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Title: 後漢鏡における淮派と吳派
Other Titles: Huai and Wu of the Later Han Mirrors
Authors: 岡村, 秀典  KAKEN_name
Author's alias: Okamura, Hidenori
Issue Date: 10-Dec-2012
Publisher: 京都大學人文科學研究所
Journal title: 東方學報
Volume: 87
Start page: 528
End page: 488
Abstract: During Ming-di's reign (AD 57-75), Qing-yang 靑盖 who broke off from Shang-fang 尚方first created the motif of Pang-long 盤龍 in relief on Shou-dai 獸帶 animal-belt mirror and Pang-long mirror. During Zhang-di's reign (75-88), some skilled hands of the Huai 淮 school such as Family Du杜氏and Family Shi石氏termed their mirrors "rare" and store to make them stand out enough to be worthy of the adjective. On the other hand, Master Zhu 朱師 of the Wu 呉 school made a Hua-xiang mirror dated AD 83 which bears the figure of Xi-wang-mu or the Queen Mother of the West together with her partner Dong-wang-gong, the Lord King of the East to conform with the rhythm of Yin and Yang. This mirror was a major turning point for the Wu school, and other artisans such as Master Bai 柏師 and Family Zhou 周氏began to depict different kinds of the images in Hua-xiang mirrors. This shows that the Wu school, at the time of the creation of the Hua-xiang mirror, had much creativity in the motifs. They made Pang-long mirror at the same time, but most of these mirrors merely imitated Qing-yang's design and inscription. In reverse, during He-di's reign(88-105), many skilled hands of the Huai school adopted the images of the Hua-xiang mirror, for instance, Family Shi made a Hua-xiang mirror dated AD 91 which bears the figure of the Queen Mother of the West and the Lord King of the East. In the later part of the secong century AD, Guang-han 廣漢 school founded in Sichuan, created the motif of divinities and animals (Shen-shou 神獸), animal heads (Shou-shou 獸首) and eight phoenixes (Ba-feng 八鳳) mirrors. According to the Zhang-shi Yuangong's 張氏元公 mirror inscriptions, he originally working at Wu began to imitate a Shen-shou mirror of Guang-han school in 180s, and left there to convert it into a new type of Shen-shou mirrors in 190s. At the same time, Zhao Yu 趙禹 migrated from Luoyang 雒陽 created a new model of eight phoenixes mirror. Disregarding the mirror's design, this mirror inscription is a very important piece, because it most clearly shows the presents of his past background and new association with Zhang-shi Yuangong.
DOI: 10.14989/176363
URI: http://hdl.handle.net/2433/176363
Appears in Collections:第87册

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