There were works on jade identification theory and practice since the Song and Yuan dynasties. While there are so many divergent views on jade identification, the scientific identification of the ancient jades has been recognized by industry, government and academia. I have done a study presented to a Taipei conference only served as a practical summary to them. In addition, my study attempts to provide a reference comparison method to identify handed down jades without unearthed reports. In the article on Mineralogical Studies of Archaic Jades (p. 199 no. 32, Acta Geological Taiwanica), Prof. Tsien, H. H. has presented the scientific method on jades identification. Since then, the scientific method on jades identification by Prof. Tsien has gained universal acceptance from both academia and professionals. According to Prof. Tsien, Identification of jade antiques consists of three aspects:
1. authenticity of jade antiques , 2. material composition identification, 3. time period verification.
Authenticity of jade antiques may be verified through certain physical and chemical characteristics including dissolved pits, cleaving veins ,differential weathering, diffusive markings( which should not be mistaken as raw jade skin ), exposure crystals and mineral attachments such as gold placer, Deterioration marking(Aging Spot or ant's leg or cow's hair), underground deterioration and secondary crystal planes which are suitable to serve criteria of authenticity of jade artifacts:
Cleaving Veins:The cleaving veins seen inside the jade artifact are caused by the interaction of jade to the physical factors of heat and pressure. They are different from the cracks caused by percussion. Usually there are no exterior cracks for cleaving veins and exterior cracks are common phenomena for cracks caused by percussion. These are crystals from the jade itself due to physical factors such as heat and pressure. Underground Deterioration: The channel like natural deterioration are caused by underground chemicals. Additionally, material composition may be reliably and scientifically identified through instruments such as a reflectometer and Raman spectrometer. Generally, nephrite has a refractive index of 1.61 (jadeite has a refractive index of 1.66 )or has a prominent mode within the low wavenumber range of 600-800 and around 3700 high wave number reading via Raman spectrometer. In addition, the hardness of nephrite is 6.5 to 7, while the serpentine has a hardness of 5 to 6. The hardness can be tested by a knife on an not important spot.
To identify the time period of a particular jade artifact may be based on factors including carving style, motifs and designs of the object considered and characters( if any ) on the jade, (please read information on Chinese jade chronology.). Above all, according to jade identification expert Dr. Daphne Rosenzweig, jade artifacts should be dated via analytic and systematic approaches. An excellent paper by Eric J. Hoffman is highly recommended to read for more information.
Tuesday, September 17, 2013
Monday, September 16, 2013
Jade Identification--Hole Drilling Patterns Seen in the Chinese Antique Jades
The irregular surface seen in the hole of authentic jade artifacts of many periods is believed due to the result of particular instruments different from modern ones. As such, those holes are difficult to intimate applying modern tools for fake jades. In addition, holes of artifacts of different periods are shown to have particular patterns. Generally speaking, holes of Hongshan and Liangzhu Cultures jades share same patterns of dual holes having irregular inner surface or helical scoring on the same side. Jade artifacts of the Xia Dynasty have holes having double surfaces fine carved on both sides. Holes of Qijia Culture jade artifacts are seen one directional drilling with irregular remains at the end. As such, hole drilling patterns of different cultures are vital factors to be considered in jade identification.
Sunday, September 15, 2013
Jade Authentication--How to Authenticate Jade Artifacts Without Unearth Report?
It is believed that the quantity of jade artifacts without unearth report is far greater than those of with unearth report. As a result, to authenticate jade artifacts without unearth report is more important than to authenticate those with unearth report as well as is more difficult. Fortunately, modern technologies are available to make jade artifacts authentication as accurate as possible. Among them, reference method may be one the jade authentication methods which seems to be appropriate.
The reference method may be described as follows: Firstly, we select a referral jade artifact with unearth report which was designated as a particular period such Han Dynasty. Secondly, we list all the referral item's attributes of antiquity phenomena due to chemical and physical factors cleaving veins, differential weathering, diffusive markings exposed additive crystals crystal planes and dissolved pits, the attributes of motifs( for example, the detail of dragon) of that particular period and the attributes of craftsmanship due to carving,hole drilling( for example, the Qijia Culture jade artifacts are characterized by the one directional drilling, ) and formation of lines( for example, the lines on the Hongshan Culture artifacts are usually seen round smooth channel). Thirdly, we repeat the work for the item to be identified. Lastly, we map the attributes of the item to be identified to those of the item referred. If we end up with all the attributes matched, then we can infer that the item to be identified should be from the same period of the item referred. If 90% of the attributes matched, then we can infer that the item to identified has a probability of 90% from the same period of the item referred. Generally speaking, at least 70% is required to be confident that the item to be identified should be from the period of the item referred.(Click the images on this page to read the descriptions for each item: Warring States Huang, W. 7.4cm, H. 7.4cm, T. 0.4cm, 40grams Jade Plaque w/Motif of Phoenix & Dancing Lady, W. 15cm, H. 8cm, 110grams Late Spring Autumn Period Jade Huang, L. 13.2cm, W.2.8cm, T. 0.5cm, 45grams Warring States, Jade Bi, D. 8.7cm, T.0.5cm Warring States, Jade Huang, L.12.5cm, W. 5.6cm, 82grams</a> ) If the period of the jade artifact to be authenticated has no reference jade artifact with unearth report, then we may search artifacts of different material such as bronze to find clues such inscriptions to make the comparison. For example, we have applied this method for the authentication of the Shin dynasty (AD. 8-25) Octagon-shape Jade Container with Dragon and Phoenix Motif and Inscriptions. For seal, the identification should be based on the scripts on the base and the style of motifs such dragon & phoenix of the handle.
The reference method may be described as follows: Firstly, we select a referral jade artifact with unearth report which was designated as a particular period such Han Dynasty. Secondly, we list all the referral item's attributes of antiquity phenomena due to chemical and physical factors cleaving veins, differential weathering, diffusive markings exposed additive crystals crystal planes and dissolved pits, the attributes of motifs( for example, the detail of dragon) of that particular period and the attributes of craftsmanship due to carving,hole drilling( for example, the Qijia Culture jade artifacts are characterized by the one directional drilling, ) and formation of lines( for example, the lines on the Hongshan Culture artifacts are usually seen round smooth channel). Thirdly, we repeat the work for the item to be identified. Lastly, we map the attributes of the item to be identified to those of the item referred. If we end up with all the attributes matched, then we can infer that the item to be identified should be from the same period of the item referred. If 90% of the attributes matched, then we can infer that the item to identified has a probability of 90% from the same period of the item referred. Generally speaking, at least 70% is required to be confident that the item to be identified should be from the period of the item referred.(Click the images on this page to read the descriptions for each item: Warring States Huang, W. 7.4cm, H. 7.4cm, T. 0.4cm, 40grams Jade Plaque w/Motif of Phoenix & Dancing Lady, W. 15cm, H. 8cm, 110grams Late Spring Autumn Period Jade Huang, L. 13.2cm, W.2.8cm, T. 0.5cm, 45grams Warring States, Jade Bi, D. 8.7cm, T.0.5cm Warring States, Jade Huang, L.12.5cm, W. 5.6cm, 82grams</a> ) If the period of the jade artifact to be authenticated has no reference jade artifact with unearth report, then we may search artifacts of different material such as bronze to find clues such inscriptions to make the comparison. For example, we have applied this method for the authentication of the Shin dynasty (AD. 8-25) Octagon-shape Jade Container with Dragon and Phoenix Motif and Inscriptions. For seal, the identification should be based on the scripts on the base and the style of motifs such dragon & phoenix of the handle.
Saturday, September 14, 2013
Jade Authentication--How to Distinguish Between Genuine Jade Artifacts and Fake Jade Artifacts ?
According to Eric Hoffman: "When considering an allegedly old jade, the first step is to stand back and consider how it looks. Each period of Chinese jade carving embodied a “signature look” for that era. These have been well documented in numerous jade books and museum collections. The collector should be alert for anachronisms, ambiguities, distortions, and other anomalous features that might suggest a fake. Incongruous or never-before-seen motifs, unusual iconography, and unlikely or incorrectly written dates or inscriptions are grounds for suspicion."
He also claimed that : "The collector can “train the eye” by studying museum collections—preferably making the acquaintance of the curator—and by building a solid reference library. But those same excellent, well-illustrated publications that are so useful to the collector have also become “pattern books” for the fake-makers (who sometimes make hilarious mistakes, because they can't see the back of the piece)."
"The Complete Book of Unearthed Jades In China" is an excellent source to study the characteristics of genuine jades artifacts.
The following are examples for you to study:
He also claimed that : "The collector can “train the eye” by studying museum collections—preferably making the acquaintance of the curator—and by building a solid reference library. But those same excellent, well-illustrated publications that are so useful to the collector have also become “pattern books” for the fake-makers (who sometimes make hilarious mistakes, because they can't see the back of the piece)."
"The Complete Book of Unearthed Jades In China" is an excellent source to study the characteristics of genuine jades artifacts.
The following are examples for you to study:
Jade Appreciation--The Essence of Chinese Jade Artifacts Should Be Rediscovered
The Chinese is a nation who has shown a great appreciation on jade. The jade history in China can be traced back as long as eight thousand years in the Xinglongwa Culture( BC6200-5400 ). The extent the Chinese cherishes jade can be realized by the way the Chinese compares the quality of gentleman to that of jade.
According to the Book of the Analysis of Chinese Characters(說文解字 Shuo Wen Chieh Tzu) of Hsu Shen(許慎) in Eastern Han dynasty( c. 100 B.C.), a classic definition of jade’s lasting appeal has been presented as follows:
Jade is a stone of beauty which can be revealed in its five virtues: its luster produces a feeling of warmth, the virtue of humaneness; its translucence enables one to comprehend its inner markings, revealing the virtue of morality; its purity ensures the austere virtue which injures no one.
It is a greatest happiness to enjoy a jade object of good quality by watching its color, listening its sound, touching its surface and reasoning its vein development.
Jade artifacts identification has been practices widely and in great detail on the identifying the age and the genuineness of jade objects. The appreciation of jade artifacts should not be only on the historical aspect. More appreciation should be placed on the aesthetics the jade artifact presents. The elegance of Chinese jade will be rediscovered if jade enjoyment can be matched with the final purpose to establish a harmony society by following the virtues of jade. To appreciate Chinese antique jades, please click the above images to experience.
According to the Book of the Analysis of Chinese Characters(說文解字 Shuo Wen Chieh Tzu) of Hsu Shen(許慎) in Eastern Han dynasty( c. 100 B.C.), a classic definition of jade’s lasting appeal has been presented as follows:
Jade is a stone of beauty which can be revealed in its five virtues: its luster produces a feeling of warmth, the virtue of humaneness; its translucence enables one to comprehend its inner markings, revealing the virtue of morality; its purity ensures the austere virtue which injures no one.
It is a greatest happiness to enjoy a jade object of good quality by watching its color, listening its sound, touching its surface and reasoning its vein development.
Jade artifacts identification has been practices widely and in great detail on the identifying the age and the genuineness of jade objects. The appreciation of jade artifacts should not be only on the historical aspect. More appreciation should be placed on the aesthetics the jade artifact presents. The elegance of Chinese jade will be rediscovered if jade enjoyment can be matched with the final purpose to establish a harmony society by following the virtues of jade. To appreciate Chinese antique jades, please click the above images to experience.
Jade Appreciation--The Admirable Buddhist Jade Carving Arts
The glorious Buddhist arts in China Buddhism has a great impact on the Chinese culture for various respects. The Buddhist culture relics are abundant in the Chinese historical records. The stone carvings found in the caves of Tunhwang, Yunkang and Lungmen are known world wide for their artistic achievements. In the Sui and Tang dynasties, Buddhism has reached its peak. Many Buddhist relics from the Sui dynasty have been kept intact due to the promotion of the rulers. Among the many cave carving of the Sui dynasty, the most abundant and glorious is the Mohrkao cave. After the Tang dynasty, Buddhism has been combined with the thought of Confucians and the political ideas due to the emphasis of the imperial exploitation and management. In the nineteenth year of Jenkwang of the Emperor Tai Tsung of the Tang dynasty, Master Hsuan Tsang came back from India with 600-odd Buddhist scriptures many of which he and his disciples translated into Chinese. Lungmen Grottoes was carved in the Tang dynasty under the rule of Empress Wu (625-705). Most of the Buddhist statutes found in the Sui and Tang dynasties are carved with jade and guilt with gold. The bases are usually seen with bronze. The style of the Buddhist statues have deep genre of Tibetan sultra school. The motif of flying fairies shown on the aureole of the Buddhist statutes found in the Sui and Tang dynasties conforms the genre of those appeared on the jade objects of the Tang dynasty.
Jade Appreciation --Historical and Cultural Perspectives of Jade Carving Styles and Craftsmanship
Authenticity of jade antiques may be verified through certain physical and chemical characteristics including differential weathering, diffusive markings, exposure crystals and a secondary crystal plane. Additionally, material composition may be reliably and scientifically identified through instruments such as Refractometer and Raman spectrometer.
To identify the time period to which a particular jade artifact may belong, factors including carving style,motifs and designs of the object may be considered. According to well-known expert of jade identification and jade jade appraisal, Dr. Daphne Rosenzweig, jade antiques or jade artifacts should be dated via analytical and systematic approaches.
