Secrets of the Chinese Magic Mirror Replica
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The Diffuse Reflecting Power of Various Substances 1
. THE DIFFUSE REFLECTING POWER OF VARIOUS SUBSTANCES 1 By W. W. Coblentz CONTENTS Page I. Introduction . 283 II. Summary of previous investigations 288 III. Apparatus and methods 291 1 The thermopile 292 2. The hemispherical mirror 292 3. The optical system 294 4. Regions of the spectrum examined 297 '. 5. Corrections to observations 298 IV. Reflecting power of lampblack 301 V. Reflecting power of platinum black 305 VI. Reflecting power of green leaves 308 VII. Reflecting power of pigments 311 VIII. Reflecting power of miscellaneous substances 313 IX. Selective reflection and emission of white paints 315 X. Summary 318 Note I. —Variation of the specular reflecting power of silver with angle 319 of incidence I. INTRODUCTION In all radiometric work involving the measurement of radiant energy in absolute value it is necessary to use an instrument that intercepts or absorbs all the incident radiations; or if that is impracticable, it is necessary to know the amount that is not absorbed. The instruments used for intercepting and absorbing radiant energy are usually constructed in the form of conical- shaped cavities which are blackened with lampblack, the expecta- tion being that, after successive reflections within the cavity, the amount of energy lost by passing out through the opening is reduced to a negligible value. 1 This title is used in order to distinguish the reflection of matte surfaces from the (regular) reflection of polished surfaces. The paper gives also data on the specular reflection of polished silver for different angles of incidence, but it seemed unnecessary to include it in the title. -
The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
"Ancient Mirror": an Interpretation of Gujing Ji in the Context of Medieval Chinese Cultural History Ju E Chen
East Asian History NUMBER 27 . JUNE 2004 Institute of Advanced Studies Australian National University Editor Geremie R. Barme Associate Editor Helen Lo Business Manager Marion Weeks Editorial Advisors B0rge Bakken John Clark Lo uise Edwards Mark Elvin (Convenor) John Fitzgerald Colin Jeffcott Li Tana Kam Lo uie Le wis Mayo Gavan McCormack David Marr Tessa Morris-Suzuki Benjamin Penny Kenneth Wells Design and Production Design ONE Solutions, Victoria Street, Hall ACT 2618 Printed by Goanna Print, Fyshwick, ACT This is the twenty-seventh issue of Ea st Asian History, printed August 2005, in the series previously entitled Papers on Far Ea sternHist ory. This externally refereed journal is published twice a year. Contributions to The Editor, Ea st Asian Hist ory Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra ACT 0200, Australia Phone +61 2 6125 314 0 Fax +61 26125 5525 Email [email protected] Subscription Enquiries to Marion Weeks, East Asian History, at the above address, or to [email protected]. au Annual Subscription Australia A$50 (including GST) Overseas US$45 (GST free) (for two issues) ISSN 1036-6008 iii CONTENTS 1 Friendship in Ancient China Aat Vervoom 33 The Mystery of an "Ancient Mirror": An Interpretation of Gujing ji in the Context of Medieval Chinese Cultural History Ju e Chen 51 The Missing First Page of the Preclassical Mongolian Version of the Hs iao-ching: A Tentative Reconstruction Igor de Rachewiltz 57 Historian and Courtesan: Chen Yinke !l*Ji[Nj. and the Writing of Liu Rushi Biezhuan t9P�Qjll:J,jiJf� We n-hsin Yeh 71 Demons, Gangsters, and Secret Societies in Early Modern China Robert]. -
Piece Mold, Lost Wax & Composite Casting Techniques of The
Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour. -
Bronze Mirrors
