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Reflections on a Preliminary Forensic Study of Four Chinese Bronze Mirrors

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Reflections on a Preliminary Forensic Study of Four Chinese Bronze Mirrors Liang and Parker Herit Sci (2021) 9:25 https://doi.org/10.1186/s40494-021-00496-2 RESEARCH ARTICLE Open Access Close up to the surface: refections on a preliminary forensic study of four Chinese bronze mirrors Jiafang Liang1 and Quentin Parker2,3* Abstract This article presents a generic, objective and evidence based forensic study of 4 very diferent Chinese bronze mirrors. The work was done within the Architectural Conservation Laboratory (ACLab), the Department of Physics, the Faculty of Medicine and also the Planetary Spectroscopy and Mineralogy Laboratory (PSML) all at the University of Hong Kong. The mirrors nominally cover the period of the Warring States (475–221 BC), Han (206 BC to 220 AD) and later Song (960–1279AD) dynasties. Comprehensive, mostly non-invasive, analytical methods and techniques were used. These included surface microscopy of tool marks, patina, corrosion and any residual archaeological evidence. Ultravio- let radiation examination, chemical spot testing and polarised light microscopy of ground-up patina samples was also done. More sophisticated “pXRF” X-ray fuorescence, “MARS” tomographic X-ray scanning and infrared spectroscopic analysis of the bronze alloys, corrosions and any earthen encrustations were also performed. This was to uncover as much forensic evidence as possible for these unprovenanced bronze mirrors. The results have revealed key metallur- gical information of those four mirrors along with surface patina morphology and details of the corrosion and residual surface archaeology. A database on the physical condition of these mirrors has been established and burial/treatment history revealed. Mirrors 1 and 2 appear to have been heavily cleaned, polished and treated with abrasives in modern times. Mirror 2 in particular, has some problematic corrosion and inconclusive alloy composition. Mirror 3 and 4 both have archaeological evidence and no contrary forensic data that questions authenticity. Forensic study and verifca- tion of objects and artworks for academic purposes remains a legitimate and vital undertaking for universities, muse- ums and national collections across the globe. Hence, the issue of authenticity when archaeological context is lacking is discussed. However, our key aim is to establish what can be learnt from technological, forensic investigation when studying bronze mirrors without further context and records, and what frm, generic evidence can be extracted from such close forensic examination to shed light on their true nature. We hope this will be useful for other researchers. Keywords: Forensic study, Chinese bronze mirrors, Copper alloy Introduction archaeology is possible or from mirrors from reputable Chinese bronze mirrors from antiquity, in all their variety collections where provenance usually relates to owner- and forms, are valued cultural heritage items. Provenance ship history that may go back decades but may not of in most cases is sparse. Te exceptions are for well docu- itself donate veracity. Te archaeological detail, necessary mented cases from certifed excavations where proper for more meaningful and contextual historical evalua- tion, is normally missing in such cases. For such bronzes, undertaking a proper technical and scientifc evalua- *Correspondence: [email protected] tion with respect to issues such as metallurgy, corrosion, 2 Physics Department, Faculty of Science, CYM Physics Building, The University of Hong Kong, Hong Kong, SAR, China encrustations, wear and tear, repairs, cleaning and any Full list of author information is available at the end of the article trace archaeology is key. It can provide valuable insights © The Author(s) 2021. This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creat​iveco​ mmons​.org/licen​ses/by/4.0/. The Creative Commons Public Domain Dedication waiver (http://creat​iveco​mmons​.org/publi​cdoma​in/ zero/1.0/) applies to the data made available in this article, unless otherwise stated in a credit line to the data. Liang and Parker Herit Sci (2021) 9:25 Page 2 of 20 into the true nature of the objects and provide useful to the Western Han dynasty in Shandong province, P. R. clues to the likely history of such objects independent of China [4] proved this practice was employed. Before clay any stylistic and typological design elements present. moulds, stone moulds were used [5]. Tere is no evidence found to indicate that the lost wax technique was used by Overview: mirror history in China the ancient Chinese to make bronze mirrors, perhaps due Tere are diferent opinions on where