Artisans from the Hongshan Culture emphasized an object's shape rather than surface lines or curvature. Simple and round designs are characteristic of many Hongshan Culture jade artifacts.Dual holes called holes of bugle shape on the same side</a> of the artifacts are usually seen.
A major motif of Liangzhu Culture jade artifacts is "God's Face", and artifacts feature slim and incised lines. Liangzhu Cultural artifacts embody two elements worthy of consideration. First, jade motifs have made an impact on jade motifs of later periods. The God's Face motif constituted major motifs of artifacts from the Spring and Autumn Period. The curling craws shown under the God’s Face constituted the craws of dragon for the Shang and West Chou periods. Second, many Liangzhu Culture jade artifacts have a smoothly cut surface of the motif that may be interpreted to record poignant events such as prayers or sad memories.
A major feature of Qijia Culture jade artifacts is the uni-directional hole-drilling, resulting in visibly irregular edges.Typical jade artifacts from this period are fine thin knives with very smooth surfaces.
Most jade artifacts from the Sanxingdui Culture are made of nephrite and are skillfully carved. Jade artifacts of priests and knights from this period display prominent eyes, wide ears, and decorated with special markings believed to derive from an extraterrestrial civilization.
Longshan Culture jade artifacts are multivariate, from jade kwei to jade arched pendants to jade tubes to bi-disks and notched bi-disk, all of which are elegantly and dexterously carved. The motifs and line carving styles of Longshan jades suggest these to be predecessors of Shang Dynasty jade styles.
From the available Xia Dynasty jade artifacts found, the variety of Xia Culture jade artifacts include jade ring, jade ax, notched zhang, notched bi-disk, arched plaques most of which are rather large and thin in size and have symmetrical lines. Parallel and intersection incised thin lines are used to form simple and concise motif. Moreover, many Xia jades are seen the trellis design consisting intersecting straight lines to form close and inseparable rhomboid shape that further to generate the exaggeration effect and the feeling of the mystery and solemnness that these ritual artifacts carrying.
From weighs twenty kilograms to three centimeters in length, the Shang Dynasty jade artifacts include kneeling person, pig, sheep, mythical animal, dinosaur, jar and jade plaques. It should be noted that the Shang Dynasty jade artifacts are not only made of fine quality jade but also are with extraordinary skillful workmanship. Low relief and streamlined lines done through the reduction of the surface, the square angle curling lines and the smooth dual relief lines are typical for the Shang Dynasty jade artifacts.
The style of the carving for Western Zhou is noted for its single and double slant incised carving which is known as the forty-five degree big slant carving and the technique has been discontinued after the Han dynasty. The jade artifacts of the Western Zhou are in high demand for the serious collectors due to their fine workmanship and rareness for the unearthed and transcendental objects.
The carving style of the jade artifacts for the Spring-Autumn period is derived from the late Zhou dynasty and develops into more detailed pattern. The bosom motif of auspicious cloud is the typical motif for this period. The jade artifacts of the Spring-Autumn are favorable to many serious collectors. The jade carving of the Warring States is of exquisite quality. With streamlined design, most of the motifs are dragons, phoenixes, dancing ladies and crops. The low relief on the surface of the artifact applies abstract and simplified motifs while those carvings extend from the artifact apply realistic ones.
The jade carving technique of the Han dynasty is famous for its straightforwardness and is known as the eight times of carving. The main motif for western Han is the auspicious animal. The size of jade artifacts tends to become large. After eastern Han, the main motifs are the four auspicious creatures (dragon, phoenix, tiger, the couple of snake and turtle), cloud and eagle. Different from previous periods, Han Dynasty jades have modern Chinese characters reading long happiness, suitable for offspring appeared on many bi-disks jades.
The design of Tang Dynasty jade artifacts are seen to be characterized by reality and its relation to daily life. With a rich tint of Buddhism, many jade Buddhist figures are made during this period. Owing to the particular cultural development such as the Tang trio color ceramics, many jade artifacts are painted with rich colors and guilt with gold. Flying fairy of Buddhist figure is appeared as single piece jade artifacts or constitutes major motif on the artifacts. Due to the highly developed communication with foreign countries, foreigners visited China quite often that many motifs of Tang Dynasty are appeared as foreigners from the west which are called Hu people then.
The designs of Song, Yuan, Liao and Kim Dynasties jade artifacts are more daily life oriented. The main theme of many Song Dynasty jade artifacts is laden with different posture and the main themes of Liao and Kim Dynasties are the scenes of spring with birds, flowers and ponds, the scenes of autumn mountain with pine trees, deer and animals.
In the Ming Dynasty, the most important jade artifacts are those made by famous craftsman Lu Tzu-kang. The jade plaque made by him has become the standard design which calls Tzu-kang plaque. As a result, genuine Tzu-kang plaque is valuable even during the Ming Dynasty and goes without saying for later periods. The simple criteria to identify genuine Tzu-kang plaque are the material should be top grade white Hotien jade and low relief lines for the curving characters. In the Qing Dynasty, due to the emphasis of jade artifacts from the imperial court, especial from the Emperor Chienlung himself, jade artifacts of the Qing Dynasty become the last high peak in terms of quality and quantity of Chinese jade carving history.
To identify the time period to which a particular jade artifact may belong, factors including carving style,motifs and designs of the object may be considered. According to well-known expert of jade identification and jade jade appraisal, Dr. Daphne Rosenzweig, jade antiques or jade artifacts should be dated via analytical and systematic approaches.
Artisans from the Hongshan Culture emphasized an object's shape rather than surface lines or curvature. Simple and round designs are characteristic of many Hongshan Culture jade artifacts.Dual holes called holes of bugle shape on the same side</a> of the artifacts are usually seen.
A major motif of Liangzhu Culture jade artifacts is "God's Face", and artifacts feature slim and incised lines. Liangzhu Cultural artifacts embody two elements worthy of consideration. First, jade motifs have made an impact on jade motifs of later periods. The God's Face motif constituted major motifs of artifacts from the Spring and Autumn Period. The curling craws shown under the God’s Face constituted the craws of dragon for the Shang and West Chou periods. Second, many Liangzhu Culture jade artifacts have a smoothly cut surface of the motif that may be interpreted to record poignant events such as prayers or sad memories.
A major feature of Qijia Culture jade artifacts is the uni-directional hole-drilling, resulting in visibly irregular edges.Typical jade artifacts from this period are fine thin knives with very smooth surfaces.
Most jade artifacts from the Sanxingdui Culture are made of nephrite and are skillfully carved. Jade artifacts of priests and knights from this period display prominent eyes, wide ears, and decorated with special markings believed to derive from an extraterrestrial civilization.
Longshan Culture jade artifacts are multivariate, from jade kwei to jade arched pendants to jade tubes to bi-disks and notched bi-disk, all of which are elegantly and dexterously carved. The motifs and line carving styles of Longshan jades suggest these to be predecessors of Shang Dynasty jade styles.
From the available Xia Dynasty jade artifacts found, the variety of Xia Culture jade artifacts include jade ring, jade ax, notched zhang, notched bi-disk, arched plaques most of which are rather large and thin in size and have symmetrical lines. Parallel and intersection incised thin lines are used to form simple and concise motif. Moreover, many Xia jades are seen the trellis design consisting intersecting straight lines to form close and inseparable rhomboid shape that further to generate the exaggeration effect and the feeling of the mystery and solemnness that these ritual artifacts carrying.
From weighs twenty kilograms to three centimeters in length, the Shang Dynasty jade artifacts include kneeling person, pig, sheep, mythical animal, dinosaur, jar and jade plaques. It should be noted that the Shang Dynasty jade artifacts are not only made of fine quality jade but also are with extraordinary skillful workmanship. Low relief and streamlined lines done through the reduction of the surface, the square angle curling lines and the smooth dual relief lines are typical for the Shang Dynasty jade artifacts.
The style of the carving for Western Zhou is noted for its single and double slant incised carving which is known as the forty-five degree big slant carving and the technique has been discontinued after the Han dynasty. The jade artifacts of the Western Zhou are in high demand for the serious collectors due to their fine workmanship and rareness for the unearthed and transcendental objects.
The carving style of the jade artifacts for the Spring-Autumn period is derived from the late Zhou dynasty and develops into more detailed pattern. The bosom motif of auspicious cloud is the typical motif for this period. The jade artifacts of the Spring-Autumn are favorable to many serious collectors. The jade carving of the Warring States is of exquisite quality. With streamlined design, most of the motifs are dragons, phoenixes, dancing ladies and crops. The low relief on the surface of the artifact applies abstract and simplified motifs while those carvings extend from the artifact apply realistic ones.
The jade carving technique of the Han dynasty is famous for its straightforwardness and is known as the eight times of carving. The main motif for western Han is the auspicious animal. The size of jade artifacts tends to become large. After eastern Han, the main motifs are the four auspicious creatures (dragon, phoenix, tiger, the couple of snake and turtle), cloud and eagle. Different from previous periods, Han Dynasty jades have modern Chinese characters reading long happiness, suitable for offspring appeared on many bi-disks jades.
The design of Tang Dynasty jade artifacts are seen to be characterized by reality and its relation to daily life. With a rich tint of Buddhism, many jade Buddhist figures are made during this period. Owing to the particular cultural development such as the Tang trio color ceramics, many jade artifacts are painted with rich colors and guilt with gold. Flying fairy of Buddhist figure is appeared as single piece jade artifacts or constitutes major motif on the artifacts. Due to the highly developed communication with foreign countries, foreigners visited China quite often that many motifs of Tang Dynasty are appeared as foreigners from the west which are called Hu people then.
The designs of Song, Yuan, Liao and Kim Dynasties jade artifacts are more daily life oriented. The main theme of many Song Dynasty jade artifacts is laden with different posture and the main themes of Liao and Kim Dynasties are the scenes of spring with birds, flowers and ponds, the scenes of autumn mountain with pine trees, deer and animals.
In the Ming Dynasty, the most important jade artifacts are those made by famous craftsman Lu Tzu-kang. The jade plaque made by him has become the standard design which calls Tzu-kang plaque. As a result, genuine Tzu-kang plaque is valuable even during the Ming Dynasty and goes without saying for later periods. The simple criteria to identify genuine Tzu-kang plaque are the material should be top grade white Hotien jade and low relief lines for the curving characters. In the Qing Dynasty, due to the emphasis of jade artifacts from the imperial court, especial from the Emperor Chienlung himself, jade artifacts of the Qing Dynasty become the last high peak in terms of quality and quantity of Chinese jade carving history.
Friday, September 13, 2013
Jade Identification--Ritual jade artifacts in ancient China
Ritual jade artifacts in ancient China consist of six worshiping items and six ceremonial items. The six worshiping items are bi-disk for heavenly deities, cong for earthly spirits,kwei, zhang, tiger shape plaque and arched plaque for the four deities in the four directions. The six ceremonial items confer to the six ranks of emperor, king, duke, marquee, viscount, baron with four different kweis and two different bi-disks. The jade knifes are not really practical arms, they are symbols for positions rather.
Jade Identification--On the Motifs of Dragon, Phoenix and Spirit's Face
The motifs of dragon, phoenix and spirit’s face can be traced back to the Hongshan and Liangzhu Cultures in the Neolithic period in China. As shown in the items of Hongshan Culture, Pheonix & Dragon Plaque and Hongshan Culture, Knife with Motifs of Dragon and Phoenix listed in the this website, the motifs of dragon and phoenix are similar to those of the jade artifacts appeared in the Shang dynasty. As for the motif of spirit’s face, it seems derived from the spirit’s face ( it is generally referred as beast’s face) shown on the Liangzhu Culture.
The spirit’s face on the Liangzhu Culture’s jade artifacts in turn is supposed to be derived from the various parts of the bird’s body. The spirit’s face motif as evolved to the Shang and Zhu dynasties has contained animal’s features. As further evolved into Spring and Autumn and Warring Stated period, the spirit’s motif has become human face.
In the Neolithic period, the appearance of dragon, phoenix and spirit’s face may be explained by the awesome to the unknown power of the nature. In the Shang and Zhu dynasties when the societies are governed by the kings and emperors, these motifs became the symbols communicating between them and the ordinary people. The spirit’s face became scarce after the Tang dynasty and the motifs of dragon and phoenix have become the symbols of royal families and purely as the auspice symbols. The understanding of the development of jade motifs will help to determine the age of jade antique in jade identification.
The spirit’s face on the Liangzhu Culture’s jade artifacts in turn is supposed to be derived from the various parts of the bird’s body. The spirit’s face motif as evolved to the Shang and Zhu dynasties has contained animal’s features. As further evolved into Spring and Autumn and Warring Stated period, the spirit’s motif has become human face.
In the Neolithic period, the appearance of dragon, phoenix and spirit’s face may be explained by the awesome to the unknown power of the nature. In the Shang and Zhu dynasties when the societies are governed by the kings and emperors, these motifs became the symbols communicating between them and the ordinary people. The spirit’s face became scarce after the Tang dynasty and the motifs of dragon and phoenix have become the symbols of royal families and purely as the auspice symbols. The understanding of the development of jade motifs will help to determine the age of jade antique in jade identification.
Jade Authentication--Chinese Jades Chronology( Timeline of Chinese Jades )
The periods of Chinese jades may be divided into:
Hongshan Culture(c. 3500-2200 B.C.)
Liangzhu Culture(c. 3400-2250 B.C.)
