Ancient Chinese Bronze Mirrors from the Lloyd Cotsen Collection November 12, 2011–May 14, 2012 Virginia Steele Scott Galleries of American Art Susan and Stephen Chandler Wing The Huntington Library, Art Collections, and Botanical Gardens The Collection Scholarship and Connoisseurship What is the genesis of a great collection? For Lloyd E. Cotsen, The study of Chinese bronze mirrors provides a wealth of infor - it started with a fascination for Chinese art that took root during mation about the society that created them: its his undergraduate years at Princeton University. As a student of history, beliefs, and people; its artistic and archeology and architecture, he was intrigued by the strong con - technological developments. Each object trast between Chinese and Western art. Cotsen purchased his tells a story. A decorative motif or in - first Chinese bronze mirrors in Hong Kong in the early 1950s scription, for instance, provides in - Square Double-Tier Mirror with Four while serving in the Navy during the Korean War. A fascination sight into the hopes and values of Opposed Birds Warring States period with textiles, which shared many of the same influences, natu - the people who made them. A (450–221 B.C.E.) rally followed. In building his collection and researching these wooden fragment embedded in a artifacts of material culture, Cotsen corroded mirror may indicate that it was following the tradition of anti - had been in a wooden coffin or stored quarians—from the Far East and the in a box that had disintegrated in time. West, Henry E. Huntington among Aside from mirrors authentic to them—who collected art, amassed their periods, the collection also includes a libraries, and built gardens. few reproductions. Some were replicas made in an - Two-Part Gilt Mirror Today, the Lloyd Cotsen Collec - cient times out of admiration for the originals, while others were with Joined Arcs tion comprises thousands of pieces, made in the 20th century with the intent to deceive buyers. The Warring States period (450–221 B.C.E.) including textiles, basketry, and folk collection also provides opportunities for researchers to use mul - art. Among them are 95 ancient tiple tools—scientific analysis, art historical study, and the expe - Chinese bronze mirrors, a selection of rienced eye—to discern the “real” from the “fake.” which are exhibited publicly here for the first time. Production Techniques As early as 2000 B.C.E. , bronze technology was highly devel - The earliest bronzes from the Shang period oped in China, and objects such as ritual vessels made from this (商 ca. 1600–1046 B.C.E. ) were cast in clay alloy of copper, tin, and lead were considered luxury items. By molds. By the Warring States period the end of the 5th century B.C.E. , the expansive southern state (戰國 450–221 B.C.E. ), the lost-wax method of Chu, near modern-day Changsha, was a major center of pro - was used together with clay molds, allowing duction. The metropolitan capitals Chang’an and Luoyang of for greater detail and ornamentation. the Han ( 漢 206 B.C.E.–220 C.E. ) and Tang ( 唐 618–907 ) Trade with the West along the periods were also important centers, with the regional fabled “Silk Road” flourished during the cities of Suzhou and Yangzhou becoming famous Tang dynasty ( 唐 618–907 ), bringing with it for their bronzes. the influence of Sassanian Persian craftsmen. Because of court patronage, the production of As a result, new techniques for working metal mirrors was held to certain high standards. During were introduced, such as hammering, repoussé, the Han dynasty ( 漢 206 B.C.E.–220 C.E. ), the gilding, granulation, chasing, and inlay with Shangfang 尚方 office oversaw the production of precious stones or glass. crafts, including textiles and lacquer, as well as _________________ metal work. The workshops for these crafts were _L_O_O__K_I_N_G__C_L_O__S_E_R_ often situated close to each other, making it Find this eight-lobed mirror and see if you can distinguish conceivable that patterns and designs could be shared. what was hammered and what was chased. Moon Mirror with Birds Hammering: A soft metal is placed over a carved form and and Dragons (detail) tapped into shape with a hammer. The metal is then applied to Eight-Lobed Mirror with Vines, Tang dynasty (618–907) Birds, and Mythical Animals the cast bronze for a raised effect. Tang dynasty (618–907) Chasing: A hard stylus is tapped with a hammer to make fine marks in metal, creating detail and texture. Function Meaning One of a mirror’s primary functions is to reflect, and from the The decoration on mirrors is never neutral but is intended to earliest periods of China’s history, bronze mirrors have reflected, convey specific meaning. That meaning might be a wish both literally and symbolically, the face of the Chinese people. for good fortune or prosperity, or for cosmic or familial With a highly polished surface on one side, these exquisite