212 Bronze Mirrors François Louis Twenty-nine bronze mirrors were recovered from various locations at the wreck site. At the time of discovery most of the mirrors were covered by calcareous sediment, and their surfaces had corroded. Many have turned black. Originally, the mirrors were mostly silver to allow for a highly reflective surface. To achieve such a bright color, casters added more tin to the bronze alloy. On average, Tang mirrors are made of a bronze that is composed of 69 percent copper, 25 percent tin, and 5.3 percent lead.1 The mirrors from the Belitung shipwreck feature a panorama of shapes and designs popular in Tang China. Most of them are standard types that were commercially produced and widely traded. But the group also included two surprising pieces: an antique mirror from the Han era (206 BCE–220 CE), and a never-before-seen Tang mirror, whose inscription identifies it as one of the famed specimens cast on the Yangzi River in Yangzhou, a so-called Yangxin or Jiangxin mirror. The Belitung mirrors offer a rare glimpse into a commercial inventory of the early ninth century, the various designs and sizes reflecting different price categories and tastes. About a quarter of the mirrors are of restrained, modest design, with shallow floral reliefs or simple concentric lines on the back. Others, such as the four square mirrors that now look entirely plain, originally may have been splendidly decorated with ivory, mother-of-pearl, or gold and silver inlays in black lacquer. These would have catered to the more affluent customers, as did the heavy, sumptuous, so-called lion-and-grapevine mirrors. -
Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(S): Eugene Yuejin Wang Source: the Art Bulletin, Vol
Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(s): Eugene Yuejin Wang Source: The Art Bulletin, Vol. 76, No. 3, (Sep., 1994), pp. 511-534 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046042 Accessed: 17/04/2008 11:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Eugene Yuejin Wang a 1 Jian (looking/mirror), stages of development of ancient ideograph (adapted from Zhongwendazzdian [Encyclopedic dictionary of the Chinese language], Taipei, 1982, vi, 9853) History as Mirror: Trope and Artifact people. -
340336 1 En Bookbackmatter 251..302
A List of Historical Texts 《安禄山事迹》 《楚辭 Á 招魂》 《楚辭注》 《打馬》 《打馬格》 《打馬錄》 《打馬圖經》 《打馬圖示》 《打馬圖序》 《大錢圖錄》 《道教援神契》 《冬月洛城北謁玄元皇帝廟》 《風俗通義 Á 正失》 《佛说七千佛神符經》 《宮詞》 《古博經》 《古今圖書集成》 《古泉匯》 《古事記》 《韓非子 Á 外儲說左上》 《韓非子》 《漢書 Á 武帝記》 《漢書 Á 遊俠傳》 《和漢古今泉貨鑒》 《後漢書 Á 許升婁傳》 《黃帝金匱》 《黃神越章》 《江南曲》 《金鑾密记》 《經國集》 《舊唐書 Á 玄宗本紀》 《舊唐書 Á 職官志 Á 三平准令條》 《開元別記》 © Springer Science+Business Media Singapore 2016 251 A.C. Fang and F. Thierry (eds.), The Language and Iconography of Chinese Charms, DOI 10.1007/978-981-10-1793-3 252 A List of Historical Texts 《開元天寶遺事 Á 卷二 Á 戲擲金錢》 《開元天寶遺事 Á 卷三》 《雷霆咒》 《類編長安志》 《歷代錢譜》 《歷代泉譜》 《歷代神仙通鑑》 《聊斋志異》 《遼史 Á 兵衛志》 《六甲祕祝》 《六甲通靈符》 《六甲陰陽符》 《論語 Á 陽貨》 《曲江對雨》 《全唐詩 Á 卷八七五 Á 司馬承禎含象鑒文》 《泉志 Á 卷十五 Á 厭勝品》 《勸學詩》 《群書類叢》 《日本書紀》 《三教論衡》 《尚書》 《尚書考靈曜》 《神清咒》 《詩經》 《十二真君傳》 《史記 Á 宋微子世家 Á 第八》 《史記 Á 吳王濞列傳》 《事物绀珠》 《漱玉集》 《說苑 Á 正諫篇》 《司馬承禎含象鑒文》 《私教類聚》 《宋史 Á 卷一百五十一 Á 志第一百四 Á 輿服三 Á 天子之服 皇太子附 后妃之 服 命婦附》 《宋史 Á 卷一百五十二 Á 志第一百五 Á 輿服四 Á 諸臣服上》 《搜神記》 《太平洞極經》 《太平廣記》 《太平御覽》 《太上感應篇》 《太上咒》 《唐會要 Á 卷八十三 Á 嫁娶 Á 建中元年十一月十六日條》 《唐兩京城坊考 Á 卷三》 《唐六典 Á 卷二十 Á 左藏令務》 《天曹地府祭》 A List of Historical Texts 253 《天罡咒》 《通志》 《圖畫見聞志》 《退宮人》 《萬葉集》 《倭名类聚抄》 《五代會要 Á 卷二十九》 《五行大義》 《西京雜記 Á 卷下 Á 陸博術》 《仙人篇》 《新唐書 Á 食貨志》 《新撰陰陽書》 《續錢譜》 《續日本記》 《續資治通鑑》 《延喜式》 《顏氏家訓 Á 雜藝》 《鹽鐵論 Á 授時》 《易經 Á 泰》 《弈旨》 《玉芝堂談薈》 《元史 Á 卷七十八 Á 志第二十八 Á 輿服一 儀衛附》 《雲笈七籖 Á 卷七 Á 符圖部》 《雲笈七籖 Á 卷七 Á 三洞經教部》 《韻府帬玉》 《戰國策 Á 齊策》 《直齋書錄解題》 《周易》 《莊子 Á 天地》 《資治通鑒 Á 卷二百一十六 Á 唐紀三十二 Á 玄宗八載》 《資治通鑒 Á 卷二一六 Á 唐天寶十載》 A Chronology of Chinese Dynasties and Periods ca. -
Chapter 25 the Reflection of Light: Mirrors