Qijia Culture( c. 2000 B.C.)
Sanxingdui Culture(c. 1600 B.C.-221 B.C.)
Longshan Culture(c. 2800B.C.-1700 B.C.)
Xia Dynasty(2183 B.C. - 1751 B.C.)
Shang Dynasty(1766 B.C. - 1122 B.C. )
Western Zhou Dynasty(1122 B.C. -771B.C.)
Spring-Autumn, Warring States & Chin Dynasty( 770B.C. - 206 B.C)
Han Dynasty( 220 B.C. -220 A.D.)
Sui, Tang, Song & Yuan Dynasties( 589 D.D. -1368 A.D.)
Ming & Qing Dynasties( 1368 A.D. - 1911 A.D.)
Hongshan Culture, dated five to six thousands years and last for two thousands years, covers the areas of south-eastern of Inner Mongolia and western Liaoning Province of China. Hongshan Culture has derived its name from the Hongshan Mountain of Chifon inside the Mongolia Autonomy. Hongshan Culture is at the prime time of matrilineal descent society. As a result, the theme of many Hongshan Culture jade artifacts derived from birds and animals of which the designs carried female supple nature. Besides serpentine, many Hongshan Culture artifacts are made of nephrite. The emphasis of the jade artifacts is shape rather than the lines of curvature appeared on the surface. Simple and round design are usually presented by many Hongshan Culture jade artifacts. Dual holes called holes of bugle shape</a> on the same side of the artifacts are usually seen. It is generally recognized that the dragon and phoenix motifs of Hongshan Culture are the ancestors of those motifs for later periods in the Chinese jade artifacts history.
Liangzhu Culture(c. 3400-2250 B.C.) Liangzhu Culture can be dated back four to five thousands years. The area covered mainly Lake Tai areas. The variety of jade artifacts of Liangzhu Culture includes jade cong, jade arched plaque and ax-shape plaque. With the spirit’s face as the major motif, the Liangzhu Culture jade artifacts are featuring slim incised lines. The jade artifacts of Liangzhu Culture have two significant elements worth considerations. The first element is the impact on the motifs of jade artifacts of the later periods. The god’s face motif constitutes the major motifs of the Spring and Autumn Period. The curling craws shown under the God’s face </a>constitute the craws of dragon for the Shang and West Chou periods. Second, many Liangzhu Culture jade artifacts can be seen smooth cut on the surface of the motif that can be interpreted as some kind of records of important events such as prays and sad memory. Due to the extraordinary elegant workmanship, Liangzhu Culture jade artifacts are always the most favorite collection items for professional collectors worldwide. No wonder that the prices of Liangzhu Culture jade artifacts are always high in international auctions.
Qijia Culture( c. 2000 B.C.) Dated back around four thousands years ago, QijiaCulture covers Kansu, Ningsia and Chinghai of the Yellow River Areas. There are many varieties of jade artifacts for Qijia Culture. Most of the jade artifacts unearthed are found with plain surface. Major characteristics of Qijia Culture jade artifacts include single direction hole drilling with irregular edges remains not removed</a>.The typical jade artifacts are fine thin knife with very smooth surface. All the artifacts here have archaic phenomena of differential weathering, cleaving veins and exposed crystals.
Sanxingdui Culture(c. 1600 B.C.-221 B.C.)
In 1929, more than four hundreds pieces jade artifacts have been found by Yann Dao Chun, a farmer in Kwanhan City of Szechwan Province in China, whose ancestors have settled there since many generations. The mystery of Ancient Sze Kingdom has been unveiled since then. In 1986, several thousands pieces of gold, bronze, jade artifacts have been unearthed in Sanxindui by local archeologists. Suddenly, Sanxingdui Culture has been known worldwide. The time period of Sanxingdui Culture is believed to be about the time period of the Dynasties of Xia, Shang and Western Zhou. With skillful carving, most of the jade artifacts of Sanxingdui Culture are made of nephrite. Prominent eyes and wide ears of the priests or knights with special design are believed to be derived from extraterrestrial civilization.
Longshan Culture(c. 2800B.C.-1700 B.C.) Longshan Culture has derived its name from the remains of Longshan Township of Shantung Province. Geologically, Longshan Culture covers mainly lower part of the Yellow River, including the areas of Honan, Shensi and Shantung Provinces. Longshan Culture jade artifacts contain many varieties from jade kwei, jade arched pendant, jade tube, bi-disk and notched bi-disk all of which are carved elegantly and dexterously. Judging the motifs and the style of line carving, the Longshan Culture jades are believed to be the origin of Shang Dynasty jades.
Xia Dynasty(2183 B.C. - 1751 B.C.)
According to “The Age of Xia , Historical Records” of Ssu-Ma Chien, the Xia Dynasty lasts about four hundred years from 2138B.C. to 1751B.C. The Erlitou Culture found in Yensi Hsien of Honan Province in 1975 has been confirmed to be the Xia Culture. From the available Xia Dynasty jade artifacts found, the variety of Xia Culture jade artifacts include jade ring, jade ax, notched zhang, notched bi-disk, arched plaques most of which are rather large and thin in size and have symmetrical lines
Shang Dynasty(1766 B.C. - 1122 B.C. ) According to the old Chinese legend, the Shang ancestor was born from a phoenix which was sent from heaven. As a result, phoenix becomes the major motif of Shang jade artifacts. The Seal of Shang Dynasty of our collections is seen dual phoenix motifs on the base. The variety of Shang jade artifacts is rich. From weighs twenty kilograms to three centimeters in length, the Shang Dynasty jade artifacts include kneeling person, pig, sheep, mythical animal, dinosaur, jar and jade plaques. It should be noted that the Shang Dynasty jade artifacts are not only made of fine quality jade but also are with extraordinary skillful workmanship. Low relief and streamlined lines</a> done through the reduction of the surface, the square angle curling lines and the smooth dual relief lines are typical for the Shang Dynasty jade artifacts.
Western Zhou Dynasty(1122 B.C. -771B.C.) The style of the carving for Western Zhou is noted for its single and double slant incised carving which is known as the forty-five degree big slant carving</a> and the technique has been discontinued after the Han dynasty. The jade artifacts of the Western Zhou are in high demand for the serious collectors due to their fine workmanship and rareness for the unearthed and transcendental objects.
Spring-Autumn, Warring States & Chin Dynasty( 770B.C. - 206 B.C)</em>The carving style of the jade artifacts for the Spring-Autumn period(B.C.770-B.C.403) is derived from the late Chou dynasty and develops into more detailed pattern. The bosom motif of auspicious cloud is the typical motif for this period. The jade artifacts of the Spring-Autumn are favorable to many serious collectors. The jade carving of the Warring States(B.C.403-B.C.221) is of exquisite quality. With streamlined design, most of the motifs are dragons, dancing ladies and crops. The low relief on the surface of the artifact applies abstract and simplified motifs while those carvings extend from the artifact apply realistic ones.
Han Dynasty( 220 B.C. -220 A.D.)</em>The jade carving technique of the Han dynasty is famous for its straight forwardness and is known as the eight times of carving. The main motif for western Han is the auspicious animal. The size of jade artifacts tends to become large. After eastern Han, the main motifs are the four auspicious creatures (dragon, phoenix, tiger, the couple of snake and turtle), cloud and eagle. Different from previous periods, Han Dynasty jades have modern Chinese characters reading long happiness, suitable for offspring appeared on many bi-disks jades.
Sui, Tang, Song & Yuan Dynasties( 589 D.D. -1368 A.D.)The design of Tang Dynasty jade artifacts are seen to be characterized by reality and its relation to daily life. With a rich tint of Buddhism, many jade Buddhist figures are made during this period. Owing to the particular cultural development such as the Tang trio color ceramics, many jade artifacts are painted with rich colors and gilt with gold. Flying fairy of Buddhist figure is appeared as single piece jade artifacts or constitutes major motif on the artifacts. Due to the highly developed communication with foreign countries, foreigners visited China quite often that many motifs of Tang Dynasty are appeared as foreigners from the west which are called Hu people then. The designs of Song, Yuan, Liao and Kim Dynasties jade artifacts are more daily life oriented. The main theme of many Song Dynasty jade artifacts is lad with different posture and the main themes of Liao and Kim Dynasties are the scenes of spring with birds, flowers and ponds, the scenes of autumn mountain with pine trees, deer and animals.
In the Ming Dynasty, the most important jade artifacts are those made by famous craftsman Lu Tzu-kang. The jade plaque made by him has become the standard design which calls Tzu-kang plaque. As a result, genuine Tzu-kang plaque is valuable even during the Ming Dynasty and goes without saying for later periods. The simple criteria to identify genuine Tzu-kang plaque are the material should be top grade white Hotien jade and low relief lines for the curving characters. In addition, astrology was highly developed in the Ming dynasty, the motif of " * " appeared on the jade artifacts may be the symbol of star or compass instead of casual decoration. In the Qing Dynasty, due to the emphasis of jade artifacts from the imperial court, especial from the Emperor Chienlung himself, jade artifacts of the Qing Dynasty become the last high peak in terms of quality and quantity of Chinese jade carving history. (<a href="http://www.metmuseum.org/toah/intro/atr/06sm.htm">cf. Heilbrunn Timeline of Art History.</a>and<a href="http://www.art-and-archaeology.com/timelines/china/china.html">other resources</a>)
Hongshan Culture(c. 3500-2200 B.C.)
Liangzhu Culture(c. 3400-2250 B.C.)
Qijia Culture( c. 2000 B.C.)
Sanxingdui Culture(c. 1600 B.C.-221 B.C.)
Longshan Culture(c. 2800B.C.-1700 B.C.)
Xia Dynasty(2183 B.C. - 1751 B.C.)
Shang Dynasty(1766 B.C. - 1122 B.C. )
Western Zhou Dynasty(1122 B.C. -771B.C.)
Spring-Autumn, Warring States & Chin Dynasty( 770B.C. - 206 B.C)
Han Dynasty( 220 B.C. -220 A.D.)
Sui, Tang, Song & Yuan Dynasties( 589 D.D. -1368 A.D.)
Ming & Qing Dynasties( 1368 A.D. - 1911 A.D.)
Hongshan Culture, dated five to six thousands years and last for two thousands years, covers the areas of south-eastern of Inner Mongolia and western Liaoning Province of China. Hongshan Culture has derived its name from the Hongshan Mountain of Chifon inside the Mongolia Autonomy. Hongshan Culture is at the prime time of matrilineal descent society. As a result, the theme of many Hongshan Culture jade artifacts derived from birds and animals of which the designs carried female supple nature. Besides serpentine, many Hongshan Culture artifacts are made of nephrite. The emphasis of the jade artifacts is shape rather than the lines of curvature appeared on the surface. Simple and round design are usually presented by many Hongshan Culture jade artifacts. Dual holes called holes of bugle shape</a> on the same side of the artifacts are usually seen. It is generally recognized that the dragon and phoenix motifs of Hongshan Culture are the ancestors of those motifs for later periods in the Chinese jade artifacts history.
Liangzhu Culture(c. 3400-2250 B.C.) Liangzhu Culture can be dated back four to five thousands years. The area covered mainly Lake Tai areas. The variety of jade artifacts of Liangzhu Culture includes jade cong, jade arched plaque and ax-shape plaque. With the spirit’s face as the major motif, the Liangzhu Culture jade artifacts are featuring slim incised lines. The jade artifacts of Liangzhu Culture have two significant elements worth considerations. The first element is the impact on the motifs of jade artifacts of the later periods. The god’s face motif constitutes the major motifs of the Spring and Autumn Period. The curling craws shown under the God’s face </a>constitute the craws of dragon for the Shang and West Chou periods. Second, many Liangzhu Culture jade artifacts can be seen smooth cut on the surface of the motif that can be interpreted as some kind of records of important events such as prays and sad memory. Due to the extraordinary elegant workmanship, Liangzhu Culture jade artifacts are always the most favorite collection items for professional collectors worldwide. No wonder that the prices of Liangzhu Culture jade artifacts are always high in international auctions.
Qijia Culture( c. 2000 B.C.) Dated back around four thousands years ago, QijiaCulture covers Kansu, Ningsia and Chinghai of the Yellow River Areas. There are many varieties of jade artifacts for Qijia Culture. Most of the jade artifacts unearthed are found with plain surface. Major characteristics of Qijia Culture jade artifacts include single direction hole drilling with irregular edges remains not removed</a>.The typical jade artifacts are fine thin knife with very smooth surface. All the artifacts here have archaic phenomena of differential weathering, cleaving veins and exposed crystals.
Sanxingdui Culture(c. 1600 B.C.-221 B.C.)
In 1929, more than four hundreds pieces jade artifacts have been found by Yann Dao Chun, a farmer in Kwanhan City of Szechwan Province in China, whose ancestors have settled there since many generations. The mystery of Ancient Sze Kingdom has been unveiled since then. In 1986, several thousands pieces of gold, bronze, jade artifacts have been unearthed in Sanxindui by local archeologists. Suddenly, Sanxingdui Culture has been known worldwide. The time period of Sanxingdui Culture is believed to be about the time period of the Dynasties of Xia, Shang and Western Zhou. With skillful carving, most of the jade artifacts of Sanxingdui Culture are made of nephrite. Prominent eyes and wide ears of the priests or knights with special design are believed to be derived from extraterrestrial civilization.
