漢末・三國西晉鏡の展開

Abstract

From late Han, through Three Kingdoms, to Western Jin, the various kinds of bronze mirrors were made in many areas of China. By analyzing the designs and inscriptions of them, I made clear of the characters of the regional groups and the relationships among them. In Huaxi area 華西(Sichuan 四川, Shanxi 陝西), the production made The Mirrors with figures of deities on three stages 三段式神仙鏡, which have unique figures as Yao 堯, Shun 舜, Suiren 燧人, Canjie 蒼頡, and Mother with nine children 九子母, whose names are seen in their inscriptions. They concerned the special religion of this area. This type mirrors influenced to the mirrors in Huanan area 華南. The supernatural beings as Chisongzi 赤松子, Wangziqiao 王子喬and some holy animals are characteristic of Xuzhou 徐州type mirrors in the east area of northern China. They show the regional schools of the belief in Shenxian 神仙. The Boya 伯牙playing Qin 琴is an important motif of the mirrors in Xuzhou and Huanan area. He is the symbol of Yinyang Tiaohe 陰陽調和. The Xuzhou type mirrors influenced to the raised triangular rimed mirrors with deities and sacred animals三角緣神獸鏡in Wei. The raised triangular rimed mirrors with deities and sacred animals have various figures of natural beings and animals. In Western Jin, the mirrors with Han styles were made. I think they concerned the reactionism in this age. The designs and inscriptions of the mirrors reflect the world view and religious trend in the area and age.