Chapter 25 The Reflection of Light: Mirrors 25.1 Wave Fronts and Rays Defining wave fronts and rays. Consider a sound wave since it is easier to visualize. Shown is a hemispherical view of a sound wave emitted by a pulsating sphere. The rays are perpendicular to the wave fronts (e.g. crests) which are separated from each other by the wavelength of the wave, λ. 25.1 Wave Fronts and Rays The positions of two spherical wave fronts are shown in (a) with their diverging rays. At large distances from the source, the wave fronts become less and less curved and approach the limiting case of a plane wave shown in (b). A plane wave has flat wave fronts and rays parallel to each other. We will consider light waves as plane waves and will represent them by their rays. 25.2 The Reflection of Light LAW OF REFLECTION FROM FLAT MIRRORS. The incident ray, the reflected ray, and the normal to the surface all lie in the same plane, and the angle of incidence, θi, equals the angle of reflection, θr. θi = θr 25.2 The Reflection of Light In specular reflection, the reflected rays are parallel to each other. In diffuse reflection, light is reflected in random directions. Flat, reflective surfaces, Rough surfaces, e.g. mirrors, polished metal, e.g. paper, wood, unpolished surface of a calm pond of water metal, surface of a pond on a windy day 25.3 The Formation of Images by a Plane Mirror Your image in a flat mirror has four properties: 1. -
The Dioskouroi on Four-Figure Etruscan Mirrors
THE DIOSKOUROI ON FOUR-FIGURE ETRUSCAN MIRRORS By DANIEL “WOOD D” WEBER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2006 Copyright 2006 by DANIEL “WOOD D” WEBER Oh Muses, sing of my very own ‘divine’ twins, clear-voiced Ariel Faith and lovely-haired Gabryelle Raina, to whom I lovingly dedicate this study. TABLE OF CONTENTS page LIST OF TABLES............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii ABSTRACT....................................................................................................................... xi CHAPTER 1 INTRODUCTION ........................................................................................................1 Etruscan Bronzeworking ..............................................................................................1 The Dioskouroi/ Tinas Cliniar......................................................................................2 2 CHARACTERISTICS OF ETRUSCAN BRONZE MIRRORS..................................4 Material and Limitations...............................................................................................4 Types of Mirrors and Terminology ..............................................................................6 Inscriptions ...................................................................................................................9 -
Geometrical Optics / Mirror and Lenses Outline Reflection Plane Mirrors Concave/Convex Mirrors Refraction Lenses Dispersion Geometrical Optics
Geometrical Optics / Mirror and Lenses Outline Reflection Plane Mirrors Concave/Convex Mirrors Refraction Lenses Dispersion Geometrical Optics In describing the propagation of light as a wave we need to understand: wavefronts: a surface passing through points of a wave that have the same phase and amplitude. rays: a ray describes the direction of wave propagation. A ray is a vector perpendicular to the wavefront. Reflection and Refraction When a light ray travels from one medium to another, part of the incident light is reflected and part of the light is transmitted at the boundary between the two media. The transmitted part is said to be refracted in the second medium. http://www.geocities.com/CapeCanaveral/Hall/6645/propagation/propagation.html *In 1678 the great Dutch physicist Christian Huygens (1629-1695) wrote a treatise called Traite de la Lumiere on the wave theory of light, and in this work he stated that the wavefront of a propagating wave of light at any instant conforms to the envelope of spherical wavelets emanating from every point on the wavefront at the prior instant. From this simple principle Huygens was able to derive the laws of reflection and refraction incident ray reflected ray refracted ray Types of Reflection When light reflects from a smooth surface, it undergoes specular reflection (parallel rays will all be reflected in the same direction). When light reflects from a rough surface, it undergoes diffuse reflection (parallel rays will be reflected in a variety of directions). The Law of Reflection For specular reflection the incident angle θi equals the reflected angle θr: θi =θr (Known since 1000 BC) The angles are measured relative to the normal, shown here as a dotted line. -