Longshan Culture(c. 2800B.C.-1700 B.C.) Longshan Culture has derived its name from the remains of Longshan Township of Shantung Province. Geologically, Longshan Culture covers mainly lower part of the Yellow River, including the areas of Honan, Shensi and Shantung Provinces. Longshan Culture jade artifacts contain many varieties from jade kwei, jade arched pendant, jade tube, bi-disk and notched bi-disk all of which are carved elegantly and dexterously. Judging the motifs and the style of line carving, the Longshan Culture jades are believed to be the origin of Shang Dynasty jades.
Xia Dynasty(2183 B.C. - 1751 B.C.)
According to “The Age of Xia , Historical Records” of Ssu-Ma Chien, the Xia Dynasty lasts about four hundred years from 2138B.C. to 1751B.C. The Erlitou Culture found in Yensi Hsien of Honan Province in 1975 has been confirmed to be the Xia Culture. From the available Xia Dynasty jade artifacts found, the variety of Xia Culture jade artifacts include jade ring, jade ax, notched zhang, notched bi-disk, arched plaques most of which are rather large and thin in size and have symmetrical lines
Shang Dynasty(1766 B.C. - 1122 B.C. ) According to the old Chinese legend, the Shang ancestor was born from a phoenix which was sent from heaven. As a result, phoenix becomes the major motif of Shang jade artifacts. The Seal of Shang Dynasty of our collections is seen dual phoenix motifs on the base. The variety of Shang jade artifacts is rich. From weighs twenty kilograms to three centimeters in length, the Shang Dynasty jade artifacts include kneeling person, pig, sheep, mythical animal, dinosaur, jar and jade plaques. It should be noted that the Shang Dynasty jade artifacts are not only made of fine quality jade but also are with extraordinary skillful workmanship. Low relief and streamlined lines</a> done through the reduction of the surface, the square angle curling lines and the smooth dual relief lines are typical for the Shang Dynasty jade artifacts.
Western Zhou Dynasty(1122 B.C. -771B.C.) The style of the carving for Western Zhou is noted for its single and double slant incised carving which is known as the forty-five degree big slant carving</a> and the technique has been discontinued after the Han dynasty. The jade artifacts of the Western Zhou are in high demand for the serious collectors due to their fine workmanship and rareness for the unearthed and transcendental objects.
Spring-Autumn, Warring States & Chin Dynasty( 770B.C. - 206 B.C)</em>The carving style of the jade artifacts for the Spring-Autumn period(B.C.770-B.C.403) is derived from the late Chou dynasty and develops into more detailed pattern. The bosom motif of auspicious cloud is the typical motif for this period. The jade artifacts of the Spring-Autumn are favorable to many serious collectors. The jade carving of the Warring States(B.C.403-B.C.221) is of exquisite quality. With streamlined design, most of the motifs are dragons, dancing ladies and crops. The low relief on the surface of the artifact applies abstract and simplified motifs while those carvings extend from the artifact apply realistic ones.
Han Dynasty( 220 B.C. -220 A.D.)</em>The jade carving technique of the Han dynasty is famous for its straight forwardness and is known as the eight times of carving. The main motif for western Han is the auspicious animal. The size of jade artifacts tends to become large. After eastern Han, the main motifs are the four auspicious creatures (dragon, phoenix, tiger, the couple of snake and turtle), cloud and eagle. Different from previous periods, Han Dynasty jades have modern Chinese characters reading long happiness, suitable for offspring appeared on many bi-disks jades.
Sui, Tang, Song & Yuan Dynasties( 589 D.D. -1368 A.D.)The design of Tang Dynasty jade artifacts are seen to be characterized by reality and its relation to daily life. With a rich tint of Buddhism, many jade Buddhist figures are made during this period. Owing to the particular cultural development such as the Tang trio color ceramics, many jade artifacts are painted with rich colors and gilt with gold. Flying fairy of Buddhist figure is appeared as single piece jade artifacts or constitutes major motif on the artifacts. Due to the highly developed communication with foreign countries, foreigners visited China quite often that many motifs of Tang Dynasty are appeared as foreigners from the west which are called Hu people then. The designs of Song, Yuan, Liao and Kim Dynasties jade artifacts are more daily life oriented. The main theme of many Song Dynasty jade artifacts is lad with different posture and the main themes of Liao and Kim Dynasties are the scenes of spring with birds, flowers and ponds, the scenes of autumn mountain with pine trees, deer and animals.
In the Ming Dynasty, the most important jade artifacts are those made by famous craftsman Lu Tzu-kang. The jade plaque made by him has become the standard design which calls Tzu-kang plaque. As a result, genuine Tzu-kang plaque is valuable even during the Ming Dynasty and goes without saying for later periods. The simple criteria to identify genuine Tzu-kang plaque are the material should be top grade white Hotien jade and low relief lines for the curving characters. In addition, astrology was highly developed in the Ming dynasty, the motif of " * " appeared on the jade artifacts may be the symbol of star or compass instead of casual decoration. In the Qing Dynasty, due to the emphasis of jade artifacts from the imperial court, especial from the Emperor Chienlung himself, jade artifacts of the Qing Dynasty become the last high peak in terms of quality and quantity of Chinese jade carving history. (<a href="http://www.metmuseum.org/toah/intro/atr/06sm.htm">cf. Heilbrunn Timeline of Art History.</a>and<a href="http://www.art-and-archaeology.com/timelines/china/china.html">other resources</a>)
Jade Appreciation --An Ancient Chinese Measurement System Historical Record
Xin dynasty(A.D.8- 25) Octagon-shape Jade Container with Dragon and Phoenix Motif and Inscriptions, H. 21cm
The inscriptions of the four corners are translated as follows:The virtues of the original ancestor Emperor Huang has handed down to my nation.In the year of A.D. 9, the new system of measurement is announced for the first time, for all generations to follow forever.
The twenty-four Chinese characters
黃帝初祖長壽
龍集己巳享傳
初班天下子孫
萬國永遵億年
appeared on the surfaces of the four corners of the container are digested from the eighty-one Chinese characters </a>黃帝初祖，德及于虞，虞帝始祖，德及予新，歲在大樑
，龍集戊辰，戊辰直定，天命有民，據土德受 ，正號即真
，改正建醜，長壽隆崇，同律度量衡，稽當前人，龍集己巳
，歲次實沈，初班天下，萬國永遵，子子孫孫，享傳億年 。
inscribed on the outside wall the bronze container from Shin dynasty (A.D. 8-23) in the National Palace Museum collections.
This octagon-shape container is broader on the upper part and narrower on the lower part. The lid of the vase has an open octagon-shape tub. It is broader on the upper part and narrower on the lower part of the tub. There is a negative thunder motif between two thicker negative lines on the lower part of the lid.
The same design also appears on the upper and lower parts of the main container . The four narrowest surfaces have inscriptions with negative lines. The two narrow surfaces have low relief phoenix motif. The two broader surfaces have low relief dragon motif. The design of the dragon has featured the fairy tale of King of sea dragon with motif of sea horse appears on the wings.The motifs of this container are picturesque with elegant lines and dexterous carving technique. It is reasonable to believe that this container is from the imperial palace of the Shin dynasty.
The item is made of high quality white jade with evidences of diffusive markings, additive crysta and dissolved pits.The Shin dynasty is last only for a short period of fifteen years (from A.D. 8 to A.D.23), the artifact from its imperial palace is extremely rare.
In addition, the inscriptions on it have recorded the history of the ancient Chinese measurement system. It is no doubt that this container is both important for its artistic value and historic value.
The inscriptions of the four corners are translated as follows:The virtues of the original ancestor Emperor Huang has handed down to my nation.In the year of A.D. 9, the new system of measurement is announced for the first time, for all generations to follow forever.
The twenty-four Chinese characters
黃帝初祖長壽
龍集己巳享傳
初班天下子孫
萬國永遵億年
appeared on the surfaces of the four corners of the container are digested from the eighty-one Chinese characters </a>黃帝初祖，德及于虞，虞帝始祖，德及予新，歲在大樑
，龍集戊辰，戊辰直定，天命有民，據土德受 ，正號即真
，改正建醜，長壽隆崇，同律度量衡，稽當前人，龍集己巳
，歲次實沈，初班天下，萬國永遵，子子孫孫，享傳億年 。
inscribed on the outside wall the bronze container from Shin dynasty (A.D. 8-23) in the National Palace Museum collections.
This octagon-shape container is broader on the upper part and narrower on the lower part. The lid of the vase has an open octagon-shape tub. It is broader on the upper part and narrower on the lower part of the tub. There is a negative thunder motif between two thicker negative lines on the lower part of the lid.
The same design also appears on the upper and lower parts of the main container . The four narrowest surfaces have inscriptions with negative lines. The two narrow surfaces have low relief phoenix motif. The two broader surfaces have low relief dragon motif. The design of the dragon has featured the fairy tale of King of sea dragon with motif of sea horse appears on the wings.The motifs of this container are picturesque with elegant lines and dexterous carving technique. It is reasonable to believe that this container is from the imperial palace of the Shin dynasty.
The item is made of high quality white jade with evidences of diffusive markings, additive crysta and dissolved pits.The Shin dynasty is last only for a short period of fifteen years (from A.D. 8 to A.D.23), the artifact from its imperial palace is extremely rare.
In addition, the inscriptions on it have recorded the history of the ancient Chinese measurement system. It is no doubt that this container is both important for its artistic value and historic value.
Frequently Asked Questions About Buying Chinese Jade Antiques
We receive many good questions about purchasing Chinese jade antiques, especially over the internet. Here are some answers that we hope can shed light to your Chinese jade antique buying experience:
Q1. Is it legal to purchase or sell jade artifacts?
A1.Yes, jade artifacts may be sold or purchased legally when the artifacts are not on the government's wanted lists of stolen jade antiques.
Q2. Is anyone on eBay selling authentic artifacts?
A2. There should be (although not so many) authentic pieces of jade artifacts being sold on Internet stores if the price is reasonable and not extremely low like below one hundred US dollars( According to Dr. Daphne Lange Rosenzweig, we should collect valuable items which are genuine and with mastery workmanship). To be on the safe side, one would want to have basic knowledge of jade identification. We've provided some helpful information on jade identification</a>in our website for jade lovers and visitors who are seriously considering collecting and purchasing jade antiques and artifacts, for example, you may read description in our website. Please be noted that recently we have found some seller in eBay using the information in our Palace Antique International website page to fake the certificate for their items. Please verify with us if you see one.
Q3. There are so many sites, and museums and private parties, and seems you can purchase the antiques off the Internet. How is this possible?
A3. Private collections are permissible for selling even in in Chinese territory. There are many auction houses there to perform artifacts transaction for commercial selling purposes.
Q4. Why most of the experts of established auction houses deny my items?
A4. The reasons are twofold. First, they don't want to spend time to study your object, to deny it is the easiest way to close the case( The content of their reply letter even preformed ). Second, they want to monopoly the market, they don't want to see many other items in the market to lower the value of their transaction.
Q5. Can I assume any of the jade artifacts on ebay are real? A5. No. you cannot. To be safe, you probably should assume a cautious position on jade artifacts being sold on the internet. Most of the time the sellers themselves do not have the knowledge to indentify whether an artifact is genuine.
Q6. Are all the Chinese artifacts will be returned to the country?
A6. Not if the jade artifacts are not listed by the government as stolen items. As a matter of fact, most of the artifacts in the museums outside China are the bounties of war during the Qing dynasty.
Q7. Can you purchase and own Chinese jade artifacts?
A7. Yes. if the artifacts are not on government's "wanted" list of stolen goods.
Q8. From whom can you legally buy jades from, Can jade artificats be purchased overseas into the United States?
A8. Yes. If the jade artifacts are purchased legally.
Q9. It is known that China & Taiwan are the origins of fake jades, can jade artifacts be purchased in the US or Europe be safer?
A9. Not necessary. If the jade artifacts dealers or collectors are not professional enough, they may acquire some fake jades. On the contrary, if you know how to identify jade yourself or if you have qualified expert examined before you buy, you have equal chance to obtain genuine jade.In other words, place of purchase is not the factor to determine whether it is genuine or not.
When you say modern jade, what time frame are you talking? 1950's, 1900's?? 1990's?
A10.There is no definite time frame. Usually when the item has age less than 100 years will be considered modern. In China, when open market system has been adopted, jade collection and fake jades prevail in the past 20 years. More over, when electrical powered tools start to be used, the carving styles will be quite different from those using manual tools. As a result, jades made in the these period will be considered MODERN.
Q11. How to distinguish Ming imitation jades from real Han or Warring States jades?
A11.The Ming imitation jades </a>will have the same form of those of the WS or Han, therefore the difference will not base on the motifs form but on the the lining carving style of the motifs.
Q12. Are jade artifacts are controlled by the Chinese government?
A12. Jade artifacts that are on the inventory of Chinese museums, or remain unearthed in the Chinese territory, or are in the process of unearthing are indeed controlled by the Chinese government.
Q1. Is it legal to purchase or sell jade artifacts?
A1.Yes, jade artifacts may be sold or purchased legally when the artifacts are not on the government's wanted lists of stolen jade antiques.
Q2. Is anyone on eBay selling authentic artifacts?