and harmony. Some motifs, such as monster masks referred coveted objects would have had a place of importance on aristo - to as taotie, were used to ward off evil. cratic dressing tables among such personal items as face powder Daoist concepts of the universe can be seen in and hair combs. cosmic diagrams alluding to space and time. Space is Yet a bronze mirror’s reverse side, with its intricately represented on a square mirror (signifying the earth) wrought designs and inscriptions, is where centuries ornamented with the Five Sacred Mountains. Animals of Chinese beliefs, values, and aspirations are of the zodiac are depicted on a circular mirror (repre - revealed. Here the scholar can find reflected a senting the heavens) to symbolize the cycles of time. Square Mirror with Five wealth of information about Chinese craft- _________________ Mountains, Birds, and Plants manship, aesthetic taste, dynastic change, _L_O_O__K_I_N_G__C_L_O__S_E_R_ Tang dynasty (618–907) philosophy, and consumer culture. Dragons were believed to bring rain to nurture crops. Like other symbolic images, their appearance changed over time. Find two mirrors with dragons in the exhibition and compare how differ - ent artisans depicted them across the span of centuries. Terracotta Figure of Kneeling Woman Holding Powder Puff and Mirror Western Han dynasty (206 B.C.E.–8 C.E.) Inscriptions On mirrors as well as textiles, written An inscribed textile fragment from the same period features characters were incorporated directly into mythical animals, winged immortals, and cloud arabesques the design. These inscriptions were often (representing the Daoist qi 氣, the life’s auspicious phrases, bearing good wishes for breath or energy). The inscription the owners. conveys the wish: The earliest inscribed mirror in the May your sons and grandsons prosper; Cotsen collection is from the Western Han may you have pleasure without end. dynasty ( 西漢 206 B.C.E.–8 C.E. ). Within a design that embodies the cosmic principles of space, time, heaven, and earth, the in - 子孫昌樂未央 scription reads: Some inscriptions evoke legendary figures or serve as shorthand references May you enjoy noble status and blessings for a long time; to well known stories, such as the tale of May you have pleasure without incident; Confucius meeting Rong Qiqi, a hermit May you have delight every day; who tells him the “three joys” of living May you have plentiful wine and food; to an old age. And may you regularly obtain lordly delights. Textile Fragment with Cloud Scrolls, 長貴 福/樂無 事/日有 熹/ 宜酒 食/ 常得君喜 Mythical Animals, and Inscription (detail) Western Han dynasty (206 B.C.E.–8 C.E.) Silk with compound weave Mirror with Quatrefoil, Grass Motifs, Stars, and Linked Arc Western Han dynasty (206 B.C.E.–8 C.E.) Patina Design Motifs Patina is the result of corrosion on the surface of and The geometric and figurative designs on Chinese within bronze. This occurs naturally, but a surface can also mirrors were most likely adapted from textiles, be altered intentionally with the application of specific and woven fragments provide a fascinating chemicals. Patina is one of the main criteria collectors look Black Lacquer opportunity to trace these artistic parallels. Antique Patina for in a mirror. Depending on the stages of corrosion and Artisans may also have used textiles to the environmental conditions, a large color range is possi- make decorative impressions directly on the clay ble, from red to green or blue. molds, creating a textured background on which Patinas that are in an active state of corrosion figures stand out. appear bright green or green-blue. Typically, this type of _________________ corrosion is not desirable and is treated to keep the decom - LOOKING CLOSER position from progressing. _________________ Conversely, some patinas are very desirable. By the Compare the similarity of patterns found in the mirror’s background design above and the textile Song dynasty ( 宋 960–1279 ), connoisseurs made distinc- shown at right. See how many other different kinds tions between four types of patinas that were highly sought Green Lacquer of design parallels you can find between mirrors Antique Patina after: black lacquer antique 黑漆古 , green lacquer antique and textiles in the exhibition. 綠漆古 , quicksilver white 水銀漆 , and lead-gray 鉛白 . _________________ From top: LOOKING CLOSER _________________ Mirror with Warriors and Leopards on Fine-Patterned Ground Examine these three examples of fine patinas. Can you tell Warring States period (450–221 B.C.E.) the difference between them? Can you find other examples in this exhibit that share the same type of patina? Textile Fragment with Dragons and Phoenixes (detail) Warring States period (450–221 B.C.E.) Silk with compound weave Quicksilver White Patina Related Book The exhibition is accompanied by The Lloyd Cotsen Study Collection of Chinese Bronze Mirrors, edited by Lothar von Falkenhausen.