First, the overall ornamentation grain pattern in the jade ring seen in the above picture is processed on both sides and closely arranged, which is in line with the style of the late Warring States period.
Second, the jade ring is thick and thick, showing a beautiful glass light luster, and there are two tan Qin on the edge of the jade ring, which has penetrated deep into the jade texture. Here to introduce you to the glass light pulp, ancient jade to form a glass light pulp, must meet three conditions:
(1) First of all, the jade quality should be good;
(2) The surface of the jade is finely polished;
(3) The pit mouth environment is good, relatively closed, in an anaerobic state, will not cause erosion and damage to the jade table.
Figure 2
These three conditions are indispensable, so the pulping conditions of the glass light are very harsh, if you encounter ancient jade with glass light pulp, it is recommended to collect, do not play. Because in the process of playing, the luster will dim down, become soft, and the glass light will disappear, which is a pity.
Third, to introduce you to a kind of ancient jade without pulp, as shown in the picture:
Figure 4
This is also a Spring and Autumn Dragon Pattern Plate from the Museum Collection, and the jade watch has no pulp. Generally speaking, this kind of ancient jade jade is not very good, the processing is relatively rough, the polishing is not fine enough, and it is purely used as burial jade. If this kind of ancient jade is played by the plate, the organic matter adsorbed in the jade is precipitated, and a softer paste will also appear.
Figure 5
Figure VI
Fourth, from the three pictures of Figures 3, 5 and 6, we can see the arrangement of the grain pattern and the characteristics of the bottom of the grain pattern. When ancient jade smiths processed grain grains, they often first punched pur on the plain bi, and then processed the grain grains on the ground. Because of the relationship between the processing of the ground, the bottom of the grain is undulating, and the processed grain is embedded in the jade bi, and now the fake grain is often at the bottom level, generally made of machine carving or machine carving or ultrasonic vibration.
If the clamping process is directly formed, bubbles will appear at the angle between the bottom and the plane of the grain, and some will be manually processed and modified after molding. Machine-carved processing of the grain grain, the yin line without marks, width and narrowness, depth is exactly the same, at the bottom of the grain will appear completely parallel water ripples, and most of the counterfeiters will do fake gray skin on the surface, the water ripples covered. When you encounter these two phenomena of the grain jade bi, you must polish your eyes, and the fake grain wall grain is sluggish, like a dead thing, the gray skin is floating on the surface of the skin, and there is no physical resonance with the jade inside, everyone pays attention to the difference.
False valley pattern
If you judge ancient jade from the pulping and processing technology, you must grasp the limitations of the processing tools used in each period of ancient times, such as the forward and reverse stone machine used before the Republic of China.
Its limitations are:
First, the rotation period is certain, resulting in a shorter yin line for each engraving;
Second, the strength is relatively small, and the depth of the yin line of each engraving is shallow;
Third, in view of the above two reasons, the foundation of ancient jade will be uneven;
Fourth, the speed of the stone machine is relatively slow, and every time the stone machine is rotated, it is equivalent to grinding once, so the finish of each part is basically the same. Especially in the thinnest of the yin lines and the smallest holes.
Finally, please remember: the identification of ancient jade is a comprehensive science, do not point with the noodles, in order to partial generalization! The characteristics of the soil entry and the characteristics of the processing process must be taken into account at the same time!!
The difference between Eastern Zhou jade and Western Zhou is mainly reflected in the diversification and localization of artistic styles, the first half of the Eastern Zhou Dynasty was dominated by the Spring and Autumn princes to support the King of Zhou, the jade production continued to be slightly improved in the Western Zhou, and the local culture under the jurisdiction of the princes gradually reflected the prototype. In the second half of the Warring States period, Zhou Tianzi survived in name only, and the local culture of the princely states officially began to enter the jade-making style.
During the Eastern Zhou Dynasty, Hetian jade was not yet widely used, and only a few great nobles were eligible to use Hetian jade, and most others used local jade.
After the collapse of the liturgy, the princes gradually broke through the old system of the Western Zhou Dynasty and vigorously produced jade and bronze. Therefore, the jade of the Eastern Zhou Dynasty is very rich, and the artistic style is diverse.
During the Eastern Zhou Dynasty, iron tools began to appear, which promoted the development of grinding technology, and some fine processes began to be used.
