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Jade has been adored and revered by the Chinese
people since time ancient. From the dawn of civilization, in spite of the
formidable tribulations that have fallen upon the Chinese, both sentiment toward
jade and the tradition of jade artistry have endured the passage of time and
remained undiminished in strength.
Archacological data indicate that the ancient from
seven to eight thousand years ago were acquainted with wondrous and durable
nephrite and employed it in fashioning ornaments and grinding weaponry. In
addition, they worked with beautiful stones, using them as jade simulants.
During the late Neolithic period, which predates modern
society by approximately four to seven thousand years, rulers possessing the
important powers in matters of religion and the military create the worship
object from jade to worship the deities and ancestors To honor the Spirit of the
Heaven and Earth the round pi disk and square ts'ung tube were designed to
accommodate the belief that the heaven was round and the earth square. They
believed that the lives of their forefathers originated with God and were
mediated through supernatural beings. They accordingly depicted on these jade
objects their visualizations of these divine images, and went so far as to
incise meaningful markings as a form of worship. Relying upon jade's unique
qualities of material, form, ornamentation, and markings, they sought to command
mystical forces in the hope of communicating with the spiritual realm and
partaking of diving wisdom.
The status of an individual in ancient society was
determined by his perceived degree of association with the supernatural. The li
ritual for worship established channels of communication between the profane and
spiritual worlds and promoted harmonious relations in society. The authority
object stood as an emblem of the ruler's power and status. Originating in the
late Neolithi, the Hsia, Shand, and Choy dynasties, this authority object and
system of worship adapted and evolved according to the various political systems
and social organizations of the respective time period. Whether in the worship
ceremony held in the ancestral shrine or at the meeting convened by the ruler
with his vassals, they assumed metaphysical significance and formed an integral
part of the worship ceremony. As a consequence, they are referred to as ritual
objects.
The precise delimitation between the Shang and Chou
dynasties has remained an issue of controversy. As a reference to the viewer,
one expert's opinion on the subject has been adopted in an effort to clearly
arrange the displays in a chronological sequence. During the Eastern Chou
Dynasty, humanism made its appearance. Recasting the ancient shamanistic
practices into a system of moral beliefs with application to daily living, the
Confucian scholars directly compared the virtuous man to jade. Pendants achieved
great popularity and were exquisitely executed, attaining a degree of perfection
unmatched in future ages.
The Han Dynasty imperial family held jade in great
esteem. Living members wore pendants and ingested jade power. The deceased were
bound and stuffed with jade. Even the painted banner and tomb tiles were
imprinted with the image of the pi disk. The belief in the round pi disk
assisting the spirit in heavens received its greatest support at this time.
From the Six Dynasties to the Tang Dynasty, Jade
artistry within the heartland of China suffered a decline. Despite the glory of
the Tang Dynasty which saw the resumption of the large-scale feng-shan ceremony
and other ancient traditions, the sets of tablets used in this ceremony were now
fashioned only using beautiful stones (as jade simulants). Among the relics
passed down the generations, only the jade belt plaque, comb top, hairpin
ornament, pendant, etc. can still be found. More likely than not, a portion hail
from the lapidaries of the barbaric tribes in China's West.
From the Sung and Ming Dynasties onward, jade artistry
recovered its former grandeur. Due in part to the emperor's use of jade in
officiationg ceremonies, but even in greater part to the examination by scholars
into the rituals of the Shang and Chou dynasties, popular movements both to
research and forge ancient jades arose. Having within its collection many such
exceptional quality jades, the National Palace Museum is presenting them in a
specially designed display case.
The newly formed intellectual class of the Sung Dynasty
cultivated their tastes in living. The displayed jade objects from the studio
possessed ultilitarian functions in addition to providing visual delight. The
most frequently seen motifs were those of flowers, birds, man, and landscapes, a
fact which demonstrates the refined taste of the literati. Lastly, as the
materials from which jades of this time were fashioned originate as river
pebbles, jade craftsmen accommodated their carving techniques to the shapes they
encountered. The resulting shapes and patterns were all imparted with deep, and
usually auspicious meanings.
The jades from the Ch'ing imperial court at its height
are characterized by their impressive size, neatness, and symmetry. They ;most
frequently bear the dragon design, emblem of the emperor, various auspicious
symbols, imperial inscriptions and marks. When finally outfitted with pedestals
of sandalwood and placed in specially designed cases and boxes, they attain the
majesty of the imperial palace itself. During this same period, Hindustan jade
from Moslem territories made its appearance. Whether carved with floral decor in
shallow relief, worked to a thinness rivaling that of paper, or even inlaid with
colored glass or gold and silver thread, splendid Hindustan jade conveys the
exotic appeal of a distant land.
Jadeite from Yunnan Province and northern Burma was
imported in large quantites into China in the nineteenth century and quickly
attracted its admirers, who continue to treasure its beauty. In summary, Chinese
jade artistry boasts a long tradition, and derives much of its diversity from
the differing styles and significance assumed by jades of differing
periods. It is hoped that the present display will allow the viewer to
experience the sheer magnificence and profundity of the ancient Chinese
civilization.
( extracted from exhibition catalogue of National Palace Museum )
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