MING DYNASTY, EARLY 15TH CENTURY

A mirror embodies various symbolic meanings, in ritual context and as an object in itself. As one of the 'Eight Auspicious Emblems', and as an offering symbol of the 'Five Senses', it represents the sense of sight, as well as cognition, reflecting all appearance, bringing to light the pure nature of beings.

In tantric practice, a mirror is believed to drive away demons who flee when beholding their own image. Mirrors are also used in rituals of purification and consecration, where the sacred water is not allowed to touch the holy object. The reflection of images on its surface are considered symbolically purified.

The bracket-lobed outline and lotus scrolls with crisply outlined stylized leaves follow the convention of Yuan and early Ming blue and white porcelain designs. See, for example, R. Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul; as well as lacquer and textile designs of the period, such as the an embroidered thangka of the Seventh Bodhisattva, dated to early Ming dynasty, in J. Watt and A. Wardwell, When Silk was Gold: Central Asian and Chinese Textiles, 1997, no. 63, which has swirling lotus tendrils and similarly stylized blossoms supporting offerings.

No other Tibeto-Chinese mirror of this type appears to have been published. A comparatively plain Ming dynasty mirror with a possibly later incised design of a Hayagriva on the polished face and cast in relief with the four characters 'Wu Zi Deng Ke' (May one's five sons succeed in civil examinations and become high officials) within squares and interspersed with beribboned auspicious emblems, was exhibited at the China House Gallery, New York, in 1974. See E. Olson, Tantric Buddhist Art, 1974, no. 39.

The crowned Guardian Kings relate stylistically to the relief depictions of the Four Guardians on the inside walls of the mid-14th century Yuan dynasty Juyong Guan stone gate at the Great Wall northwest of Beijing. Located at a highly important strategic point and also a famous scenic spot, these reliefs served as a prototype for Yuan and early Ming depictions of Buddhist guardians. Inscribed with a sutra text in Chinese, Tibetan, Sanskrit and three other languages, the arched gateway is furthermore carved on the facade sides with mandorlas with Tibetan-style makaras centered by a Garuda and double-vajras at the base, exemplifying the strong influence of Tibetan Buddhism at that time.