Abstract
In this article, I focused on the aspects of production and use of in the Bronze mirror with fine linear designs and examined the meaning of appearance theoretically. This may be for the smooth hanging of in the Bronze mirror with coarse linear designs, but it is for the production of a finished form that expresses the symbolism of the ‘mirror’ in more detail by enabling the insertion of patterns and the division of patterns into the inner, middle, and outer quarters at the same time. In the course of a series of processes, similarities were found, such as the sameness of strings and the Patterned Bronzeware (other than sword- shaped bronzeware), and the connection of manufacturing techniques, and their mutual relationship seems to be even deeper. Therefore, it is understood that in the Bronze mirror with fine linear designs was created based on the Bronze mirror with coarse linear designs and adding the knob motif of the bronzeware. This is due to the development of Korean bronzeware manufacturing technology, and in a series of developments, in the Bronze mirror with fine linear designs can be seen as a the knob object formed by the combination of in the Bronze mirror with coarse linear designs and the Patterned Bronzeware, and as the crystallization of creation. Along with this, marring and abrasion traces are observed on the mirror and back of the Bronze mirror with knobs, and the pattern of change according to the shape and size is confirmed (types a to d). The C-shaped wear marks on the left side of the double back (pattern side) of the string appear to have been directly used by the owner at the time, and are understood as the fundamental function of the Bronze mirror with fine linear designs. In particular, the situation in which the mirrors are broken and scattered in a wooden coffin tomb can be interpreted as a parallel with the burial ceremony along with the ceremonial act of the Bronze mirror with knobs, so it can be understood as a common and identical society with traces of use.
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