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春秋战国时期在中国古代铜镜发展史中是一个成熟和大发展的时期，是中国古代铜镜由稚朴走向成熟的过渡阶段;也是铜镜的铸造中心由北开始向南迁移的重要时期，当时楚国为战国时期重要的铜镜产地。春秋战国时期铜镜在三代(夏、商、周)的基础上，有了突飞猛进的全面发展。无论是铜镜的铸造工艺，还是铸造的数量，都大大超过了以前。

齐家文化和商周时期，铜镜以光素无纹饰者居多，有纹饰者也以几何纹为主。到了春秋战国，纹饰已达15个大类，并且出现了各种特殊工艺装饰艺术，如涂朱绘彩图案、金银错图案、透空雕图案等。初起时期简陋、粗糙的铜镜，经过春秋战国时期的创造和修饰已臻美轮美奂的境地。

春秋铜镜的风格，既继承了西周铜镜的传统，如仍以素镜为主，钮制没有定型，还是多元化的形式。而同时，春秋铜镜又有了许多重要的发展。它打破了铜镜仅有圆形的格式，出现了方形镜;并一改早期铜镜纹饰仅用阳线勾勒，构图简朴的手法，铸出了透雕繁缛的图纹;从纹饰的表现形式上看，春秋铜镜已赶上了青铜器的发展步伐，纹饰内容更具时代特色。这给战国铜镜的大发展奠定了基础。

春秋中晚期至战国早期。这一时期出现和流行的镜类有:素镜(全素镜、单圈、双圈凸弦素镜)、纯地纹镜(方形的很少，图案都有地纹，但没有铭文)、花叶镜、四山镜、多钮镜等。镜多数为圆形，同时也出现了方形镜。一般镜身材料薄，多有边沿。整个造型规矩，给人以轻巧、典雅之感。镜钮主要为弓形钮，但钮顶部多饰有1至3道凸弦纹，所以又称"弦纹钮"。镜背面光素无纹饰者，除早期外已消失。纹饰刻画纤细，并多有地纹。

战国中期，铜镜的种类繁多。铜镜的纹饰也有所变化，如花叶镜中的叶纹镜从简单的三叶、四叶到八叶，还出现了云雷纹地花瓣镜、花叶镜。四山镜的山字由粗短变得瘦削，在山字间配有花瓣纹、长叶纹、绳纹，相当繁缛。还出现了五山镜、六山镜。这时出现的镜类有菱纹镜、禽兽纹镜、蟠螭纹镜，连弧纹镜、金银错纹镜、彩绘镜等。

战国晚期至秦未出现了四叶蟠螭镜、蟠螭菱镜，有三层花纹的云雷纹地蟠螭连弧纹镜。

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Shenzhen Morning Dragon Culture and Art Exhibition Co. Ltd.. Collection Department Soup Manager
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The Spring and Autumn Period and the Warring States Period was a period of maturity and great development in the history of ancient Chinese bronze mirrors. It was also an important period when the casting center of the copper mirror began to migrate southwards from the North. At that time, Chu was the most important copper mirror production area during the Warring States period. During the Spring and Autumn Period and the Warring States Period, the bronze mirror had a rapid development on the basis of three generations(Xia, Shang, and Zhou). Whether it is the casting process of copper mirrors or the number of casting, it is much larger than before.
During the Qijia culture and the Shang and Zhou dynasties, copper mirrors were mostly light and non-textured, and textured ones were also dominated by geometric patterns. In the Spring and Autumn and Warring States Period, the number of decorations has reached 15 major categories, and various special arts and crafts have emerged, such as the Zhuhuicai pattern, the Jinyincuo pattern, and the air carving pattern. From the beginning of the period of simple, rough copper mirrors, after the Spring and Autumn and Warring States period of creation and modification has been beautiful.
The style of the Spring and Autumn Bronze Mirror not only inherits the tradition of the bronze mirror of the Western Zhou Dynasty, but also has a variety of forms. At the same time, there have been many important developments in the spring and autumn bronze mirrors. It broke the copper mirror with only a circular format and appeared a square mirror; In addition, the early bronze mirror decoration was only outlined with the yang line, the composition of the simple technique, cast a pattern of deep carving; Judging from the form of decoration, the Spring and Autumn Bronze Mirror has caught up with the development of bronze wares, and the decorative content is more contemporary. This laid the foundation for the great development of the Warring States bronze mirror.
From the middle and late Spring and Autumn Period to the early Warring States period. The mirror types that appeared and became popular during this period were: Prime mirrors(full-grain mirrors, single circles, double-circle convex stringed mirrors), pure earth mirrors(few squares, patterns have ground stripes, but no inscriptions), and Yejing. Four mountain mirrors, multi-button mirrors, etc.. Most of the mirrors are round, and square mirrors also appear. The general mirror body material is thin and has many edges. The entire modeling rules give people a sense of lightness and elegance. The mirror button is mainly a bow-shaped button, but the top of the button is decorated with 1 to 3 convex strings, so it is also called a "string button." Those who have no textures on the back of the mirror have disappeared except in the early days. Texture depicts slender, and there are many ground lines.
In the middle of the Warring States period, there were many types of copper mirrors. The decoration of the copper mirror has also changed. For example, Huayejing's Yewenjing from simple three-leaf, four-leaf to eight-leaf, and Yunleiwen's petal mirror and Yejing have also appeared. The mountain characters of the four mountain mirrors have become thin from thick to thin. There are petals, long Yewen, and rope patterns between the characters. There are also five mountain mirrors and six mountain mirrors. At this time, the mirrors that appeared at the time were diamond mirrors, animal mirrors, mirror mirrors, arc mirrors, gold and silver wrong mirrors, and color mirrors.
From the late Warring States period to the Qin Dynasty, there were no four-leaf mirrors, three-story mirrors, and three-story moire patterns.