A2. There should be (although not so many) authentic pieces of jade artifacts being sold on Internet stores if the price is reasonable and not extremely low like below one hundred US dollars( According to Dr. Daphne Lange Rosenzweig, we should collect valuable items which are genuine and with mastery workmanship). To be on the safe side, one would want to have basic knowledge of jade identification. We've provided some helpful information on jade identification</a>in our website for jade lovers and visitors who are seriously considering collecting and purchasing jade antiques and artifacts, for example, you may read description in our website. Please be noted that recently we have found some seller in eBay using the information in our Palace Antique International website page to fake the certificate for their items. Please verify with us if you see one.
Q3. There are so many sites, and museums and private parties, and seems you can purchase the antiques off the Internet. How is this possible?
A3. Private collections are permissible for selling even in in Chinese territory. There are many auction houses there to perform artifacts transaction for commercial selling purposes.
Q4. Why most of the experts of established auction houses deny my items?
A4. The reasons are twofold. First, they don't want to spend time to study your object, to deny it is the easiest way to close the case( The content of their reply letter even preformed ). Second, they want to monopoly the market, they don't want to see many other items in the market to lower the value of their transaction.
Q5. Can I assume any of the jade artifacts on ebay are real? A5. No. you cannot. To be safe, you probably should assume a cautious position on jade artifacts being sold on the internet. Most of the time the sellers themselves do not have the knowledge to indentify whether an artifact is genuine.
Q6. Are all the Chinese artifacts will be returned to the country?
A6. Not if the jade artifacts are not listed by the government as stolen items. As a matter of fact, most of the artifacts in the museums outside China are the bounties of war during the Qing dynasty.
Q7. Can you purchase and own Chinese jade artifacts?
A7. Yes. if the artifacts are not on government's "wanted" list of stolen goods.
Q8. From whom can you legally buy jades from, Can jade artificats be purchased overseas into the United States?
A8. Yes. If the jade artifacts are purchased legally.
Q9. It is known that China & Taiwan are the origins of fake jades, can jade artifacts be purchased in the US or Europe be safer?
A9. Not necessary. If the jade artifacts dealers or collectors are not professional enough, they may acquire some fake jades. On the contrary, if you know how to identify jade yourself or if you have qualified expert examined before you buy, you have equal chance to obtain genuine jade.In other words, place of purchase is not the factor to determine whether it is genuine or not.
When you say modern jade, what time frame are you talking? 1950's, 1900's?? 1990's?
A10.There is no definite time frame. Usually when the item has age less than 100 years will be considered modern. In China, when open market system has been adopted, jade collection and fake jades prevail in the past 20 years. More over, when electrical powered tools start to be used, the carving styles will be quite different from those using manual tools. As a result, jades made in the these period will be considered MODERN.
Q11. How to distinguish Ming imitation jades from real Han or Warring States jades?
A11.The Ming imitation jades </a>will have the same form of those of the WS or Han, therefore the difference will not base on the motifs form but on the the lining carving style of the motifs.
Q12. Are jade artifacts are controlled by the Chinese government?
A12. Jade artifacts that are on the inventory of Chinese museums, or remain unearthed in the Chinese territory, or are in the process of unearthing are indeed controlled by the Chinese government.
Thursday, September 12, 2013
Jade Identification--On the Changing Form of Jade Antiques
According to "The Identification of Chinese Jade Artifacts" by Prof. Chien & Tan, some of the Liangzhu jade artifacts have shown twisted in shape or form changed due to the occurrence of extraordinary conditions of the environment where those jade artifacts have been buried.
This kind of conjecture seems not conform the commonsense of the principle of physical sciences. Based on the principle of physics, such kind of material change in form needs a particular state of conditions similar to the original ones when the nephrite was formed billions of years ago. Furthermore, if such a shock effect has happened to the Liangzhu jade artifacts, it would have happened to everything in the surroundings which seems not the case.
As a matter of fact, the abnormal shapes are not uncommon for many Liangzhu jade artifacts found. This phenomenon may be explained by the reason that raw jade should be fully utilized due to its scarceness. The jade artifacts are carved by as wasting less material as possible. The abnormality is due to the way original carved not due to the shape changed by outer force. It is not impossible that there are some kinds of particular cultural traits that are known yet.The jade cong of Sanxindui Culture shown in this website is found the curvature cut in each section of the queen's crown which may be interpreted as the recording of the pass away of the queen. This consideration may help to clarify the factors affect jade identification.
This kind of conjecture seems not conform the commonsense of the principle of physical sciences. Based on the principle of physics, such kind of material change in form needs a particular state of conditions similar to the original ones when the nephrite was formed billions of years ago. Furthermore, if such a shock effect has happened to the Liangzhu jade artifacts, it would have happened to everything in the surroundings which seems not the case.
As a matter of fact, the abnormal shapes are not uncommon for many Liangzhu jade artifacts found. This phenomenon may be explained by the reason that raw jade should be fully utilized due to its scarceness. The jade artifacts are carved by as wasting less material as possible. The abnormality is due to the way original carved not due to the shape changed by outer force. It is not impossible that there are some kinds of particular cultural traits that are known yet.The jade cong of Sanxindui Culture shown in this website is found the curvature cut in each section of the queen's crown which may be interpreted as the recording of the pass away of the queen. This consideration may help to clarify the factors affect jade identification.
Jade Appreciation--The Lovely Mutton White Jade
Material composition of jade antique is usually considered to be an important factor in the area of jade identification and appraisal. Nephrite consists of tremolite (Ca2Mg5[Si4O11]2(OH)2) and actinolite((Ca2(Mg,Fe)5[Si4O11]2(OH)2). The jade consists mainly tremolite has more white color element. The more element of actinolite the jade contains the lesser the white color element the jade has. The mutton white color nephrite contains almost all the tremolite and has creamy luster feeling. The texture of the structures of the mutton white nephrite is so small that it is not so easy for human eyes to observe. The price of fine quality mutton white is higher and higher due increasing demand and decreasing supply. The main source for the mutton white jade is Hotan( Hetian) jade which has its name since 1959.
Jade Appraisal--How to Appraise Chinese Antique Jades
According to the well-known expert on jade identification and appraisal, Dr. Daphne Lange Rosenzweig, the value of jade antiques may be appraised through the following factors:
1.Physical properties:
a. identification and quality of the material
b. size and condition of the carving
2. Aesthetic properties:
a. quality of the workmanship
b. school, style and period characteristics
c. consideration of shape, subject, color, proportion and size
3. Extraneous properties</em>
a. provenance
b. market volatility and local taste
Dr. Rosenzweig stresses the necessary discipline of judging jade on its own merits and not by its pedigree or the important name of its former owner. Generally speaking, the jade antique to be collected must be those valuable items which are genuine with fine workmanship. (Source: Roger Keverne( Consultant Editor):Jade, Lorenz Books, 1995, pp.196-207) In order to carry out the actual appraisal, qualitative factors have to be transformed into quantitative measurements. Theoretically speaking, Delphi method has to be applied via pooling the opinions of group of experts. In practice, jade appraisal usually take market approach to evaluate a particular jade item by comparing prices of similar items sold in the market. If no market value may be found and before more sophisticated methods available, then the appraisal may be based on original purchase price multiplied by inflation index or use an inflation calculator.
Scientific jade appraisal methods have not been established. I have done a preliminary empirical study on jade appraisal presented to a 2011 conference in Taipei. In jade appraisal, objective criteria such as the methods of valuation of intangible assets should be established. The empirical regression model of my study is an attempt in this direction. In this study, weighted size index, and the quality index of 1 to 5 of subjective indicators showing workmanship, jade quality and perfection factor are treated as predictor variables in the regression equation. Finally, the study applies this model to the 505 Han Jades of auction house in 2009 using SPSS statistical software. The results have shown evidences of regression equation in line with the theory of the assumption that the greater size of the jade, the higher the composite indicator of jade, the higher its value. However, the establishment of the size indicator and comprehensive indicator is only in its preliminary stage, future researches should be further proceeded.
P.S. Prof.Mitchell Chen has published papers related to jade appraisal such as:
An Empirical Study on Art Works Appraisal- In the Case of Chinese Antique jades ( Presented to the 2010 International Conference of Business Innovation in Xiamen, China)
An Empirical Study on Chinese Antique Jades Identification and Appraisal (Presented to the 2011 International Conference of Chinesese Culture and Tourism, Taipei, Taiwan)
1.Physical properties:
a. identification and quality of the material
b. size and condition of the carving
2. Aesthetic properties:
a. quality of the workmanship
b. school, style and period characteristics
c. consideration of shape, subject, color, proportion and size
3. Extraneous properties</em>
a. provenance
b. market volatility and local taste
Dr. Rosenzweig stresses the necessary discipline of judging jade on its own merits and not by its pedigree or the important name of its former owner. Generally speaking, the jade antique to be collected must be those valuable items which are genuine with fine workmanship. (Source: Roger Keverne( Consultant Editor):Jade, Lorenz Books, 1995, pp.196-207) In order to carry out the actual appraisal, qualitative factors have to be transformed into quantitative measurements. Theoretically speaking, Delphi method has to be applied via pooling the opinions of group of experts. In practice, jade appraisal usually take market approach to evaluate a particular jade item by comparing prices of similar items sold in the market. If no market value may be found and before more sophisticated methods available, then the appraisal may be based on original purchase price multiplied by inflation index or use an inflation calculator.
Scientific jade appraisal methods have not been established. I have done a preliminary empirical study on jade appraisal presented to a 2011 conference in Taipei. In jade appraisal, objective criteria such as the methods of valuation of intangible assets should be established. The empirical regression model of my study is an attempt in this direction. In this study, weighted size index, and the quality index of 1 to 5 of subjective indicators showing workmanship, jade quality and perfection factor are treated as predictor variables in the regression equation. Finally, the study applies this model to the 505 Han Jades of auction house in 2009 using SPSS statistical software. The results have shown evidences of regression equation in line with the theory of the assumption that the greater size of the jade, the higher the composite indicator of jade, the higher its value. However, the establishment of the size indicator and comprehensive indicator is only in its preliminary stage, future researches should be further proceeded.
P.S. Prof.Mitchell Chen has published papers related to jade appraisal such as:
An Empirical Study on Art Works Appraisal- In the Case of Chinese Antique jades ( Presented to the 2010 International Conference of Business Innovation in Xiamen, China)
An Empirical Study on Chinese Antique Jades Identification and Appraisal (Presented to the 2011 International Conference of Chinesese Culture and Tourism, Taipei, Taiwan)
Sunday, September 8, 2013
龍山文化(c. 2800B.C.-1700 B.C.)
龙山文化距今约四千年, 龙山文化的命名系起源于山东省章丘县龙山镇城子崖遗址. 龙山文化主要分布于黄河下游, 涵盖河南, 陕西, 山东等地. 龙山文化的玉器有玉圭, 玉璜, 玉勒, 玉璧环, 玉牙璧等. 龙山文化的玉器工艺技术精美.龙山文化玉器上的玉鹰纹饰被认为是商代玉鹰的滥觞.
龍山文化牙璧, D.15cm
本器與<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/玉多齒三牙璧龍山文化徑8cm1978山東省滕縣里庄出土山東省滕縣博物館藏.jpg">中國山東省滕縣博物館藏山東省滕縣里庄1978出土龍山文化徑8cm玉多齒三牙璧</a>之造型雷同.本器<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LSBiAdditive-Crystal.jpg">曝露晶面</a>古玉跡象明顯.
龍山文化玉圭, H.47cm
本玉圭為黃玉質, 素面無紋, 刀工嚴謹工整, 上方扁平稍微銳利, 下方平直有二孔.<a href="http://www.exoticjades.com/wp-content/uploads/2006/06/DSCN3229.JPG"> 溶蝕孔</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LongKweiDissolved-Pits.jpg">增生晶體</a>等古玉跡象明顯.
齊家文化( c. 2000 B.C.)
就地理區而言, 齊家文化分佈於甘肅, 青海及寧夏,就歷史的長河而言, 齊家文化距今約四千年. 齊家文化玉器種類繁多, 但多以素面為主. 其工藝的特徵是單向鑽孔, 留有毛邊. 薄片切割的精美玉刀是代表作.<a href=" http://comment.artron.net/20130710/n474904.html">古方</a>認為"就目前考古资料而言，齐家文化玉璧和玉琮主要发现于中国西北地区的甘肃、青海和宁夏的齐家文化遗址和墓葬中，其中以甘肃最多。甘肃出土地点有：静宁县治平乡后柳沟村、静宁县深沟乡晨光梁、定西市团结乡高泉村、定西市安定区内官营镇四月八山和清溪村、定西市安定区三十里铺、武威市皇娘娘台、临洮县李家村、甘谷县渭水峪、天水市师赵村、广河县齐家坪、永靖县新坪乡新庄坪、渭源县七圣村、会宁县中川乡老鸦沟村油坊庄、榆中县甘草店。另外庄浪县和陇西县采集有齐家文化玉璧和玉琮。青海出土地点有：民和县喇家、民和县马营乡马家村阳坪、民和县中川乡清泉旱台、大通县上孙家寨、同德县巴沟乡宗日、西宁市沈那、乐都县白崖子。宁夏出土地点有：原州区河川乡上台村、德隆县沙塘乡、西吉县白崖乡。从出土范围来看，齐家文化玉璧与玉琮主要集中分布在两个区域，即甘肃东部天水、定西、庆阳地区和宁夏南部固原地区，以及甘肃中部武威、兰州、临夏和青海东部西宁地区。这两个区域都是齐家文化分布范围内文化堆积最为丰富的地区，也说明传世的玉璧和玉琮应该来源于上述地区。"<a href="http://collection.sina.com.cn/fcys/20110726/121233404.shtml">兰州梅景峰</a><font color="#999999">認為齐家文化玉料开片后有四 个特点：一是平整，二是光洁，这一点从残存的玉料开片上看得很清楚，只经过开片工序，留下的面没有经过打磨也很光滑，有自然的光洁感；三是很多玉璧和残存的玉料上都有当时开片留下的直线切割痕迹；四是大多数玉璧厚薄不均。如果一件玉璧呈规则的圆形，且孔壁很直，那可能就不是齐家文化的玉璧了。至于线刻纹饰和减地浮雕等，这些技法在真正的齐家文化玉璧上还没有发现。</font>
齊家文化五孔白玉玉刀, L. 46cm, W. 12cm T. 0.5cm
本器由齊家文化當地白玉製成, 呈扁梯形, 刀背較厚, 有大小不一, 排列不整齊, 單向鑽成之五孔, 全器有<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/ChiKnifeAdditiveCrystal1.jpg">增生晶體</a>, 冰裂紋, 石灰沁等古玉跡象.