Eastern Zhou jade inherits the Yin Shang Western Zhou, exquisitely made and gradually wants to develop in a new direction of exquisite and gorgeous.
Eastern Zhou jade got rid of the fixed pattern art style of Yin Shang jade and developed in the direction of realism.
Wearing jade on a sword or knife can show the dignity of identity, and can also play a role in beautification and protection
The Eastern Zhou jade reflects the beginning of a hundred flowers and a hundred schools of thought and culture in the field of thought and culture.
Western Zhou jade pays attention to etiquette
Eastern Zhou jade began to pay attention to decoration and aesthetics.
The eastern Zhou jade pattern ornamentation is becoming more and more elaborate and delicate
The popular double hook yin line and the one-sided slope yin line popular in the Western Zhou Dynasty are still used.
The history of Chinese jade has a long history, in the course of more than 8,000 years of development, Chinese jade has always moved forward with Chinese civilization, during which it has undergone several changes and breakthroughs, and finally become an important carrier of traditional Chinese culture.
The Warring States period is an important stage in the rapid development of Chinese jade, during this period jade production has been unprecedented vigorous development, today we can see the major museums treasured Warring States jade, almost all of them are exquisite and rare art treasures.
The great artistic achievements of warring states jade were not only reflected in the time, but also had a profound impact on Chinese jade in later generations.
Including the Han Dynasty jade, which is famous for its peak jade era, it is on the basis of the Warring States jade that it was developed, and it is no exaggeration to say that without the deep foundation of the Warring States jade, the Han Dynasty jade could not have achieved such a high achievement.
So what are the artistic characteristics of Warring States jade? What is the reason for the qualitative leap in the development of jade in the Warring States period and the achievement of such a huge artistic achievement?
With these questions, let us walk into the turbulent historical torrent of the Warring States era and look for clues and answers from the historical time and space of the pre-Qin period more than 2500 years ago.
The Warring States (475 BC – 221 BC) was another period of great change in Chinese history following the Spring and Autumn Period.
The history of the Warring States began in 453 BC when the three families of Han, Zhao, and Wei were divided into Jin, until the Qin state destroyed the Six Kingdoms and unified the world, and also included major historical events such as the annexation of princes and the demise of Eastern Zhou.
There are few in chinese history as complex but vibrant as the Warring States period. In such an era of fierce slaughter and competition between princes, political chaos but cultural exuberance have become unique characteristics of the times.
Warring States jade also has distinct characteristics of the times, compared with the spring and autumn period of jade, the Warring States jade has a vigorous development of prosperity, jade technology has also produced a qualitative leap.
The artistic characteristics of Warring States jade are mainly as follows:
First of all, the jade control technology of the Warring States period was more advanced.
From the perspective of production technology, the Spring and Autumn jade is relatively rounded in both shape and line, while the Warring States jade is firm and clear, the lines are clear and clean, and the use of hollowing techniques is more common than that in the Spring and Autumn Period, and the jade treatment technique is particularly exquisite and meticulous, and even the inner wall outside the building is also polished and bright and meticulous.
Secondly, the decorative techniques of warring states jade are more sophisticated.
Spring and Autumn jade makes good use of many abstract deformations and dismemberment of the whole dragon pattern to fill the utensils, so that it appears dense and breathless, and its artistic expression is still immature.
The Warring States jade decorative pattern is clearly distinguished in the primary and secondary patterns, common valley patterns, cloud patterns, hooked clouds, twisted silk patterns, etc., its lines are stretched smoothly, the process is fine, the main pattern, the ground pattern are clearly visible, and it is pleasing to the eye after viewing.
Finally, the artistic level of warring states jade is even more superb.
Ancient Chinese jade, different historical periods have their own unique artistic characteristics, in addition to the intuitive era style, craftsmanship and decorative techniques, these comprehensive features of the abstract artistic characteristics, also known as the ancient jade inherent charm.
In terms of the overall level, the Spring and Autumn Jade is less spirited, calm and dull than the Warring States Jade in terms of shape, composition, dynamic changes, etc.
The Warring States Jade, regardless of the surface, corners or layout, is properly designed, full of strong dynamics and vigorous vitality. This kind of vigorous momentum and excellent artistic expression is precisely the spirit of the Warring States era, and it is the unique temperament, ideology and culture of the Warring States period.
