On October 8, in Harbin, the China News Service had the opportunity to conduct an exclusive interview with Zhang Wei, the deputy director of the History Research Department at the Heilongjiang Provincial Museum. The focus of the conversation was the Jin dynasty landscape and figurative story mirror, a remarkable artifact discovered in 1975 in a noble tomb in Suilun County, Heilongjiang, which dates back nearly a thousand years.

**China News Service Reporter:** As one of the best-preserved copper mirrors from the Jin dynasty, can you share how the landscape and figurative story mirror was discovered?

**Zhang Wei:** This mirror was excavated in Suilun County, Heilongjiang, and it is currently on display at the Heilongjiang Provincial Museum as a Class I national cultural relic. The site of its excavation lies between what was once the Huining Prefecture and the historical Puyulu roads established during the Jin dynasty, primarily inhabited by the Jurchens. Given the strict regulations on copper during that era, the mirror’s impressive size and exquisite craftsmanship suggest it belonged to a Jurchen noble.

**China News Service Reporter:** What makes this copper mirror a treasure of China’s ancient cultural heritage? What unique features does it have, and how do mirrors from the Jin dynasty differ from those of other periods?

**Zhang Wei:** Copper mirrors were essential objects in ancient Chinese personal grooming, as highlighted in the “Old Book of Tang.” The earliest known copper mirrors date back over 4,000 years, indicating a long-standing cultural significance. They showcase intricate designs and superior craftsmanship, representing the unique cultural identities of various periods and regions while also reflecting the shared themes of interaction and exchange.

Key developmental moments for copper mirrors occurred during the Warring States, Han, and Tang dynasties, with the Tang era marking their zenith. Although the prominence of copper mirrors waned after the late Tang dynasty, the Jin dynasty gave rise to a variety of mirror styles in northern China. Mirrors from this period symbolize the final flourishing of copper mirror art in China, integrating influences from previous dynasties.

Typically, Jin dynasty mirrors feature diverse designs depicting animals, plants, landscapes, and narratives, each illustrating distinctive characteristics shaped by both Central Plain and Jurchen artistic traditions.

**China News Service Reporter:** Can you describe the appearance and unique designs of the Jin dynasty landscape and figurative story mirror? What aspects of Jin culture can we understand from it?

**Zhang Wei:** The mirror has a diameter of 36 cm and a thickness of 0.7 cm, boasting a shiny, silver-gray surface. Its back is adorned with detailed and vibrant patterns divided into two sections. The upper section illustrates a narrative within a landscape, showing a traditional farmer working in the fields, while two officials engage in conversation nearby. In the lower section, two carp swim playfully in the water, symbolizing vitality. The outer rim features cloud motifs, seamlessly integrating with the inner imagery. This mirror is exceptional as an artifact representing daily life in ancient China.

Fishing and hunting held great importance in Jin culture, and the carp is particularly revered among the Jurchens, symbolizing good fortune linked to fertility due to its prolific nature. The prevalence of this dual fish imagery in the Jin dynasty indicates the cultural values of the time.

**China News Service Reporter:** What significant insights does this mirror offer regarding the history, economy, society, and culture of the Jin dynasty?

**Zhang Wei:** The Jurchens experienced slow development in Heilongjiang until 1115, when the Jin dynasty was founded, leading to unprecedented advancements in social, economic, and cultural aspects. The Jin dynasty established centralized governance in Heilongjiang, promoting agricultural practices and boosting the farming population, which increased grain production significantly.

The upper section of the mirror illustrates a scene of farming under governmental supervision, suggesting the Jurchens were actively engaged in agriculture, facilitated by their rulers. The mirror’s intricate decorative details also highlight the advanced metallurgy of the time, bolstered by skilled artisans migrating from the former Liao and Song regions.

The fish motif reflects the Jin people’s aspirations for official recognition, aligning with the popular saying about ‘carp leaping the dragon gate,’ which symbolizes the pursuit of scholarly achievements tied to the emerging imperial examination system.

**China News Service Reporter:** How does the Jin dynasty landscape and figurative story mirror reveal the blending of Jin and Central Plain cultures?

**Zhang Wei:** The themes represented on these mirrors often draw inspiration from lore popularized during the Tang and Song dynasties, weaving historical narratives and folklore into decorative art forms. This signifies the Jin emperors’ commitment to embracing Han culture and its literary and artistic traditions.

The interplay of hunting traditions and agriculture symbolizes a cultural exchange between the Jurchens and the Han people, highlighting mutual economic, cultural, and philosophical influences. The cultural evolution in Heilongjiang during the Jin dynasty reflects the enriching contributions from Central Plain culture while showcasing the distinctive qualities of Jin heritage, establishing Jurchen culture as an essential thread in China’s diverse cultural tapestry.

**China News Service Reporter:** What is the role of copper mirrors in cultural exchanges between China and other nations? How do you see variations in copper mirror culture across different countries?

**Zhang Wei:** Copper mirrors are among humanity’s earliest metal artifacts with enduring significance as treasures of ancient bronze artistry. Archaeological finds show that ancient Chinese mirrors have been unearthed across many countries, including Japan, Vietnam, Russia, Afghanistan, and Iran, emphasizing their role in cultural exchanges alongside products such as tea, silk, and porcelain.

The differences between Chinese and foreign copper mirrors are evident in their design, function, artistic style, and the cultural narratives they convey. Chinese mirrors are often elaborate, rich in cultural significance, and reflect the values and aesthetics of their creators. In contrast, foreign mirrors frequently prioritize practicality and decoration. These disparities highlight the diverse interpretations and value systems present in various cultures.

Ultimately, the differences in copper mirror traditions illustrate the rich tapestry of global civilizations, with this diversity emerging as a natural outcome of human development and as a shared heritage of society.