I tried my hand at carving a mini jade Yu Zhu Long (玉猪龙) 😁 Yangzhou is famous for jade carvings, and in China jade is a very coveted stone, with a long history and deep cultural roots.
The original Yu Zhu Long is at China’s National Museum in Beijing, it’s the earliest known depiction of a ‘long/龙’ (Chinese dragon) that has been unearthed.
Gemstone carving is one of China’s most ancient and important art forms. It is a craft steeped in history and tradition, continually reflecting the philosophy and culture of the Chinese people.
By traditional Chinese definition, hardstones are divided into two categories: jade, which is the mineral nephrite, and all other precious and semi-precious stones. Jade is considered the most esteemed gem of all and associated with many desirable qualities in humans.
Jade was considered to be the “imperial gem” and “stone of heaven” symbolising prosperity, success, good luck, renewable, longevity and immortality.
Jade was being mined in China as early as 6000 BC. In Chinese culture and history, jade has a special significance comparable with that of gold in Europe.
74-year-old actress Liu Xiaoping is considered the “Jade Queen” in China, with a collection worth 10.2 billion yuan (140 million USD) of jade jewelry.
April 20, Beijing, China, National Museum of China/中国国家博物馆 (Part 6 – Ancient Chinese Jade exhibition/中国古代玉器展 and part of The Power of Science and Technology exhibition/科技的力量展):
Starting with the Ancient Chinese Jade exhibition today, this is a Qing dynasty (1644 - 1911) Qianlong era (1736 - 1796) jade brush holder. It’s impossible to tell from this angle (my bad lol), but the relief on this brush holder actually depicts the Sanxing/三星 (lit. “three stars”), which is the name of a group of three Daoist deities: Fuxing/福星 (lit. “Fortune Star”; Jupiter), Luxing/禄星 (lit. “Prosperity Star”; Mizar of Ursa Major), and Shouxing/寿星 (lit. “Longevity Star”; Canopus). These three gods are frequently depicted together for auspiciousness.
A Qing dynasty Qianlong era jade gaiwan/盖碗 (lit. “lidded bowl”), decorated with gold inscription of Qianlong Emperor’s poetry and plum blossoms. Gaiwan are a specific type of Chinese tea cup that can be used to both infuse tea and drink tea, and may consist of three parts–a bowl, a lid, and a saucer. Because of this three-part structure, it’s also called sancaiwan/三才碗, where the lid, bowl and saucer correspond to “heaven”, “human”, and “earth” respectively. Alternatively gaiwan can be more literal like the one here, which only has a bowl and a lid. Some say the gaiwan originated in Sichuan in Tang dynasty (618 - 907 AD), but evidence suggests that true gaiwan (with lid) only appeared in late Ming dynasty to early Qing dynasty (around 16th-17th century). Gaiwan was very popular in Qing dynasty and remains popular today.
Left: Ming dynasty (1368 - 1644) diancui/点翠 and jade ornament, with egrets and lotuses carved into the jade part. As mentioned before in the second historical fashion exhibition post, diancui (the blue parts) is a method of decoration that uses the iridescent feathers of kingfishers. Because all species of kingfishers are now protected by law, all diancui on the market currently are imitations.
Right: Ming dynasty wooden table screen with carved jade insert depicting a dragon. This is pretty cute tbh considering how small it is
Qing dynasty jade decor called a shanzi/山子, with a visual depiction of the chengyu 老马识途 (“old horses know the path”) carved into the jade. Shanzi pieces are characterized by their retainment of the original shape of the jade, and depictions of scenes and stories within the jade with methods including reliefs, full reliefs, and openwork sculpting.
Left: Jin dynasty to Yuan dynasty (1115 - 1368) jade ornament depicting chrysanthemum flowers.
Middle left: a Ming dynasty copper daikua/带銙 (basically belt decoration) inlaid with carved jade depicting deer and pines.
Middle right: a Qing dynasty jade pendant in the shape of two badgers.
Right: Qing dynasty jadeite daigou/带钩 (basically belt buckle) with fish and bat motifs. In traditional Chinese symbolism, fish symbolizes “surplus” (鱼 is a homophone of 余), and bats symbolize “fortune” (蝠 is a homophone of 福).