Representatives of early Warring States jade, such as the jade excavated from the tomb of Marquis Yi of Zeng in Hubei, its craftsmanship is more complex than the previous Western Zhou and Spring and Autumn jade, the shape is more stretched, the corners of the body are sharp and sharp, especially the image of the dragon and phoenix looking back at the chest has also begun to show a certain sense of movement.
Decorative patterns are mostly dense valley patterns, cirrus patterns and so on. Some grains also have a yin line carved around the rim, and even make it hooked.
Among them, the multi-section dragon and phoenix pattern pendant excavated from the tomb of Marquis Yi of Zeng, which has attracted worldwide attention, is a rare artistic treasure in the early Warring States jade.
Its surface is carved with dragons, phoenixes, glass and other geometric patterns. At the same time, it integrates yin carving, relief carving, hollowing, mortise, and milling in one instrument, and the process is complex and extremely difficult, reflecting the high level of jade control in the early Warring States period.
The Warring States period was a golden age for China's agricultural, textile, ideological, scientific, technological, military, and political development.
At the same time, the various princely states that sought to strive for hegemony have carried out many world-famous changes and reforms, such as the Shang martingale transformation method of the Qin State and so on.
During the Warring States period, There was an unprecedented vigorous situation in Chinese society and culture, and the cultural trend of a hundred schools of thought that competed for a hundred schools of thought played a great role in promoting the social and cultural development of that time.
It is precisely under the background of such a period of princely competition, social change and cultural prosperity that the rapid development of handicraft industry and commerce has been promoted, and the qualitative leap in jade production has been directly promoted.
The result of the controversy of a hundred schools of thought also created the theoretical basis of "Yu Bide". It is under such conditions that the jade industry governed by various princely states gradually grew and developed rapidly.
In summary, the reason why the jade production of the Warring States period has made a qualitative leap and achieved great artistic achievements is mainly due to the following three points:
First of all, the vigorous development of Warring States jade was determined by social change.
The Warring States is a historical period that has undergone epoch-making changes, and various princely states have implemented changes in the law one after another, aiming to enrich the country and strengthen the army and seek hegemony.
A series of political and economic reforms in various princely states greatly increased social productivity and promoted the rapid development of handicrafts and commerce.
During the Warring States period, the ruling class of the princes and nobles used jade as an important symbol of status, so the jade production in the Warring States period also flourished.
Secondly, the vigorous development of Warring States jade was promoted by social culture.
During the Warring States period, there was a vigorous situation of a hundred schools of thought, scholarship, culture, and art, and the traditional handicraft industry and the jade carving and jade industry developed rapidly.
The overall style of Warring States jade has changed from simple to complex, with dense and meticulous ornamentation, and exquisite craftsmanship. From the Western Zhou Dynasty to pay attention to etiquette, to pay attention to decorative aesthetics, decorative jade has occupied a major position, etiquette, jade and corresponding development.
The Harvard University Museum in the United States has a collection of Warring States decorated with gold phoenixes and jade
Finally, the flourishing of Warring States jade was underpinned by productivity levels.
During the Warring States period, iron tools began to be used in large quantities, which greatly improved the processing technology of jade.
Warring States jade processing technology has a new situation, low cost, high hardness, toughness and wear resistance of the iron stone tool gradually replaced the bronze stoneware, a variety of previously difficult to achieve artistic ideas have been perfectly realized, opening rules, accurate shape, drilling standards, gorgeous ornamentation has become the craft characteristics of Warring States jade. The Warring States period was not only a period of epoch-making change in Chinese history, but also an important stage in the rapid development of Chinese jade.
The unique social changes, social culture and productivity level of the Warring States period determined the rapid development of Warring States jade.
The overall style of Warring States jade is exquisite, with different shapes and ornaments, complex and superb carving techniques, abstract and fine ornaments, many changes, full of mysterious colors and rich imagination, extremely artistic charm, unique art style of the times, which has played an important role in the development of Chinese jade.
The National Museum houses the Warring States Man-Eating Jade Pendant
The Shanghai Museum houses the Warring States Jomon Jade Ring
『 Promoting ancient jade culture and improving the appreciation and appraisal ability of enthusiasts》