战国“山字纹”铜镜设计研究

Design of Bronze Mirror with"Mountain Characters"in the Warring States Period

目的以战国“山字纹”铜镜为研究对象,梳理比较“山字纹”铜镜中“山字”的设计源流,对“山字纹”铜镜的设计类型、山字形态特征、组合形式变化、地纹装饰及使用原理等进行研究,挖掘“山字纹”铜镜的设计理念和文化传承。方法从设计学的视野出发,结合考古学、图像学、历史学等,分析“山字纹”铜镜的变化特征及类型、视觉形式与审美、映容使用等,以及分析战国时期该铜镜设计的源流性、装饰性、实用性及在地性,探究该纹样的设计内涵和文化基因。结论战国“山字纹”铜镜在传承中创新,具有当时特殊的设计思想和文化价值,其“山字纹”及图案组合视觉审美丰富,各具特色,既在楚地创造了特殊的形态符号,又是楚地文化、信仰、审美的标志,集历史、文化、审美、信仰、功用于一身,代表一段时期和地域铜镜设计的新艺术和新成就。

Taking the"mountain pattern"bronze mirror in the Warring States period as the research object,the paper aims to compare the design sources of the"mountain pattern"in the"mountain pattern"bronze mirror,study the design types,mountain pattern features,combination form changes,ground pattern decoration and usage principles of the"mountain pattern"bronze mirror,and explore the design concept and cultural heritage of the"mountain pattern"bronze mirror.From the perspective of design science,combined with archeology,iconography,history,etc.,the changing characteristics and types of the"mountain pattern"bronze mirror,visual form and aesthetics,and use of reflection,etc.,and the origin,decoration,practicability and locality of design of the bronze mirror during the Warring States period are analyzed.The design connotation and cultural genes of the pattern are explored.The"mountain pattern"bronze mirror in the Warring States period is innovated in inheritance.It has special design ideas and cultural value at that time.Its"mountain pattern"and pattern combination are rich in visual aesthetics and each has its own characteristics.It has created special morphological symbols in the Chu region.It is also a symbol of Chu culture,belief,and aesthetics.It integrates history,culture,aesthetics,belief,and utility,and represents the new art and new achievements of bronze mirror design in a period of time and region.