Description: Bronze. China, Eastern Han period, (25 – 220)
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Circular form with a slanted edge and a bulge with eyelet in the center. The relief is somewhat unclear due to the patina covering it, yet four heads of creatures can be recognized, perhaps dragons due to their long bodies winding towards the center. A cloud grid-pattern embellished with spirals faced the center. The outermost section holds radial lines. Strong patina.
DIAMETER 9,2 CM
Collection Sohel Ch., New-Delhi - Vienna
A noteworthy share of the antiques offered here – around 130 lots – originate from the Collection Sohel Ch., a successful business man from Delhi who spent many years in Vienna. The part of his collection, which we here offer, was mainly acquired in the art trade of Vienna. The chief reason for his collecting activity, which he perpetuated with considerable specialized knowledge, sense for quality and great committment, was to establish a private Asian museum in his native city of New Delhi. Because of severe illness, it was impossible for him to realize his plan and he thus decided to submit us the entire complex of his "Viennese collection" for sale.
來自 Sohel Ch. 先生的舊藏
這本圖錄所紀錄的藝術品的大部分（約130件）來自 Sohel Ch. 先生的舊藏。這位收藏家是個來自新德里的古董拒買，曾有數年住在維也納。這次所介紹的藝術品主要來自他的維也納分點。他數十年的努力，知識和質量敏感都曾進入他的收藏活動，結果之一為在其城市，新德里，收藏到了一個原來屬於私人亞洲美術館的收藏的全部藏品。很不幸的是這位收藏家最近生病極為嚴重，無法實現自己原來對藝術藏品的願望，結果把全部維也納分店的收藏提供給拍賣公司給以賣出。
What is meant by a Chinese “bronze mirror “?
Although the respective design style – depending on the era – can differ greatly, there is nevertheless a continuous connection to certain basic forms, but even more to traditional meaning and purpose. Thus the question arises, what could actually be “mirrored“? It depends, of course, on the alloy, how it together with the polish on the smooth side makes a reflection possible. However, for the art enthusiast, only the decoratively executed side is relevant. Each of the eras in which mirrors were manufactured cultivated their own preferences and manners of expression. But mirrors generally often served in old China to ward off evil spirits and, in this regard, were placed in tombs. Spirits were indeed extremely afraid of mirror reflections. Later – from the time after Tang – this meaning became less important, bronze mirrors were more seldom and were rather objects for admirers of the Antique, for the class of the art-minded “Literati“.