My system is not decent

Chapter 1808 Jade from other mountains can be wrong

So, is the bronze mirror fragile or strong?
In fact, Qian Zhongshu's experimental results are correct, but the conclusion is wrong.

According to modern analysis of the alloy composition of ancient bronze mirrors, the content of copper, tin and lead in bronze mirrors from Qijia culture to the late Western Zhou Dynasty was unstable.

The bronze mirrors of this period had low tin content, reddish-yellow color, soft texture and poor reflection effect;
From the Warring States Period to the Tang and Five Dynasties, most of them were high-tin bronzes containing lead.

The composition is generally 72% copper, 22% tin, and 5% lead. Most of them do not contain zinc or the content is very low, and the hardness is high. It is suitable for casting various patterns, but it is easy to be damaged;
From Song to Ming and Qing Dynasties, the composition is generally 70% copper, 6% tin, 13% lead, and mostly more than 10% zinc.

Due to the rise of porcelain, bronze mirrors focused on economy, practicality and ease of manufacture, thus reducing the content of tin and increasing the content of lead and zinc to facilitate casting.

This results in a softer texture, blurred pattern, and even distortion, but the bronze mirror is not easy to break.

Through component analysis, it can be seen that the bronze mirrors before the Song Dynasty contained high tin content, high hardness, brittle texture, and easy to break;
However, the copper mirrors after the Song Dynasty contained lower tin content, higher lead and zinc content, lower hardness, softer texture, and were not easy to break.

Therefore, Mr. Qian Zhongshu's spirit of "throwing copper mirrors to test the classics" is commendable, but he threw bronze mirrors after the Song Dynasty, so the conclusion will naturally be wrong.

The small bronze mirror, reflecting the thousand-year history, has become a treasure of cultural heritage and a metaphor for history.

History is a mirror that can look back on the past, see the present clearly, and inspire the future.

It's a pity that the bronze mirrors that Chen Wenzhe saw here are all imitations.

However, if the imitation is well made, it is also very valuable for collection, such as the bronze mirror of the Warring States period in front of you.

This is an imitation mirror embedded in turquoise stone from the Warring States period to the early Han Dynasty.

This mirror has a diameter of 28.0cm and a weight of 1313g.

This mirror is round and has no edge.

The entire surface of the mirror body is made with the metalwork decoration technique "cross-stone".

That is to say, in the chisel groove of the wrong copper mirror, turquoise is glued and inlaid with lacquer liquid, and then polished.

The mirror body is divided into three ring-shaped areas from the inside to the outside. The inner ring area is decorated with flower bud-shaped patterns, and the outer ring area is decorated with deformed cloud patterns.

The central area, as the main body, is mainly composed of triangular geometric shapes, which are shaped like axes or spears of weapons in the Warring States Period.

Composition in the shape of an axe is extremely rare so far.

This mirror is not simple, because it uses a craft that is rarely used by modern people.

This is one of the ancient metal fine work decoration techniques. In the chisel groove of the wrong copper ware, the turquoise is glued with lacquer liquid, and then ground and processed by the wrong way, which is called "wrong stone".

The Goujian sword of Yue King unearthed from the Wangshan Chu tomb in Jiangling, Beihu, has turquoise inlaid with animal face patterns on the back, and the traces of misgrinding are very clear.

Unearthed in Linzi, Qilu, the three-button bronze mirror with gold, silver and turquoise interlaced in the Warring States Period has gold wires on the thick cloud patterns and turquoise on the ground. The craftsmanship is very high.

Especially the combination of gold and silver silk and turquoise, the color is more gorgeous.

The wrong stone generally refers to turquoise.

An inscription on a gilt bronze dendrobium inlaid with turquoise from the Han Dynasty calls the turquoise "Qing Bi Min (Mei) Xian".

In the Eastern Han Dynasty, turquoise was called "Qingbi", so Cuoshi was also called "Bicuo".

This can better reflect its color characteristics.