齊家文化五孔白玉玉刀, L. 46cm, W. 12cm T. 0.5cm
本器由齊家文化當地白玉製成, 呈扁梯形, 刀背較厚, 有大小不一, 排列不整齊, 單向鑽成之五孔, 全器有<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/ChiKnifeAdditiveCrystal1.jpg">增生晶體</a>, 冰裂紋, 石灰沁等古玉跡象.
齊家文化玉刀, L. 36cm, W. 9cm T. 0.5cm
本器由半透明青黃玉雕琢而成, 上方有五孔呈單向鑽法, 前方寬闊工整,後方較窄留有殘片. 全器拋光精緻光潔, 冰裂紋及曝露晶片等古玉跡象明顯.
齊家文化青玉四孔玉刀, L. 32cm, W. 7.5cm T. 0.5cm
本器之品相表面平整光潔, 但全器厚薄不一, 單向鑽孔, 正面整齊, 背面留殘渣, 在在符合齊家文化玉器特徵. 主要古玉跡象為差異風化及曝露晶片.
齊家文化玉刀, L. 32cm, W. 5cm T. 0.5cm.
除了單向鑽孔符合齊家文化的特色外, 本件玉刀最薄處僅0.1cm, 若非玉質均勻, 加上製作技術精湛, 無法能有如此精美之作品. 此外, 羊脂般的白玉上, 滿佈褐色的沁紋, 實乃人與大自然合作之結晶.本件玉刀與<a href="http://www.exoticjades.com/wp-content/uploads/穿孔玉刀齐家文化同德县宗日遗址出土青海省博物馆1.jpg">同德县宗日遗址出土青海省博物馆之齊家文化玉刀</a>玉質相同.
齊家文化玉刀, L. 32cm, W. 5cm T. 0.5cm
本件齐家玉刀，上等黄玉制成，单向钻孔，制作精美，线条流畅，有曝露芯片、冰裂纹、扩散晕沁色等古玉迹象。
齊家文化玉戚, L. 21cm, W. 20cm T. 0.3cm.
本件齊家文化玉戚,形制類似夏朝二里頭出土之玉戚.兩端各有三排對稱之牙紋. 上端略厚呈圓弧形, 下端較薄呈四面多角形,玉質呈青白色, 全器佈滿黑褐沁色及黃土色礦物氣流沁.
齊家文化白玉玉璧, D. 23cm, T.0.3cm
本器齊家文化白玉玉璧, 造型呈扁圓形, 表面拋光細緻光潔, 類似形制見於<a href="http://www.exoticjades.com/wp-content/uploads/玉璧甘肅武威皇娘娘台遺址出土.jpg">甘肅武威皇娘娘台遺址出土玉璧</a>. 有<a href="http://www.exoticjades.com/wp-content/uploads/ChiBi1Additive-Crystal.jpg">增生晶體</a>及<a href="http://www.exoticjades.com/wp-content/uploads/ChiBi1Diffusive-Marking.jpg">擴散暈沁色</a>等古玉跡象.
齊家文化玉琮, H. 9.5cm, W. 8cm
本玉琮的形状结合圆形和方形的钻孔有齐家文化特色。其次，本玉琮为素面不同于已装饰各种图案后期玉琮，如差异风化，扩散晕沁色和<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/ChiDissolved-Pits.jpg">溶蚀孔</a>古玉迹象明显。
齊家文化紡錘形璧, L. 8cm, W. 8cm
本器係具紡錘形之玉璧, 兩端為直角, 兩端為圓弧形, 兩個直角附近各有單向鑽孔. <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/DSCN3334.jpg">冰裂紋增生晶體及擴散暈沁色古玉跡象</a>明顯.
齊家文化玉瑗, D. 13cm, T. 0.3cm
本器齊家文化玉瑗玉質及形制均符合齊家文化特色.<a href="http://www.exoticjades.com/wp-content/uploads/ChiRing-Additive-Crystal.jpg"> 增生晶體古玉跡象</a>明顯.
齊家文化牙瑗, D. 8cm
本玉瑗白玉雕成, 外緣齒牙分三等分佈置,意味天地人三才, 每一等分再分四等分, 意味四季風調雨順.<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/ChiBiMica-and-Diffusive-Marking.jpg"> 曝露晶面</a>古玉跡象明顯.
齊家文化玉刀, L. 36cm, W. 5cm
齊家文化玉圭, L. 31cm, W. 7cm
齊家文化玉璋, L. 36cm, W. 7cm
齊家文化玉璋, L. 18cm
齊家文化玉璋, L. 33cm, W. 9cm T. 0.5cm.
本件齊家文化玉璋, 上端凹弧形顯得鋒利, 下端近把柄處有一單向鑽孔, 把柄上緣兩邊則有對稱之牙紋. 玉質晶瑩 溫潤呈青黃色, 全器佈滿黑褐沁色, 層次自然.
石家河文化(2000-2500B.C.)
石家河文化玉勒, D. 3cm, H. 6.5cm
本器之紋飾及玉質與<a href="http://www.exoticjades.com/wp-content/uploads/Sijiahe.jpg">湖北天门县肖家屋脊出土，湖北省荆州博物馆石家河文化玉勒雷同.</a>古玉跡象有<a href="http://www.exoticjades.com/wp-content/uploads/SCleavingVein.jpg">冰裂紋</a>及<a href="http://www.exoticjades.com/wp-content/uploads/2007/01/dscn0173.jpg">鈣化現象</a>.
本器之紋飾及玉質與<a href="http://www.exoticjades.com/wp-content/uploads/Sijiahe.jpg">湖北天门县肖家屋脊出土，湖北省荆州博物馆石家河文化玉勒雷同.</a>古玉跡象有<a href="http://www.exoticjades.com/wp-content/uploads/SCleavingVein.jpg">冰裂紋</a>及<a href="http://www.exoticjades.com/wp-content/uploads/2007/01/dscn0173.jpg">鈣化現象</a>.
良渚文化(c. 3400-2250 B.C.)
良渚文化距今约四,五千年, 主要分布于长江下游的太湖流域.魏文成認為<font color="#999999"> 夏朝首都——夏邑即现在发现的良渚古城遗址。而良渚古城的建城时间为距今4050年，这正好与大禹继位于公元前2049年相吻合，而且大禹陵也在浙江会稽山麓。这也是一个明证。同时，“良渚古城”，根据碳14测算，良渚文化距今5,300~4,000秊左右的历史，良渚古城也有至少4050秊以上的历史，这应该属于夏朝历史的时间范畴之内。</font>
良渚玉器以玉琮, 玉璜, 玉钺为主. 主要纹饰为神人兽面纹. 制玉工艺技术精湛, 细如发丝的阴雕线是代表作. 良渚文化玉器至少有两项值得注意的要素. 一是其神人兽面纹对后世玉器纹饰的重大影响, 一是良渚文化玉器与祭祀或重大事件的关联性.就前者而言, 良渚文化玉器之神人兽面纹系后代神面纹之先河, 如春秋玉面具的主体架构是, 而神人兽面纹中之爪状纹饰, 则形成商及西周龙纹中的盘绕爪形脚. 就后者言, 许多良渚文化玉器在制成后, 某些部位再被挖成光滑的弧形, 似乎作为祭祀或重大事件的纪录. 精美绝伦的良渚文化玉器系中外藏家的最爱, 难怪精美的良渚文化玉器一直身价不菲.
良渚文化錐形器, 長33.5cm, 寬3.5cm
本件良渚神面紋錐形器之長度較<a href="http://www.exoticjades.com/wp-content/uploads/06221.jpg">1982年上海市青浦縣福泉山九號墓出土, 現藏於上海市管理委員會之錐形器(34cm)</a>稍短, 但本件最寬處為3.5cm較該件(最寬處1.5cm)寬出2cm. 此外, 本件之紋飾較該件精美.本器有差異風化,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuStickDissolvedPits1.jpg"> 蝕孔</a>及曝露晶面等古玉跡象.
良渚文化玉琮,H.30.5cm, W. 6cm
.本器有八节分别相间雕琢神面及后冠. 各节之间有深刻的阴线. 神面及后冠系以浅浮雕为之, 而修饰之线条则为后来战国所流行的游丝线.玉琮系以白玉雕制. 值得注意的是, 在每个后冠上又弧形凹槽, 似乎是记录着重大事件. 有可能是皇后之逝世, 当然, 确实的原因, 有待更多的左证.本器差异风化, 蚀孔, 冰裂纹及次生长晶体等古玉迹象明显.
良渚文化玉琮, 高22.48cm
本玉琮大體與<a href="http://www.exoticjades.com/wp-content/uploads/0000627.jpg">故宮博物院藏良渚文化玉琮高31cm,射徑上端7.4cm, 下端6.5cm, 孔徑4至4.5cm</a>雷同. 古玉跡象的<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/DSCN30901.jpg">溶蝕孔</a>明顯.
良渚文化玉蟬,寬8.3cm, 高17cm
本器之玉蟬造型底部扁平, 背部呈弧形凸起, 兩個長方形的眼睛位於前方左右兩側, 頸部有一條以雲氣迴旋紋與交叉平行陰線組成的紋飾, 蟬翼則以壓地技法雕成的60度圓角曲線表示, 蟬翼尾部則呈現鋸齒狀.玉蟬背面中間為良渚文化典型神面紋. 本器之線條流暢, 刀工優美, 係良渚文化之精品. 此外, 本器<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCicadaDifferentialWeathering.jpg">差異風化</a>, 蝕孔. 冰裂紋<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCicadaExposedPlanes1.jpg">晶面曝露</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCicadaAdditiveCrystal.jpg">增生晶体</a>之跡象明顯.
良渚文化玉琮, 高7cm, 外徑5cm
本器神人紋飾係採減地淺浮雕技法. 紋飾具備整體造型, 包括帽冠, 頭部, 雙手, 胸部, 下半身及雙腳. 下半身有圓形及矩形的眼睛. 腹部有雙鉤及單鉤如意雲紋, 西周時期的斜刀法已隱然若現.本器差異風化, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuRoundCong.Additive-Crystal-on-the-inside-wall-of-hole.jpg">次生長晶體</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuRoundCong.Diffusive-Marking.jpg">扩散晕沁色</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuRoundCong.Exposed-Mica.jpg">云母片</a>等古玉跡象明顯.
良渚文化玉琮, 高11.8cm, 射徑19cm, 孔徑 5.3cm. 重 11kgs
本器大於中國浙江省 1986出土余杭縣長命鄉雉山村反山墓地出土浙江省文物考古研究所藏之琮王(H. 8.8cm, E.D. 17.6cm, Weight 6.5kgs)
四個角落各有兩組神獸紋, 而各面中間則為兩幅神人騎獸紋. 各細線係由細斜線所組成. 神獸紋為淺浮雕. 本器差異風化及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCongAdditiveCrystal.jpg">次生長結晶</a>等古玉跡象明顯.
良渚文化三叉形器,寬30cm, 高17cm
典型的良渚文化神面紋飾以陰線及淺浮雕方式出現於玉器的一面, 右上方有一傾斜坡, 應該是工就料的結果. <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhutridentdifferentialWeathering.jpg">差異風化</a>, 蝕孔, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhutridentExposedPlanemica.jpg">晶面曝露</a>及次生長晶體等古玉現象明顯.本器與<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/liangzhu1.jpg">1986年浙江省, 余杭縣長命鄉雉山村反山墓地出土浙江省文物考古研究所藏良渚文化三叉形器</a>之玉質及造型相似.
良渚文化璜形珮, 長17cm, 寬7.5cm
本器良渚文化璜形珮上方較厚, 左右各有一孔, 下方較薄. 正面雕刻良渚文化典型神面. 全器呈鈣化現象, 部分由于風化有殘破, 上方凹面有<a href="http://www.exoticjades.com/wp-content/uploads/2009/01/DSCN2994.JPG">工具刻痕</a>.
良渚文化冠形珮, 長13.5cm, 寬6.5cm
本器良渚文化冠形珮上端較寬, 呈波浪狀, 下端較窄突出刀背狀之脊,脊上有二孔.溶蝕孔及增生現象明顯.
