Weiner Mihályné szerk.: Az Iparművészeti Múzeum Évkönyvei 9. (Budapest, 1966)
HOPP FERENC MÚZEUM — MUSÉE FERENC HOPP - Ferenczy, László: Chinese Bronze Mirrors from the Han Period
mirrors. 31 A pattern composed of spirals or concentric circles is characteristic of the decoration of these mirrors. Other decorative elements can be frequently found on mirrors of kindred types too. When dating the type, it is important to know that such a mirror was found in a Korean grave together with other objects dated from 42—69 A. D. and that Bulling describes a specimen dating from 64 A. D. 32 The internal ring in itself is characteristic of the middle of the Han period, while the inscription „changi tzu sun" is mainly found on mirrors of the Eastern Han period. g) TLV mirror (fig. 8.). The comparatively small knob lies on a recessed ring. In a square zone around it the symbols of the duodenary cycle are alternating each other, with a nipple between each of them. Leaf-like decorations are situated at the internal corners of the square. There are eight nipples between the TLV patterns, with animal figures which personify the four seasons : in the northern quarter there is the tortoise with the snake, next to it a hare; in the eastern quarter there is the Green dragon, to the left of it an immortal in feather attire; on the south we find the Red bird with another bird figure, and on the west the White tiger and a goat. Here and there the thick patina layer makes it difficult to distinguish the animal figures. There are small spirals, lines and dots between them. The zone is bordered by a band with slanting comb-teeth. On the rim there is a narrow saw- or dog toothed stripe and a broad „rolling cloud" pattern. 14 cm in diameter, the mirror is made of a well cast high-quality bronze, with „lacquered" (hei ch'i ku) surface. Western scientists have set forth a number of theories for explaining the TLV symbols, whereas in China these mirrors were analyzed on the basis of other elements. In regard to TLV mirrors, the most important works in earlier literature were those of Kaplan and Yetts, besides those of Karlgren. 33 These symbols were found in similar arrangement on Chinese sun-dials and astrological instruments. The most important works in recent literature are those of Cammann and Bulling. Cammann has made an interesting attempt to explain the signs and the symbology of TLV mirrors, by trying to interpret the ornamental details in their unity. Accordingly, the central knob represents the World Mountain, K'un Lun Shan, while the square stands for China; the V symbols divide the world into four parts („Four Seas") which are accessible through the doors symbolized by the symbols T. The rim with the rolling cloud pattern represents Heaven itself. Cammann supports this explanation of the T symbols with later Tibetan mandala paintings where there are actually doors on the sides of the square. 34 The interpretation of the symbols V and T is acceptable, but the problem of the symbols L does not seem to be resolved unambiguously. Cammann considers them either as doors leading into remote regions of the external world or, according to the explanation of the cosmic game liu po as caverns. He believes the area indicated behind the L-s must 31 Bulling : The decoration . . . pp. 80 — 31. 32 ibid. PI. 25. 33 Kaplan, S. M. : On the origin of TLV mirrors. Revue des Arts Asiatiques. Vol. XL 1937.; Yetts, W. P. : The Cull Chinese bronzes. London. 1939. 34 Cammann, Schuyler : TLV patterns on cosmic mirrors of the Han period. JAOS, Vol. 08. 1948; The symbolism in the Chinese mirror patterns. Journal of the Indian Society of Oriental Art. Vol. XIX. 1952 — 53.