The word "Cuoshi" was put forward by Rong Geng in "Shang Zhou Yiware General Research". The ancient bronzes embedded with pine stones were often ground wrongly, so they should be called together with Jincuo, so Rong Geng called it "Cuoshi".

There is also a saying that "stone fault", these are all reasonable.

This technique is also reflected in bronze ware, which is the inlay process of bronze ware.

The so-called bronze embedding process is to embed filaments of other materials on the surface of cast bronzes.

Then use the wrong stone to smooth the surface of the bronze ware, thus forming the decorative pattern or characters.

But in the manufacture of some special utensils, there may only be inlays without misalignment.

If some bronzes are inlaid with turquoise or precious stones, etc., there is no need to grind them to make them smooth.

The inlay materials of bronze wares, as far as we know so far, mainly include red copper, turquoise, jade, gold, silver, iron and so on.

Use the color contrast between bronze and other materials to make the embedded patterns or characters more clear, vivid and beautiful.

This makes a utensil not only have practical value, but also endow it with artistic effect and cultural value.

It is because of the inheritance of various cultures that it has been passed down to the present. There is another saying: there is a craft called "embedding fault", and there is a culture called "Warring States"!
Embedding and embedding can naturally be divided into "embedding" and "wrong".

When it comes to "inlay", it is easy to think of "inlay", that's right!They are one family.

"Inlaying" means to carve grooves on the surface of utensils, insert gold and silver threads into the grooves, and beat them firmly.

So what's so special about this modern mosaic?And this answer is "wrong".

"The Book of Songs Heming" says that "the jade from other mountains can be wrong".

This fault is a special stone that usually acts as a polisher, and it plays an important role in the creation of jade wares.

Not only that, "wrong" is also a special procedure in our traditional craftsmanship, with a history of more than 2000 years.

Looking at it this way, do you feel the dazzling light of "wrong embedding"?
As a decorative technique of bronze ware, inlaying was widely used in the middle and late Warring States period.

Like the Warring States period, a copper pot with a pattern of banquets and battles embedded in it was unearthed in Baihuatan, Sichuan.

A copper square pot with cloud patterns embedded in the Warring States Period, unearthed in Xinjin.

Others include the Warring States Inlaid Copper Bottle with Dragon, Phoenix and Cloud Pattern
All of them adopt the technique of embedding, and these ordinary pots and bottles have different cultural connotations under the embellishment of embedding.

On the surface of the bronze ware, silk pieces of other materials are embedded, and then the surface of the bronze ware is ground and smoothed with staggered stones to form patterns or characters.

Because of the color contrast between bronze and other different materials, the embedded patterns or characters are more clear, vivid and beautiful, making the utensils full of artistic effects.

The craft of inlaying turquoise began in the Xia Dynasty; the craft of inlaying red copper originated in the Shang Dynasty;

The prosperous period of the whole bronze inlay technology was in the Spring and Autumn Period and the Warring States Period, especially the Warring States Period.

For example, in the Warring States period, four layers of pictures were drawn on the copper pot with the pattern of feasting and attacking wars.

The first floor is picking mulberry, the second floor is feasting, the third floor is attacking and fighting, and the fourth floor is hunting.

A small pot, because of the wrong insertion, can reveal the various life styles of the Warring States Period, and let us see the various forms of the Warring States Period 2000 years ago through it.

Although embedding is seldom used in the production of handicrafts now, the gold, silver and gilt derived from embedding are still in use.

In particular, the emergence of ironware in the late Warring States period made gold and silver and gilt widely used.

And like embedding, it has become an important way of decoration of utensils, showing the style of the Warring States together.

The hollowed-out vases of Yongzheng in the Qing Dynasty also drew inspiration from Chizao.

These craft technologies are still indispensable in ceramic craft and carving craft until today.

It can be said that the craftsmanship is wrongly embedded, the Taoist culture and the Warring States Period, and it has been passed down for thousands of years.

(End of this chapter)