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What is Jade carving in Chinese culture?
Jade is found in mountains and riverbeds, and Chinese consider jade to be "the essence of heaven and earth." When polished and carved into various articles, jade is attributed with certain cultural characteristics. In ancient Chinese cosmology, the firmament was considered to be round, and the earth square. Thus a round jade ceremonial ornament with a hole in the center, called a pi, was carved to honor the gods of heaven, and a long hollow jade ornament with rectangular sides, called a ts'ung, was made to honor the spirits of earth. According to ancient Chinese legend, the phoenix and the dragon are animal deities that were the life-source of family clans. For this reason, jade was often used as a material for carving phoenixes and dragons worn as ornaments. These ornaments symbolized the noble bearing of a gentleman, and are the origin of the Chinese saying : "The gentleman's morals are like jade."
When polished and carved into various articles, jade is attributed with certain cultural characteristics. In ancient Chinese cosmology, the firmament was considered to be round, and the earth square. Thus a round jade ceremonial ornament with a hole in the center, called a pi, was carved to honor the gods of heaven, and a long hollow jade ornament with rectangular sides, called a ts'ung, was made to honor the spirits of earth. According to ancient Chinese legend, the phoenix and the dragon are animal deities that were the life-source of family clans. For this reason, jade was often used as a material for carving phoenixes and dragons worn as ornaments. These ornaments symbolized the noble bearing of a gentleman, and are the origin of the Chinese saying : "The gentleman's morals are like jade."
The development of jade utensils after the Sung (960-1279 A.D.) and Yuan (1271-1368 A.D.) dynasties tended more towards pure craftsmanship and artistry. Except for a small number of ritual jade utensils set out by the emperor in sacrificial rites, the carving of large quantities of jade utensils in this era is attributable mainly to their sophisticated aesthetic appeal. The majority of carved jade items were ornamental in nature, including pieces for display and items for personal use. But ornamental jade display pieces were also used for reasons. Such articles included brush holders, brush washers, water cups, armrests, and red ink paste (for name chops) boxes. Fine and exquisite workmanship endowed each piece with richness, luster, and delicacy, reflecting the high quality of life aspired to by the Chinese. Jade items for personal use included combs, hairpins, bracelets, and waist pendants. Jade ornaments were also set in walking sticks, waist sashes, garments, and caps.
Jade ornaments have remained popular up until the present day. Today in the Taiwan, the purchase, wearing, and giving of jade items as gifts is still very common. Jade is viewed as an ideal gift for couples making a mutual commitment, and for one's children when they get married. Even now, the Chinese retain the idea that in addition to being beautiful, jade can protect from misfortune and bring good luck.
Jade is an essence produced through the natural forces of rivers and mountains over eons. However, if it is not skillfully cut and polished, there is no way for the potential richness and luster that people prize to be expressed. The Chinese have a saying that goes. "If jade is not properly cut, it cannot be made into a useful utensil." Cutting is an important step in the process of producing jade articles.
The manufacture of Chinese jade articles was already highly developed by the Shang Dynasty (16th to 11th century B.C). The Chinese of this period had the technology to produce jade articles of every imaginable type, shape, and size. By the end of the Chou Dynasty (11th century to 256 B.C.) and the beginning of the Han Dynasty, Chinese jades reached a second peak in their development. Craftsmen had at their disposal more advanced tools and efficient methods of polishing jade and creating unsurpassed masterpieces. One technique involved carving an article with several linked components out of a single piece of jade, demonstrating the high sophistication of the craftsman's mastery. From this point on, jade craftsmen could accommodate practically any and every customer demand in their work.
In the Taiwan today, the art of jade carving has reached yet another summit in its development. Traditional forms and modern styles are combined into striking new creations, and modern technology has greatly elevated the quality of workmanship. No longer is jade for the exclusive use of emperors and noblemen; just about everyone in the Taiwan has the means to own and wear jade. Beyond maintaining its historical role, jade artistry has been further developed with creativity and skill, and has become an indispensable part of everyday life. Jade remains an eternal symbol of China's magnificent civilization.
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