Today, when we think of mirrors, we think of a thin
layer of reflective metal, usually a combination of tin
and mercury, covered in a layer of protective glass.
However, the modern mirror was an innovation of
16th Century Italian craftsmen. Before that, since
ancient time, mirrors of highly polished bronze were
used. Bronze mirrors themselves were introduced
into China during the 6th Century B.C. They were
used not only as functional articles but as sacred
objects filled with their own powers. The custom of
placing mirrors in a tomb originated around the 4th
Century B.C. The Chinese believed that mirrors had
the ability not only to reflect, but also to radiate light,
and thus illuminate the tomb for eternity. Often
multiple mirrors were entombed, not alongside the
other funerary objects, but close to the body of the
deceased.
The octofoil shape of this mirror is typical of the Tang
Dynasty, as are the representation of ducks and
geese. Here, two duck and two geese are arranged
around the large central boss with a drilled hole. A
chord would have been wound through this hole to
serve as a handle. The general layout of this design
relates back to earlier examples that symbolize the
four cardinal directions and quadrants of the
universe. The imagery on this example, however,
relates to the realm of human emotions, and not the
order of the universe. The Mandarin duck, in Chinese
art, symbolizes the strong love of a married couple
while the goose serves as an allusion to
correspondences between lovers. The foliage and
flowers that decorate the border reinforce the
amorous symbolism. We can imagine a young lover
holding this mirror, gazing at her reflection and she
longingly thinks of her husband who has ventured
away to an out province on a diplomatic mission or
business affairs. As she primps herself, she can take
solace in the imagery that decorates the back of this
mirror, knowing that their love is strong, like that of
the duck.
- (H.839)
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