Notice how each of the above pieces utilize the colors inherent in the jade itself to lend color to the subject depicted. This method is still widely used today in modern jade/stone sculpting, and sometimes the finished piece can be stunning. Here’s a modern example that’s not from this exhibition: the piece 山乡晨曦 (“Mountain Village in Dawn’s Light”) by 黄日富. This entire scene is fashioned from a single stone.
And back to the exhibition, I forgot to take pictures of the placards for the next two artifacts, and the museum’s complete online catalogue doesn’t have a search function (UGH)……so I’ll put my best guess here, but don’t take my word for it lol
A jade decor depicting a dragon, probably from either Ming or Qing dynasty:
This seems to be a jade jianzhi/剑璏, no idea what time period it’s from. Jianzhi are basically flat belt loops attached to the sheath of the jian sword scabbard, so that the jian sword may be carried on its owner’s belt.
And onto The Power of Science and Technology exhibition. The pictures I’m sharing here will be primarily focused on ancient Chinese science and technology.
Ink rubbing of the famous Southern Song dynasty (1127 - 1279) star chart stele (called 天文图碑 in Chinese), showing the positions of the Chinese constellations. This star chart was drawn by Southern Song dynasty astronomer Huang Shang/黄裳 based on observations made between 1078 and 1085 (during Northern Song dynasty), and the stele was erected in 1247. The stele itself still stands in the Confucian Temple in Suzhou, China. Here’s a link if anyone wants to see a clearer image of the rubbing (to avoid confusion: the rubbing in this webpage was made in Qing dynasty, but the stele was erected in 1247).
Chart of the Twenty-Eight Mansions/二十八宿 from the Ming dynasty illustrated encyclopedia Sancai Tuhui/三才图会, Volume 1. The Twenty-Eight Mansions are regions around the ecliptic used to identify the location of the Sun, Moon, Venus, Jupiter, Mercury, Mars and Saturn. This is an important concept for both traditional Chinese astrology and astronomy.
Top left: ancient observation of a solar eclipse documented in the Book of Documents/《尚书》.
Bottom left: ancient observation of a nova documented in Book of Han/《汉书》 (completed in 111 AD).
Bottom right: ancient observation of a sunspot documented in Book of Han.
If one flips through any of the 24 official histories of China (二十四史), one will find these records of historical events peppered with observations of astronomical phenomena. This is because of the traditional Chinese astrology concept known as “interactions between heaven and mankind” (天人感应), where it’s believed that whatever happens in the heavens will be reflected in the mortal realm in some way, and vice versa. Because of this indistinction between astronomy and astrology, the vast majority of Chinese dynasties would have an imperial bureau set up just to observe, record, calculate, and interpret the movement of celestial bodies and astronomical phenomena, since these were viewed as reflections of the state and fate of the entire country. In reality however, this bureau often functioned as a special panel of political advisors to the emperor. This bureau is referred to by different names throughout Chinese history, but the two most well known names are 司天监 and 钦天监.
A representation of a piece of ox scapula oracle bone from Shang dynasty (~1600 - 1046 BC; original artifact is in this museum) inscribed with terms from the Sexagenary Cycle, called Heavenly Stems and Earthly Branches (tiangandizhi/天干地支) in Chinese, or Stems and Branches (ganzhi/干支) for short. This cyclical system of 60 terms is used to record the year, month, day, and hour in traditional Chinese calendar (for example right now is still the year 甲辰, but after Chinese New Year, it will be the year 乙巳); however, in Shang dynasty, this system was only used to record days. The Sexagenary Cycle is still used by traditional Chinese painters and calligraphers when dating their works.
Four of the calendars used in different time periods in Chinese history, the Taichu Calendar/太初历 of Han dynasty (top left), created in 104 BC; the Daming Calendar/大明历 of Southern dynasty (top right), created in 462 AD; the Dayan Calendar/大衍历 of Tang dynasty (bottom left), created in 729 AD; and the Shoushi Calendar/授时历 of Yuan dynasty (bottom right), created in 1281. All of these are lunisolar calendars.
The Northern Song dynasty (960 - 1127) official military compendium Complete Essentials for the Military Classics/《武经总要》, by Zeng Gongliang/曾公亮 and Ding Du/丁度. The version seen here is the version included in the Qing dynasty book collection Complete Library of the Four Treasures/《四库全书》, completed in 1782.