良渚文化珮, 長7cm
本件之紋飾為玄鳥之頭部, 強調雙眼. 雙眼為橢圓形, 陰線雕法. 瞳孔部份並未採用管狀器, 線條接縫處密合度高.玉珮頂端縱向面左右兩端, 各有一對同方向喇叭孔. 本器差異風化及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuPlaque-Additive-Crystal.jpg">次生長晶體</a>等古玉現象明顯.
良渚文化璜形珮一對, 直徑14.5cm
本器良渚文化璜形珮一對形成玉璧, 正面有良渚文化後期特色神面及玄鳥紋飾. <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuBiAdditiveCrystal.jpg">增生晶體</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuBiDiffusivemarking.jpg">擴散暈沁色</a>明顯.
良渚玉器以玉琮, 玉璜, 玉钺为主. 主要纹饰为神人兽面纹. 制玉工艺技术精湛, 细如发丝的阴雕线是代表作. 良渚文化玉器至少有两项值得注意的要素. 一是其神人兽面纹对后世玉器纹饰的重大影响, 一是良渚文化玉器与祭祀或重大事件的关联性.就前者而言, 良渚文化玉器之神人兽面纹系后代神面纹之先河, 如春秋玉面具的主体架构是, 而神人兽面纹中之爪状纹饰, 则形成商及西周龙纹中的盘绕爪形脚. 就后者言, 许多良渚文化玉器在制成后, 某些部位再被挖成光滑的弧形, 似乎作为祭祀或重大事件的纪录. 精美绝伦的良渚文化玉器系中外藏家的最爱, 难怪精美的良渚文化玉器一直身价不菲.
良渚文化錐形器, 長33.5cm, 寬3.5cm
本件良渚神面紋錐形器之長度較<a href="http://www.exoticjades.com/wp-content/uploads/06221.jpg">1982年上海市青浦縣福泉山九號墓出土, 現藏於上海市管理委員會之錐形器(34cm)</a>稍短, 但本件最寬處為3.5cm較該件(最寬處1.5cm)寬出2cm. 此外, 本件之紋飾較該件精美.本器有差異風化,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuStickDissolvedPits1.jpg"> 蝕孔</a>及曝露晶面等古玉跡象.
良渚文化玉琮,H.30.5cm, W. 6cm
.本器有八节分别相间雕琢神面及后冠. 各节之间有深刻的阴线. 神面及后冠系以浅浮雕为之, 而修饰之线条则为后来战国所流行的游丝线.玉琮系以白玉雕制. 值得注意的是, 在每个后冠上又弧形凹槽, 似乎是记录着重大事件. 有可能是皇后之逝世, 当然, 确实的原因, 有待更多的左证.本器差异风化, 蚀孔, 冰裂纹及次生长晶体等古玉迹象明显.
良渚文化玉琮, 高22.48cm
本玉琮大體與<a href="http://www.exoticjades.com/wp-content/uploads/0000627.jpg">故宮博物院藏良渚文化玉琮高31cm,射徑上端7.4cm, 下端6.5cm, 孔徑4至4.5cm</a>雷同. 古玉跡象的<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/DSCN30901.jpg">溶蝕孔</a>明顯.
良渚文化玉蟬,寬8.3cm, 高17cm
本器之玉蟬造型底部扁平, 背部呈弧形凸起, 兩個長方形的眼睛位於前方左右兩側, 頸部有一條以雲氣迴旋紋與交叉平行陰線組成的紋飾, 蟬翼則以壓地技法雕成的60度圓角曲線表示, 蟬翼尾部則呈現鋸齒狀.玉蟬背面中間為良渚文化典型神面紋. 本器之線條流暢, 刀工優美, 係良渚文化之精品. 此外, 本器<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCicadaDifferentialWeathering.jpg">差異風化</a>, 蝕孔. 冰裂紋<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCicadaExposedPlanes1.jpg">晶面曝露</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCicadaAdditiveCrystal.jpg">增生晶体</a>之跡象明顯.
良渚文化玉琮, 高7cm, 外徑5cm
本器神人紋飾係採減地淺浮雕技法. 紋飾具備整體造型, 包括帽冠, 頭部, 雙手, 胸部, 下半身及雙腳. 下半身有圓形及矩形的眼睛. 腹部有雙鉤及單鉤如意雲紋, 西周時期的斜刀法已隱然若現.本器差異風化, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuRoundCong.Additive-Crystal-on-the-inside-wall-of-hole.jpg">次生長晶體</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuRoundCong.Diffusive-Marking.jpg">扩散晕沁色</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuRoundCong.Exposed-Mica.jpg">云母片</a>等古玉跡象明顯.
良渚文化玉琮, 高11.8cm, 射徑19cm, 孔徑 5.3cm. 重 11kgs
本器大於中國浙江省 1986出土余杭縣長命鄉雉山村反山墓地出土浙江省文物考古研究所藏之琮王(H. 8.8cm, E.D. 17.6cm, Weight 6.5kgs)
四個角落各有兩組神獸紋, 而各面中間則為兩幅神人騎獸紋. 各細線係由細斜線所組成. 神獸紋為淺浮雕. 本器差異風化及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuCongAdditiveCrystal.jpg">次生長結晶</a>等古玉跡象明顯.
良渚文化三叉形器,寬30cm, 高17cm
典型的良渚文化神面紋飾以陰線及淺浮雕方式出現於玉器的一面, 右上方有一傾斜坡, 應該是工就料的結果. <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhutridentdifferentialWeathering.jpg">差異風化</a>, 蝕孔, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhutridentExposedPlanemica.jpg">晶面曝露</a>及次生長晶體等古玉現象明顯.本器與<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/liangzhu1.jpg">1986年浙江省, 余杭縣長命鄉雉山村反山墓地出土浙江省文物考古研究所藏良渚文化三叉形器</a>之玉質及造型相似.
良渚文化璜形珮, 長17cm, 寬7.5cm
本器良渚文化璜形珮上方較厚, 左右各有一孔, 下方較薄. 正面雕刻良渚文化典型神面. 全器呈鈣化現象, 部分由于風化有殘破, 上方凹面有<a href="http://www.exoticjades.com/wp-content/uploads/2009/01/DSCN2994.JPG">工具刻痕</a>.
良渚文化冠形珮, 長13.5cm, 寬6.5cm
本器良渚文化冠形珮上端較寬, 呈波浪狀, 下端較窄突出刀背狀之脊,脊上有二孔.溶蝕孔及增生現象明顯.
良渚文化珮, 長7cm
本件之紋飾為玄鳥之頭部, 強調雙眼. 雙眼為橢圓形, 陰線雕法. 瞳孔部份並未採用管狀器, 線條接縫處密合度高.玉珮頂端縱向面左右兩端, 各有一對同方向喇叭孔. 本器差異風化及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuPlaque-Additive-Crystal.jpg">次生長晶體</a>等古玉現象明顯.
良渚文化璜形珮一對, 直徑14.5cm
本器良渚文化璜形珮一對形成玉璧, 正面有良渚文化後期特色神面及玄鳥紋飾. <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuBiAdditiveCrystal.jpg">增生晶體</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/LiangzhuBiDiffusivemarking.jpg">擴散暈沁色</a>明顯.
紅山文化(3500-2500BC)
红山文化主要分布在内蒙古东南部和辽宁西部地区，红山文化因首次发现于中国内蒙古自治区赤峰红山而得名，距今五、六千年左右，延续时间达二千年之久。红山文化的社会形态处于母系氏族社会的全盛时期.红山文化的玉料除了岫岩玉外, 有许多是透闪石玉。 红山文化的内涵十分丰富，玉器大多取材大自然之飞禽走兽, 写实与抽象均颇具神韵, 红山文化的玉器造型多以圆形的弧线为主, 其特色是原始及质朴, 刚劲挺拔, 浑圆饱满, 以形取胜. 大多数的玉器具有同面的内部贯穿喇叭形孔, 俗称象鼻孔, 孔道弯曲, 外宽内窄, 孔壁呈现薄砣具所琢出之细阴线. 红山文化玉器的形制甚为多样化, 玉龙玉鸟则为典型的造型, 而且被认为是后世玉器中龙凤图腾起源的重要证据, 本网站的龙凤玉刀, 已经明显出现同一件玉器上龙凤组合之纹饰。
红山文化玉鹰, 高25cm, 寬22cm, 重3500g.
本件紅山文化玉鷹, 構圖優美, 以圓形的弧線為主, 陰線雕琢的雙目炯炯有神, 嘴部尖銳, 前額及鼻頭, 由於深褐色呈現鑽石形, 經由大自然的助力, 玉燕的頭部給人的的感覺,渾圓飽滿, 近乎完美.玉鷹的胸部圓潤堅實. 雙翼敞開, 遨翔天際之舉, 蓄勢待發. 雙爪緊握有力.尾部羽毛微張, 線條優美. 背面除翅膀與背部之間各有一條雙斜面的陰線外,其餘部分則為平面. 頸部附近有左右貫穿的象鼻孔尾部有砣痕本件玉質經<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/0916certificate030.jpg">拉曼光譜測定</a>為和田水料白玉(<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-05-19_090752_60X_N0129.jpg">羊脂白玉</a>) , 潔白晶瑩,在紅山玉器中十分罕見. 而本器無論刀工或鑽孔方式, 均符合牟永抗所認為的紅山文化特徵(<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-03-20_184428_60X_N00441.jpg">孔壁的螺絲紋寬窄、細密不均，高低起伏也很大,溝洼兩面並不對稱</a>，不僅如此，即使是任何單面，其線條也不會和諧一致。牟老說這是鑒別真假紅山玉最為關鍵的點。).在現有文獻類似形制中,如此大型而精美者, 實屬罕見( 較2004年H.18.3cm之青玉玉鷹號稱當時最大者足足大了三分之一).
紅山文化C龍座 ,高16cm, 長22cm, 寬22cm, 重 7500g
本器系C形龙首造型, 颈部以下为长方体底座. 在玉器中, 留有初胚未加工底座者, 十分少见. 本器C形龙首部分之形制为红山文化之典型C形龙, 嘴部与鼻子具朴拙之圆弧体, 鼻梁上有四道浅瓦沟纹,三道凸铉线,水滴形的眼睛, 围绕着由双斜坡形成的阴线, 之上有一条圆弧形阴线. 头顶上则为红山文化C形龙之典型鬃毛. 本器之线条简洁流畅,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/DragonheadAncientToolMark1.jpg">砣痕</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/DragonHeadDissolvedPitsDifferentialWeathering.jpg">差异风化及蚀孔</a>现象明显.
紅山文化C龍珮. 長9.5cm, 寬6.5cm,厚0.3cm
本件红山文化C龙佩构图简单, 在厚度不到半公分的C形薄玉片上, 透过多重斜坡的方式, 将C龙的神态表现得淋漓尽致. 角度较方形且较宽的是龙头, 较圆形且较窄的是龙尾. 龙头部份两面则有两道带有弧度的浅沟纹, 在第二道沟纹上缘三分之一的地方, 有一不规则的孔, 孔外缘及内部的旋转细纹, 历历可见. 本器之材质为白玉, 全器已呈钙化, 表面有差异风化及外部增生晶体现象. 此器可能是中国片状玉雕之先河.
紅山文化玉鷹神人座, H. 25.5cm
神人玉鹰-通高25.5cm, 红山早中期时间跨度8000多年。材质为青玉。玉鹰神似蓄勢待發生动有力，线条流畅。边缘呈刃状，腐蚀风化及增生晶體明显，神人-以圆雕为主，整体呈淡褐色，古朴自然，两者结合简洁明快。本器結合玉鹰與神人，具有神秘之感。
紅山文化馬首玉刀, 長 42cm 重 2500g.
本器刀把为马首造型, 本器之玉质为和田玉种, 全器满布<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanHorseAdditive-Crystal.jpg">增生晶体</a>, 多处有<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanHorseDiffusiveMarking.jpg">溶蚀孔</a>及差异风化, 古玉现象明显. 本件馬首玉刀之短鬃短嘴形態係古<a href="http://www.exoticjades.com/wp-content/uploads/240px-Equus_przewalskii_Shinjang.jpg">蒙古Tarpan種馬</a>.本器系红山文化类似形制中属于大件之精品.
紅山文化龍紋玉斧形三聯璧, H. 29cm.
三联璧, 玉斧及C龙均为红山文化常见之玉器. 像本器将三者组在一起, 产生新的形制不但罕见, 更不由得不令人佩服红山文化玉器之艺术造诣. 本器上窄下宽, 扁平状, 边缘斜磨似刃, 一面为素面, 一面有C龙纹饰, 但已非典型的C龙, 龙身呈S形, 龙尾呈斧形, 战国时期玉器上龙纹及斧纹的同时呈现, 可能就是受到红山文化玉器的影响.本器之玉质为青玉, 刀法流畅, 自然<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxeAdditive-Crystal.jpg">增生晶体</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxeDiffusive-Marking.jpg">冰裂纹</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxeDifferential-Weathering.jpg">差异风化</a>等古玉现象明显.類似形制為遼寧省博物館藏遼寧省阜新縣胡頭溝村墓葬出土,紅山文化玉三聯璧H.6.4cm.
古玉网站--紅山文化玉蟬, 長14cm, 寬11cm.
