Silla bronze mirror

Bronze mirrors initially appeared in Korea around the middle of the first millennium B.C.* The dating of Korean mirrors is problematic because of the lack of sources. This mirror is attributed to the Silla period, a moment of major creative force in the history of Korean art. It was a period in which imitations of Chinese mirrors and Korean pieces were simultaneously produced.** The artistic creativity of this period marks a departure from the rigid compartmentalized designs of early mirrors to a free, refreshing design, suggesting that Silla mirrors were produced during the more peaceful years of the Koryo. Furthermore, in the past, mirrors were often copied, imported, as in the case of Japanese mirrors. Early mirrors were approximately 8-11 cm with simple geometric decorative patterns, and slightly smaller than this one. This mirror would require extensive scientific analysis of the metal alloy content (copper, tin, or lead) to determine the authenticity, provenance, and the exact period to which it belongs. The content of this report could only attempt to analyze the motifs of the period, which appear to be Korean in origin. Silla royal and aristocrat tombs preserved objects of splendor, extraordinary beauty and sophisticated craftsmanship.*** Their quality and design reflect the Silla elite's refined tastes and their impetus in expressing social and political status. This mirror has a scalloped edge with pointed lobes in imitation of floral forms symbolic of auspiciousness and prosperity. There are also stylized clouds that embellish the lobed petals. One side is flat and not well polished with signs of corrosion; it serves as a reflective surface. The other has an eyelet in the center for a tassel to hold or hang the mirror. The visible influence of Chinese mirrors is reflected in the narrative theme of this mirror. It has raised decorations of two figures nestled against a beautiful landscape backdrop of rocks and verdure: a male figure sits under a tree, probably a cypress tree with typical clumps of leaves, and plays a musical instrument on his lap while a lady dances to the rhythm of his music. Such a euphonious scene! There are no facial features yet, the clothing style and headdress help identify the gender of these figures. The overall design is symmetrical. The detailed expression reveals a variation of the fine technical refinement characteristic of the Silla period. Although unique to Korea, the motifs and subjects of everyday associations suggest an artistic interchange between China and Korea during that period. Similar mirrors with narrative themes were found in both China and Korea. *Koryo mirrors were: - items for the wealthy's daily utilitarian use or wedding gifts. - found in tombs as funerary gifts presented to the deceased to reflect the soul or spirit of the departed. - found in pagodas at temple sites as important ceremonial and ritual objects used in connection with a ceremony known as chijin (suppressing earth spirit), which was held before a pagoda was consecrated. - inside a pagoda as votive items serve the same function as a mirror placed in a tomb (often above the head of the deceased) to ward off evil spirits. **By the fourth century, the Korean peninsula was divided among three kingdoms: Koguryo in the north, Paekche in the southwest, and Silla in the southeast. *** According to Mr. Price Rogers, the donor, the mirror belongs to the Silla period (Old Silla (57 B.C.-668 A.D.) and Unified Silla (668-935))