And the book that has appeared a couple times throughout this series of posts already, the Ming dynasty illustrated encyclopedia Sancai Tuhui/《三才图会》:
This is the Ming-era Chinese translation of the mathematical work The Elements by Euclid, titled 《几何原本》. The translators were the Jesuit missionary Matteo Ricci and Xu Guangqi/徐光启 (there’s more information on the placard).
Here is one of the ways in which ancient Chinese science and technology still contributes to the world today, a lesser known example than the famous Four Inventions: the discovery of the antimalarial drug artemisinin (named qinghaosu/青蒿素 in Chinese) by Chinese chemist Tu Youyou/屠呦呦 in the 1970s. Artemisinin is derived from the plant Artemisia annua L., which was recorded in The Handbook of Prescriptions for Emergency Treatments/《肘后备急方》, a book on traditional Chinese medicine written by Ge Hong/葛洪 in 340 AD, as effective against malaria. Since its discovery, artemisinin and its derivatives have saved millions of people, and are now recommended by the WHO as part of the frontline therapy for malaria. For her discovery of artemisinin, Tu Youyou was awarded the Nobel Prize in Medicine in 2015. On display here are Tu Youyou’s letter to the Chinese plant biologist Qian Yingqian/钱迎倩, and her revisions to the draft of Discovery and Development of New Antimalarial Drug Qinghaosu (Artemisinin).
For thousands of years, Chinese people gazed at the stars in awe and wonder what messages the heavens wished to convey. Today, with modern science and technology, the heavens are not so mysterious and out-of-reach anymore, and people can appreciate the universe simply for its vast beauty. In 2013 China sent its first lunar rover, Yutu/玉兔, to the moon. In 2020, Chang'e 5/嫦娥五号 brought back a sample of lunar soil. The names of Yutu and Chang'e come from the names of the moon rabbit and the moon goddess of traditional Chinese mythology respectively (here’s an old post I wrote on Chang'e and the moon rabbit, if anyone’s interested in the legend).
Left: 1:1 model of the 2013 Yutu/玉兔 rover. (both pictures from National Museum of China official site; I saw the actual model and the actual sample but didn’t take a picture of it)
Right: part of the lunar soil sample that Chang'e 5 brought back in 2020.
Looking at the lunar soil sample really made me appreciate how far humanity has come, and how much China has developed. I remember witnessing China’s first manned spaceflight in 2003, that was just a little over 21 years ago. These are truly exciting times.
Phew. Another post that ended up being way more involved than I initially thought……the next post will be the last one of the museum posts in the 2024 China series, and it will be on the history of tea, wine, and food in China (mmm). It will be posted by the Friday before Chinese New Year. Stay tuned!
‘Featuring a Chinese totem called “the dragon educating his son” commonly found in Qing artefacts. The ball is imperiale jadeite of a particularly intense emerald green colour and appears to float mysteriously with no metal claws on view as the father hands his legacy to his son.’The Jewellery Editor
A man with a sword is riding a dragon by holding the rein. The dragon’s body was given the shape of a boat. A little egret is standing at the tail of the dragon. A carp under the dragon is leading the way. The umbrella in the top middle of the picture shows the owner’s nobility. The work has become associated with the Chu poet Qu Yuan’s famous verse from his poem Shejiang (涉江, Setting foot in the river), ‘Carrying a long sword with weird colour; Wearing a qieyun–styled high cap.” (帶長鋏之陸離兮, 冠切雲之崔嵬)
Western Zhou Dynasty seven-huang jade pendant with linked beads/西周七璜联珠组玉佩
About Qu Yuan(屈原）
Qu Yuan (c. 340 BC – 278 BC)was a Chinese poet and aristocrat in the State of Chu during the Warring States period. He is known for his patriotism and contributions to classical poetry and verses, especially through the poems of the Chu Ci anthology (also known as The Songs of the South or Songs of Chu): a volume of poems attributed to or considered to be inspired by his verse writing. Together with the Shi Jing, the Chu Ci is one of the two greatest collections of ancient Chinese verse. He is also remembered in connection to the supposed origin of the Dragon Boat Festival.
