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Lot Essay
The decorations found on Chinese bronze mirrors are closely related to the cultural, religious and historical context of their periods. During the Tang dynasty, the casting of bronze mirrors was taken to new heights, bringing more elaborate designs that reflect the cosmopolitan nature of Tang society. One example which testifies to such technical dexterity and artistic sophistication is the ‘mythical animals and grapes’ mirror.
The combination of mythical beasts and grapes is one of the most classic design adorning the backs of Tang mirrors. The emergence of this motif can be associated with Manichaeism, the religious belief commonly practiced by the Sogdian communities trading along the Silk Road, which was introduced into China around the reign of Emperor Gaozong (r. 649-683). Mythical sea creatures and grapes had special significance in Manichean iconography. Thus following the growing popularity of Manichaeism in China during the mid Tang era, these two motifs gained prominence in bronze mirror design.
Due to the complexity of the design, in which many of the mythical animals are very difficult to be identified, Japanese scholars have whimsically coined the term ‘Mirror of Enigma’ when referring to this group of ‘mythical animals and grapes’ mirrors.
Mirrors of this type usually vary between 10 to 20 cm. in diameter. The current mirror, with a diameter of 26 cm., represents one of the largest of its type. The depiction of peacocks in the outer band of this mirror is also rarely found amongst related examples. The only other published bronze mirror with a nearly identical design is in the collection of Tadashi Sengoku, illustrated by Junko Namba in Chugoku ōchō no, Himeji, 2004, No. 72, which weighs 3,145 grams and measures 26.4 cm. in diameter. It may also be compared to a slightly smaller mirror with a more typical ‘lion and grapevine’ design in the Sumitomo Collection, illustrated in Sen-oku hakuko kan : Sumitomo Collection, Kyoto, 2004, No. 113.
The combination of mythical beasts and grapes is one of the most classic design adorning the backs of Tang mirrors. The emergence of this motif can be associated with Manichaeism, the religious belief commonly practiced by the Sogdian communities trading along the Silk Road, which was introduced into China around the reign of Emperor Gaozong (r. 649-683). Mythical sea creatures and grapes had special significance in Manichean iconography. Thus following the growing popularity of Manichaeism in China during the mid Tang era, these two motifs gained prominence in bronze mirror design.
Due to the complexity of the design, in which many of the mythical animals are very difficult to be identified, Japanese scholars have whimsically coined the term ‘Mirror of Enigma’ when referring to this group of ‘mythical animals and grapes’ mirrors.
Mirrors of this type usually vary between 10 to 20 cm. in diameter. The current mirror, with a diameter of 26 cm., represents one of the largest of its type. The depiction of peacocks in the outer band of this mirror is also rarely found amongst related examples. The only other published bronze mirror with a nearly identical design is in the collection of Tadashi Sengoku, illustrated by Junko Namba in Chugoku ōchō no, Himeji, 2004, No. 72, which weighs 3,145 grams and measures 26.4 cm. in diameter. It may also be compared to a slightly smaller mirror with a more typical ‘lion and grapevine’ design in the Sumitomo Collection, illustrated in Sen-oku hakuko kan : Sumitomo Collection, Kyoto, 2004, No. 113.