風(fēng)。質(zhì)地輕薄，紋飾簡(jiǎn)潔大方，非常富有當(dāng)時(shí)人們的生活氣息，鏡形種類非常豐富，不僅有常見(jiàn)的圓形銅鏡，還出現(xiàn)了方形銅鏡、弧形銅鏡、菱形銅鏡、長(zhǎng)方形銅鏡、長(zhǎng)柄銅鏡和爐形銅鏡等特殊的鏡形。紋飾主要是銅鏡的背面多鑄有花鳥(niǎo)紋、鳥(niǎo)獸紋、魚(yú)蟲(chóng)紋、八卦紋、雙龍紋、纏枝花卉紋、山水樓閣紋、小橋樓臺(tái)紋、人物故事紋等或者光素?zé)o紋。銅鏡上各種圖案的處理形象準(zhǔn)備無(wú)誤、構(gòu)圖千姿百態(tài)、繪畫(huà)生動(dòng)等藝術(shù)效果。
The bronze mirrors of Song Dynasty paid more attention to the practicality of mirrors, but abandoned the luxury and red tape. It is light and light in texture, simple and generous in decoration, which is very rich in people's life at that time. The types of mirror shapes are very rich. There are not only common round copper mirrors, but also special mirror shapes such as square copper mirror, arc copper mirror, diamond copper mirror, rectangular copper mirror, long handle copper mirror and furnace copper mirror. Patterns are mainly cast on the back of the bronze mirror, such as flower and bird patterns, bird and animal patterns, fish and insect patterns, eight trigrams patterns, double dragon patterns, twig and flower patterns, landscape pavilion patterns, small bridge and terrace patterns, character story patterns and so on. All kinds of patterns on the bronze mirror have the following artistic effects: correct image preparation, varied composition and vivid painting.
雙龍鏡在宋遼金時(shí)期得到進(jìn)一步深化題材的極妙運(yùn)用而超前者，在藝術(shù)面貌上煥然一新，此時(shí)的雙龍鏡題材多樣，而最具有時(shí)代特點(diǎn)的是雙龍的同一畫(huà)面中不同姿態(tài)的寫照。此面雙龍鏡整體圓形，邊有細(xì)膩有致的云紋裝飾，雙龍舞動(dòng)在鈕兩側(cè)，這種樣式也是一種創(chuàng)見(jiàn)。大圓鈕簡(jiǎn)練，不做裝飾，自然分區(qū)界畫(huà)，于兩側(cè)各有動(dòng)態(tài)神完的舞動(dòng)雙龍相對(duì)。一龍形象呈S型盤繞升騰般立起張牙舞爪，似盡力逢迎，一龍則呈C型若從空中飛臨，昂首張牙奮爪侵入般的具有情節(jié)化的把兩條龍相對(duì)峙的瞬間刻畫(huà)的極其生動(dòng)真實(shí)。在這樣的一動(dòng)一靜，若動(dòng)若靜的雙龍對(duì)峙中的藝術(shù)表現(xiàn)可以說(shuō)是達(dá)到了極其高超的寫實(shí)畫(huà)面，每條龍的細(xì)微刻畫(huà)一覽無(wú)余的真實(shí)感更增加了雙龍對(duì)峙局面生動(dòng)形象。雖然在有限的空間內(nèi)卻充滿了極盡動(dòng)態(tài)的表現(xiàn)，把這種表達(dá)方式推向了極致，真實(shí)而活靈活現(xiàn)的不拘于圖案化。繞其一周的如刀刻深鑿般的翻卷有序的云紋裝飾，如雙龍飛動(dòng)所幻化出的云氣繚繞般的纏繞，在視覺(jué)上所達(dá)到的藝術(shù)效果令人驚嘆！
In song, Liao and Jin Dynasties, the double dragon mirrors were further deepened, and their themes were applied wonderfully. They surpassed the former and took on a new look in art. At this time, the subjects of the double dragon mirrors were diverse, and the most characteristic of the times was the portrayal of different postures in the same picture of the double dragon. This double dragon mirror is round as a whole, with delicate cloud pattern decoration on the side. The Double Dragons dance on both sides of the button. This style is also an innovation. The big round button is succinct, without decoration. It is naturally divided into different parts. On both sides, there are dynamic dancing dragons opposite each other. The image of Yilong is S-shaped, curling and rising, standing up and waving his teeth and claws, as if trying to ingratiate himself. The image of Yilong is C-shaped. If he flies in from the air, holding his head up, opening his teeth and clawing his claws, it has the plot to depict the confrontation between the two dragons vividly and truly. The artistic expression in such a dynamic and static confrontation between the two dragons can be said to have reached an extremely high level of realistic picture, and the panoramic reality of each dragon's subtle depiction has increased the vivid image of the confrontation between the two dragons. Although in the limited space, it is full of extremely dynamic performance, which pushes this way of expression to the extreme, real and vivid, not limited to the pattern. The orderly cloud pattern decoration around it is like the deep chisel of knife carving, and the winding of cloud like air is like the flying of Double Dragons. The visual artistic effect is amazing!