Historical details about Qu Yuan’s life are few, and his authorship of many Chu Ci poems has been questioned at length.[4] However, he is widely accepted to have written “The Lament,” a Chu Ci poem. The first known reference to Qu Yuan appears in a poem written in 174 BC by Jia Yi, an official from Luoyang who was slandered by jealous officials and banished to Changsha by Emperor Wen of Han. While traveling, he wrote a poem describing the similar fate of a previous “Qu Yuan."Eighty years later, the first known biography of Qu Yuan’s life appeared in Han dynasty historian Sima Qian‘s Records of the Grand Historian, though it contains a number of contradictory details.
Life of Qu Yuan(屈原）
The only surviving source of information on Qu Yuan’s life is Sima Qian’s biography of him in Records of the Grand Historian (Shiji), although the biography is circumstantial and probably influenced greatly by Sima’s own identification with Qu.Sima wrote that Qu was a member of the Chu royal clan and served as an official under King Huai of Chu (reigned 328–299 BC).
During the early days of King Huai’s reign, Qu Yuan was serving the State of Chu as its Left Minister. However, King Huai exiled Qu Yuan to the region north of the Han River, because corrupt ministers slandered him and influenced the king.Eventually, Qu Yuan was reinstated and sent on a diplomatic mission to the State of Qi. He tried to resume relations between Chu and Qi, which King Huai had broken under the false pretense of King Hui of Qin to cede territory near Shangyu.
During King Qingxiang’s reign, Prime Minister Zilan slandered Qu Yuan.[9] This caused Qu Yuan’s exile to the regions south of the Yangtze River. It is said that Qu Yuan returned first to his home town. In his exile, he spent much of this time collecting legends and rearranging folk odes while traveling the countryside. Furthermore, he wrote some of the greatest poetry in Chinese literature and expressed deep concerns about his state. According to legend, his anxiety brought him to an increasingly troubled state of health. During his depression, he would often take walks near a certain well to look upon his thin and gaunt reflection in the water. This well became known as the "Face Reflection Well.” On a hillside in Xiangluping (at present-day Zigui County, Hubei Province), there is a well that is considered to be the original well from the time of Qu Yuan.
In 278 BC, learning of the capture of his country’s capital, Ying, by General Bai Qi of the state of Qin, Qu Yuan is said to have collected folktales and written the lengthy poem of lamentation called “Lament for Ying”. Eventually, he committed suicide by wading into the Miluo River in today’s Hunan Province while holding a rock. The reason why he took his life remained controversial and was argued by Chinese scholars for centuries. Typical explanations including martyrdom for his deeply beloved but falling motherland, which was suggested by the philosopher Zhu Xi of the Song dynasty, or feeling extreme despair to the situation of the politics in Chu while his lifelong political dream would never be realized. But according to “Yu Fu,” widely considered to be written by Qu himself or at least, a person who was very familiar with Qu, his suicide was an ultimate way to protect his innocence and life principles.[citation needed]
Qu Yuan is said to have expressed his love for the ruling monarch, King Huai of Chu, through several of this works, including “The Lament” and “Longing for Beauty”.
Dragon Boat Festival/端午节
Popular legend has it that villagers carried their dumplings and boats to the middle of the river and desperately tried to save Qu Yuan after he immersed himself in the Miluo but were too late to do so. However, in order to keep fish and evil spirits away from his body, they beat drums and splashed the water with their paddles, and they also threw rice into the water both as a food offering to Qu Yuan’s spirit and also to distract the fish away from his body. However, the legend continues, that late one night, the spirit of Qu Yuan appeared before his friends and told them that he died because he had taken himself under the river. Then, he asked his friends to wrap their rice into three-cornered silk packages to ward off the dragon.
These packages became a traditional food known as zongzi, although the lumps of rice are now wrapped in leaves instead of silk. The act of racing to search for his body in boats gradually became the cultural tradition of dragon boat racing, held on the anniversary of his death every year. Today, people still eat zongzi and participate in dragon boat races to commemorate Qu Yuan’s sacrifice on the fifth day of the fifth month of the traditional lunisolar Chinese calendar.
Buckle. Chinese origin, dated mid to late Qing Dynasty era (about 1700–1911). Medium is abraded jade with pink and yellow tourmaline. Dimensions: 3.81 x 11.11 x 2.22 cm. From the Chinese Art collection at the Los Angeles County Museum of Art, object number: M.2001.179.26
