Eight-Petaled Mirror of a Phoenix
Eight-Petaled Mirror of a Phoenix
Eight-Petaled Mirror of a Phoenix
10th – 14th century CE
Bronze
Goryeo Dynasty
1994.152
Have you ever gazed into a mirror and seen beyond your reflection, glimpsing centuries of history and culture? From the heart of the Goryeo period in Korea (10th-14th century CE) emerges this ancient and mysterious bronze mirror, framed by an eight-petaled rim. What might the majestic phoenix embossed upon its back reveal about the art and values of its time?
Historical Context
The Goryeo Dynasty was not solely a period marked by political and economic progression, as a solid ruling was fortified by centralized bureaucracy and the development of trade routes with ancient Japan and China (Lee 2016). It also equally marked a peak in artistry in various forms. With Buddhism and Confucianism bringing unprecedented philosophical thoughts that differed from indigenous beliefs and gradually taking center stage in mainstream ideas, cultural paradigms witnessed a significant shift (Lee 2016). Bronze mirrors, such as the one emblazoned with the phoenix, transcended their primary functional use, becoming carriers of profound symbolism in the unique Goryeo context. Moreover, Goryeo mirrors, like the one adorned with a phoenix, were not only practical items but also significant cultural symbols reflecting the period’s adoption of Buddhist and Confucian ideas (Lee 2012).
Artistic Significance
The phoenix symbol is an important cultural symbol of Goryeo, stemming from both historical and religious influences. Adapted from admiration of rebirth and purification from Buddhism and Confucianism, this divine bird from heaven has become a symbol of the “death” of warfare and the “birth” of the Goryeo Dynasty (Wang 58). This further extends to the portrayal of the phoenix in Goryeo mirrors as an emblem of both rebirth and purity since it is rooted in a complex historical context influenced by pre-Ming Chinese legends and iconography (Smith 1980, 470). Though hard to discern behind the heavy rust, the vaguely unfolding phoenix motif on this bronze disk may have had a glorious past, leading toward the rejuvenation and ethical integrity of the new era.
In addition to the phoenix, the unique eight-petal exterior also speaks to not only its aesthetically pleasing design but also symbolizes the harmony and balance sought after in Goryeo society, reflecting the cultural values of the time (Kim 2001, 260).
The image on the left represents a mirror of a similar shape found during the same period and location, providing insight into the general structure and intricacies within the mirror without much patina.
Compared to the Tang Dynasty
Beyond being the spiritual symbol of the Goryeo Dynasty, these reflective surfaces became avenues for introspection, echoing Confucian principles. They served as daily reminders in a society profoundly influenced by Confucian ideologies, encouraging individuals to self-reflect and enhance their moral character. While the Goryeo bronze mirror was deeply symbolic, reflecting the Korean reverence for the phoenix as an emblem of royal authority and virtue, bronze mirrors from China’s Tang dynasty bore a different resonance. Though they are of the same origin and share similar craftsmanship, they carry different meanings. The phoenix in Tang artifacts symbolized both peace and disharmony, the union of yin and yang (Wang 2020, 58). This divergence in symbolism, highlighted by the mass-produced designs of animals, flowers, and Chinese writings on Tang mirrors, offers a view of the cultural values of these two dynasties, both artistically and economically (Regina 2010, 215).
The phoenix mirror is more than a testament to Goryeo’s artistic proficiency. It embodies the period’s core values and spiritual leanings. As part of this exhibition’s broader theme, “Arts and Rituals in Asia,” this mirror exemplifies how art across different Asian cultures was not merely aesthetic but deeply interwoven with societal rituals and beliefs. Through this artifact, we are invited to understand not only the Goryeo period but also the intricate tapestry of Asian cultural rituals and their representation through
Veeraj Shah
Medicine, Health, and Society
Class of 2024
Xiaoyu Huang
Economics, Computer Science
Class of 2026
Annotated Bibliography
Lee Kang Hahn. 2016. “Goryeo (Koryo) Kingdom.” The Encyclopedia of Empire, January, 1–6. https://doi.org/10.1002/9781118455074.wbeoe390.
This is an encyclopedia type article about the general history of the Goryeo dynasty. It introduces the history of the Goryeo dynasty from the basic historical facts, and then from the political, economic, and cultural aspects.
Krahl, Regina., and Alison. Effeny. Shipwrecked : Tang Treasures and Monsoon Winds / Edited by Regina Krahl [and Others] ; with Contributions by Alison Effeny [and Others]. Washington, D.C: Arthur M. Sackler Gallery, Smithsonian Institution, 2010.
This article presents a very similar example to the Korean bronze mirror, from a shipwreck site in Tang Dynasty China. From this article, you can learn about the ancient and prosperous Asian international trade behind the trade in artifacts such as bronze mirrors.
王德芳. “中国古代‘凤凰’寓意之演变.” Mei shu da guan, no. 5 (2020): 58–59.
The phoenix is regarded as the spiritual symbol of the Chinese nation, a bird totem created by the ancestors with a variety of magical functions, the phoenix has a variety of symbolic meanings. This article reveals the evolution of the phoenix and its mysterious and auspicious spiritual connotations through a series of accounts.
Lee, Soyoung. “Goryeo Dynasty (918–1392).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2012.
This source outlines the Goryeo Dynasty’s rich artistic and cultural achievements, highlighting intricately designed bronze mirrors with symbolic motifs. It emphasizes that these mirrors were
not merely functional objects but conveyed profound cultural and spiritual values, representing the period’s embrace of Buddhism and Confucianism. Mirrors, especially those with eight-petaled rims, served as reflections of the cultural identity, aesthetic sensibilities, and spiritual beliefs of the Goryeo period.
Smith, Judith G. “The Phoenix and the Mirror: The Historical Background of the Phoenix Legend in Pre-Ming China.” Harvard Journal of Asiatic Studies 40.2 (1980): 451-498.
This source delves into the historical background of the phoenix symbol in China, highlighting its association with rebirth and renewal. It demonstrates how the phoenix motif, which frequently appeared on Goryeo mirrors, was influenced by pre-Ming Chinese iconography, serving as both a spiritual and cultural emblem. The phoenix’s presence on Goryeo mirrors signified the interplay of historical and spiritual elements that were central to the Goryeo period’s cultural values.
Kim, Eun-hee. “Mirror Inscriptions of the Goryeo Dynasty and Their Social and Cultural Significance.” Journal of East Asian Archaeology 3.1-4 (2001): 257-283.
This source focuses on mirror inscriptions from the Goryeo Dynasty and their social and cultural significance. It explains that these inscriptions conveyed wishes for peace, prosperity, and the well-being of the nation, reflecting the mirrors’ role as symbols of aspiration and protection. These inscriptions not only carried aesthetic elements but also represented profound cultural and spiritual meanings, demonstrating the fusion of aesthetics, spirituality, and cultural values within Goryeo society.