the frst idea to to the simple, monolithic forms. make bronze mirrors by the ancient Chinese originated. Modern scholar Liang [1] thought the ancient Chinese Chinese mirror alloys got the inspiration of creating a refective surface to see Like other ancient bronzes, a bronze mirror is an alloy the world from looking at still water in a lake or pond. that contains various major fractions of copper, tin and Gradually, bronze basins for water and later polished lead and then trace elements. Although historic records bronze plates were developed for refection. Te earli- did not specifcally mention lead in their formulae, lead est recognisable Chinese bronze mirror was unearthed is commonly detected. According to the “six formulae: in Gansu Province and has been dated to the Neolithic for making bronze for diferent uses given in K’ao Kung period’s Qijia culture. Over the subsequent 4000 years of Chi 考工记 by Tai Chen, the ratio for making mirrors and history, Chinese bronze mirror design, technology and specula is 50% Copper and 50% tin. However, this 50:50 prominence experienced several important time periods ratio is not observed in extant studied mirrors based on including the three most important: the Warring States modern scientifc appraisal and metallurgical analysis. (475–221 BC), the Han (202 BC–220 AD) and the Tang Table 1 lists published percentage abundances of the (618–907). major elements copper, tin and lead found in Chinese Te Warring States was a developing period of bronze bronze mirrors dated to the Warring States, Han dynasty mirror refnement, indicated by diverse artistic styles and and Song-Jin periods in particular that we have compiled delicate and intricate decoration. Te Han dynasty was a via an extensive literature search. period when the bronze mirror industry was fourishing No quantitative error estimations or sigma dispersions as evidenced by the vast numbers of mirrors from this on these averages have been provided, despite the precise period that have come to light even if the execution of percentages reported in the literature. However, accuracy their designs were of lesser quality. In the Tang dynasty, at the few percent level only can be safely assumed. Basi- in terms of shape, size, pattern and various decoration cally, the copper fraction ranges from 65 to 80%. Some techniques such as with lacquer and mother of pearl, cases with an unusually low percentage of a given metal bronze mirrors were much more varied and sophisti- can occur, usually due to the chosen testing location on cated but again the surface precision and fneness does an area with high corrosion which can concentrate lead not match the excellence of the Warring States. Te Song and tin in the corrosion. Also non-invasive assay tech- dynasty (960–1279 AD) was the most varied in terms of niques are used that provide only surface composition mirror shape, even if design was typically very simple. information. Te content of tin and lead with respect Tis opinion is based on the distinctive characteristics, to copper has also varied considerably throughout the artistic design and material quality and the numbers of history of Chinese bronze mirror manufacture. From surviving examples from these periods. Te bronze mir- Table 1 it can be seen that the ratio of tin reduced with ror industry also started to decline in this period as indi- time while lead increased. Te changes of the observed cated by the signifcantly less numbers uncovered via tin–lead ratio also afects the hardness and polishing archaeological excavations and the more simple designs properties of the mirror. Te usual high tin content for compared to the preceeding Tang dynasty [2]. Some mirrors compared to other typical Chinese bronze arti- scholars believe this decline during the Song is related to facts (such as sacrifcial cooking vessels and ornaments) wars and a reduction of copper mining. However, Zhang yields an alloy that is hard and brittle. However, it pro- [3] considers the reason for the lack of even basic deco- vides a silvery-white colour, well suited to enabling a very ration on Song mirrors is the result of the prevalance of good polish and hence an excellent refective surface for adopting a ‘simple life’ philosophy at that time. a mirror. Te degree of mirror corrosion can refect not only diferences that basic elemental composition pro- Mirror casting duces but also the efects of soil and moisture content In China, bronze mirrors were manufactured via the during a long burial history. commonly adopted clay mould casting technique. Te In terms of trace elements the varying zinc fractions model, together with desired inscribed decoration, found in mirrors from the Han and Song-Jin dynasties was made frst and the mould was second [3, p.
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