The Metaphysical Symbolism of the Chinese Tortoise
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. The metaphysical symbolism of the chinese tortoise Chong, Alan Wei Lun 2018 Chong, A. W. L. (2018). The metaphysical symbolism of the chinese tortoise. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/73204 https://doi.org/10.32657/10356/73204 Downloaded on 10 Oct 2021 09:40:57 SGT THE METAPHYSICAL SYMBOLISM OF THE CHINESE TORTOISE THE METAPHYSICAL SYMBOLISM THE METAPHYSICAL OF THE CHINESE TORTOISE CHONG WEI LUN ALAN CHONG WEI LUN, ALAN CHONG WEI LUN, SCHOOL OF ART, DESIGN AND MEDIA 2018 A thesis submitted to the Nanyang Technological University in partial fulfilment of the requirement for the degree of Master of Arts (Research) Acknowledgements Foremost, I would like to express my gratitude to Nanyang Technological University, School of Art, Design and Media for believing in me and granting me the scholarship for my Masters research. I would like to thank my thesis supervisor Dr. Nanci Takeyama of the School of Art, Design and Media, College of Humanities, Arts, & Social Sciences at Nanyang Technological University. The door to Prof. Takeyama office was always open whenever I ran into a trouble spot or had a question about my research or writing. Her valuable advice and exceeding patience has steered me in the right the direction whenever she thought I needed it. I would like to acknowledge Dr. Sujatha Meegama of the School of Art, Design and Media, Nanyang Technological University for advising in my report, and I am gratefully indebted to her for her valuable input for my research process. -
Chinese Bronze Mirrors
CHINESE BRONZE MIRRORS 1st-2nd Century, Six Dynasties Han Dynasty Artist Unknown Artist Unknown Chinese Chinese G 215 G215 Acc: 52.11.6 Acc: 96.97.10 PHYSICAL DESCRIPTION Mirror One: Bronze mirror, round (8 ¾ inches) with relief pictorial decoration (Yeuh type) Mirror Two: Bronze mirror, round (6 7/8 inches) decorated with Chinese characters QUESTIONS AND ACTIVITIES 1. What might be some of the uses of mirrors by the Chinese? 2. How would you describe the decoration on the back of these mirrors? 3. Who might have owned these mirrors? KEY IDEAS 1. While the history of bronze mirrors is much less ancient than many of the ritual vessels from the Shang Dynasty (one example has been found in a tomb dating to the Zia Dynasty), mirrors have been used in China from at least the 8th century BCE. Mirrors are not as complex as the bronze bells developed at this time but were much more widespread. 2. Chinese bronze mirrors were highly burnished on the reflective side and sometimes polished with mercury. Most mirrors found today have the reflective surface pitted and corroded and have lost their original finish. The other side—cast from clay molds- -is decorated with intricate patterns and design that reveal astonishing levels of artistry and craftsmanship. Some are compact and portable enough to be held in one hand, others are large and heavy enough to require stands. 3. The majority of mirrors are round. The decorated side of the mirror was filled with symbolism in the early mirrors. The Chinese believed that by using symbols representing the universe, it would be possible to acquire some of the universe’s power to gain strength and protection from evil.