玉蝉的形制在红山文化中相当多样化, 单就本网站藏品而言, 就有蝉与手镯结合的形制,与 三孔器结合的形制. 本件系单独的玉蝉, 唯本器玉蝉眼睛及蝉翼之工法系多层次之减地浅浮雕, 与其它两件之浅瓦沟纹及凸铉线有所不同. 玉蝉底下尾部则削去部分厚部, 呈现尾部向上翘起的效果, 意味著蟬處於鳴叫的狀態. 本器<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanCicadaDifferential-Weathering.jpg">差异风化</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanCicadaAdditive-Crystal.jpg">次生长晶体</a>, 冰裂纹, 蚀孔及扩散晕沁色等古玉迹象十分明显.
紅山文化龍頭人形玉斧,H.25cm
本件人形玉斧巧妙地运用了身体四个不同的元素作为四个不同的部分：龙的头，背斧头，手代表凤凰，身体则为圭形斧。所有的曲线呈圆圆弧形和光滑平面，打孔部分显示出中心窄小，扩大双向外钻风格，具红山玉器的特点。本器具<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxe1-Additive-Crystal2.jpg">增生晶体</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxe1-Diffusive-Marking.jpg"> 扩散晕沁色</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxe1-Differential-Weathering.jpg">差异风化</a>等古玉迹象。
红山文化玉箍, H.4.8cm
本件紅山文化玉箍青玉質製成。全器冰裂紋、溶蝕孔、差異風化等古玉跡象明顯.同一形制見於遼寧省建平縣牛河梁出土遼寧省博物館藏<a href="http://www.exoticjades.com/wp-content/uploads/000065.jpg">玉箍H.11.5cm, Upper D. 8.4cm, Lower D. 6.8cm.</a>
紅山文化C龍 H. 18cm
如同典型的紅山文化C龍, 本器整體而言, 呈現優美的陰線, 眼睛部分, 尤為顯著. 本器差異風化與曝露晶體等古玉跡象明顯
紅山文化C龍 H. 18cm
如同典型的红山文化C龙, 本器整体而言, 呈现优美的阴线, 眼睛部分, 尤为显著與內蒙古自治區翁牛特旗博物館藏內蒙古自治區翁牛特旗三星他拉村遺址出土之C龙造型雷同.本器差异风化与曝露晶体等古玉迹象明显.
紅山文化玉璧, 直徑12.2cm
本器為沒有紋飾的素璧, 玉璧的外緣及內緣呈現外彎弧形, 全器拋光良好, 光可鑑人.溶蝕孔, 曝露晶片等古玉跡象明顯.
紅山文化玉斧, L.33cm, W. 14cm, T. 4cm, Weight 4Kgs
本器青黃玉玉質, 造型古樸厚實, 符合紅山玉器雕工. 表面留有古工具雕琢痕跡. 自然侵蝕現象明顯.
紅山文化蟬紋玉鐲, 8.5cm x7.2cm x2.3cm
本器紅山文化蟬紋玉鐲係青玉雕琢, 形狀呈内圈扁圆，外圈扁圆贵妃镯形制. 外圈四等分處各有一蟬, 大部分呈現鈣化, 未受影響部分則晶瑩剔透.
紅山文化玉鳥, 長6.5cm, 寬4.3cm
本器紅山文化玉鳥神態安詳呈休息狀. 全器雕琢簡單, 線條優美. 頭部下方有對稱<a href="http://www.exoticjades.com/wp-content/uploads/HSSwallowHole.jpg">喇叭孔</a>, 全身多處呈現<a href="http://www.exoticjades.com/wp-content/uploads/HSSDifferential-Weathering-and-Mica.jpg">曝露晶片</a>.
红山文化玉鹰, 高25cm, 寬22cm, 重3500g.
本件紅山文化玉鷹, 構圖優美, 以圓形的弧線為主, 陰線雕琢的雙目炯炯有神, 嘴部尖銳, 前額及鼻頭, 由於深褐色呈現鑽石形, 經由大自然的助力, 玉燕的頭部給人的的感覺,渾圓飽滿, 近乎完美.玉鷹的胸部圓潤堅實. 雙翼敞開, 遨翔天際之舉, 蓄勢待發. 雙爪緊握有力.尾部羽毛微張, 線條優美. 背面除翅膀與背部之間各有一條雙斜面的陰線外,其餘部分則為平面. 頸部附近有左右貫穿的象鼻孔尾部有砣痕本件玉質經<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/0916certificate030.jpg">拉曼光譜測定</a>為和田水料白玉(<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-05-19_090752_60X_N0129.jpg">羊脂白玉</a>) , 潔白晶瑩,在紅山玉器中十分罕見. 而本器無論刀工或鑽孔方式, 均符合牟永抗所認為的紅山文化特徵(<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-03-20_184428_60X_N00441.jpg">孔壁的螺絲紋寬窄、細密不均，高低起伏也很大,溝洼兩面並不對稱</a>，不僅如此，即使是任何單面，其線條也不會和諧一致。牟老說這是鑒別真假紅山玉最為關鍵的點。).在現有文獻類似形制中,如此大型而精美者, 實屬罕見( 較2004年H.18.3cm之青玉玉鷹號稱當時最大者足足大了三分之一).
紅山文化C龍座 ,高16cm, 長22cm, 寬22cm, 重 7500g
本器系C形龙首造型, 颈部以下为长方体底座. 在玉器中, 留有初胚未加工底座者, 十分少见. 本器C形龙首部分之形制为红山文化之典型C形龙, 嘴部与鼻子具朴拙之圆弧体, 鼻梁上有四道浅瓦沟纹,三道凸铉线,水滴形的眼睛, 围绕着由双斜坡形成的阴线, 之上有一条圆弧形阴线. 头顶上则为红山文化C形龙之典型鬃毛. 本器之线条简洁流畅,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/DragonheadAncientToolMark1.jpg">砣痕</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/DragonHeadDissolvedPitsDifferentialWeathering.jpg">差异风化及蚀孔</a>现象明显.
紅山文化C龍珮. 長9.5cm, 寬6.5cm,厚0.3cm
本件红山文化C龙佩构图简单, 在厚度不到半公分的C形薄玉片上, 透过多重斜坡的方式, 将C龙的神态表现得淋漓尽致. 角度较方形且较宽的是龙头, 较圆形且较窄的是龙尾. 龙头部份两面则有两道带有弧度的浅沟纹, 在第二道沟纹上缘三分之一的地方, 有一不规则的孔, 孔外缘及内部的旋转细纹, 历历可见. 本器之材质为白玉, 全器已呈钙化, 表面有差异风化及外部增生晶体现象. 此器可能是中国片状玉雕之先河.
紅山文化玉鷹神人座, H. 25.5cm
神人玉鹰-通高25.5cm, 红山早中期时间跨度8000多年。材质为青玉。玉鹰神似蓄勢待發生动有力，线条流畅。边缘呈刃状，腐蚀风化及增生晶體明显，神人-以圆雕为主，整体呈淡褐色，古朴自然，两者结合简洁明快。本器結合玉鹰與神人，具有神秘之感。
紅山文化馬首玉刀, 長 42cm 重 2500g.
本器刀把为马首造型, 本器之玉质为和田玉种, 全器满布<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanHorseAdditive-Crystal.jpg">增生晶体</a>, 多处有<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanHorseDiffusiveMarking.jpg">溶蚀孔</a>及差异风化, 古玉现象明显. 本件馬首玉刀之短鬃短嘴形態係古<a href="http://www.exoticjades.com/wp-content/uploads/240px-Equus_przewalskii_Shinjang.jpg">蒙古Tarpan種馬</a>.本器系红山文化类似形制中属于大件之精品.
紅山文化龍紋玉斧形三聯璧, H. 29cm.
三联璧, 玉斧及C龙均为红山文化常见之玉器. 像本器将三者组在一起, 产生新的形制不但罕见, 更不由得不令人佩服红山文化玉器之艺术造诣. 本器上窄下宽, 扁平状, 边缘斜磨似刃, 一面为素面, 一面有C龙纹饰, 但已非典型的C龙, 龙身呈S形, 龙尾呈斧形, 战国时期玉器上龙纹及斧纹的同时呈现, 可能就是受到红山文化玉器的影响.本器之玉质为青玉, 刀法流畅, 自然<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxeAdditive-Crystal.jpg">增生晶体</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxeDiffusive-Marking.jpg">冰裂纹</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxeDifferential-Weathering.jpg">差异风化</a>等古玉现象明显.類似形制為遼寧省博物館藏遼寧省阜新縣胡頭溝村墓葬出土,紅山文化玉三聯璧H.6.4cm.
古玉网站--紅山文化玉蟬, 長14cm, 寬11cm.
玉蝉的形制在红山文化中相当多样化, 单就本网站藏品而言, 就有蝉与手镯结合的形制,与 三孔器结合的形制. 本件系单独的玉蝉, 唯本器玉蝉眼睛及蝉翼之工法系多层次之减地浅浮雕, 与其它两件之浅瓦沟纹及凸铉线有所不同. 玉蝉底下尾部则削去部分厚部, 呈现尾部向上翘起的效果, 意味著蟬處於鳴叫的狀態. 本器<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanCicadaDifferential-Weathering.jpg">差异风化</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanCicadaAdditive-Crystal.jpg">次生长晶体</a>, 冰裂纹, 蚀孔及扩散晕沁色等古玉迹象十分明显.
紅山文化龍頭人形玉斧,H.25cm
本件人形玉斧巧妙地运用了身体四个不同的元素作为四个不同的部分：龙的头，背斧头，手代表凤凰，身体则为圭形斧。所有的曲线呈圆圆弧形和光滑平面，打孔部分显示出中心窄小，扩大双向外钻风格，具红山玉器的特点。本器具<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxe1-Additive-Crystal2.jpg">增生晶体</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxe1-Diffusive-Marking.jpg"> 扩散晕沁色</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HongshanAxe1-Differential-Weathering.jpg">差异风化</a>等古玉迹象。
红山文化玉箍, H.4.8cm
本件紅山文化玉箍青玉質製成。全器冰裂紋、溶蝕孔、差異風化等古玉跡象明顯.同一形制見於遼寧省建平縣牛河梁出土遼寧省博物館藏<a href="http://www.exoticjades.com/wp-content/uploads/000065.jpg">玉箍H.11.5cm, Upper D. 8.4cm, Lower D. 6.8cm.</a>
紅山文化C龍 H. 18cm
如同典型的紅山文化C龍, 本器整體而言, 呈現優美的陰線, 眼睛部分, 尤為顯著. 本器差異風化與曝露晶體等古玉跡象明顯
紅山文化C龍 H. 18cm
如同典型的红山文化C龙, 本器整体而言, 呈现优美的阴线, 眼睛部分, 尤为显著與內蒙古自治區翁牛特旗博物館藏內蒙古自治區翁牛特旗三星他拉村遺址出土之C龙造型雷同.本器差异风化与曝露晶体等古玉迹象明显.
紅山文化玉璧, 直徑12.2cm
本器為沒有紋飾的素璧, 玉璧的外緣及內緣呈現外彎弧形, 全器拋光良好, 光可鑑人.溶蝕孔, 曝露晶片等古玉跡象明顯.
紅山文化玉斧, L.33cm, W. 14cm, T. 4cm, Weight 4Kgs
本器青黃玉玉質, 造型古樸厚實, 符合紅山玉器雕工. 表面留有古工具雕琢痕跡. 自然侵蝕現象明顯.
紅山文化蟬紋玉鐲, 8.5cm x7.2cm x2.3cm
本器紅山文化蟬紋玉鐲係青玉雕琢, 形狀呈内圈扁圆，外圈扁圆贵妃镯形制. 外圈四等分處各有一蟬, 大部分呈現鈣化, 未受影響部分則晶瑩剔透.
紅山文化玉鳥, 長6.5cm, 寬4.3cm
本器紅山文化玉鳥神態安詳呈休息狀. 全器雕琢簡單, 線條優美. 頭部下方有對稱<a href="http://www.exoticjades.com/wp-content/uploads/HSSwallowHole.jpg">喇叭孔</a>, 全身多處呈現<a href="http://www.exoticjades.com/wp-content/uploads/HSSDifferential-Weathering-and-Mica.jpg">曝露晶片</a>.
紅山文化梟形玉珮, L.5cm, W.3.5cm
本器具備紅山風格之淺浮雕線條. 同面鑽孔,<a href="http://www.exoticjades.com/wp-content/uploads/2006/08/dscn0491a.jpg">孔壁呈現不規則.</a> 具有差異風化, 擴散暈沁色等古玉跡象.
紅山文化龍鳳玉刀, 長33cm,寬5-12cm, 厚2.5-3.5cm,重1500g.
本器刀把为龙首造型, 嘴部有喇叭状孔, 刀格两端则为凤首造型, 刀背呈三个内弯新月型, 刀锋厚实. 刀身表面向内凹陷, 边缘向外倾斜.
本器之玉质为和田黄玉种, 全器满布<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HSDissolved-pits-and-mica.jpg">增生晶体, 多处有蛀孔</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HS-Differential-Weathering2.jpg">差异风化</a>, 古玉现象明显. 本器系红山文化类似形制中属于大件精美者.
紅山玉魚, 長32cm, 高22cm, 重3000g
本件红山玉鱼的彩虹造型,可能是玉璜形制的滥觞, 微张的鱼嘴象征其得水之欢愉, 头部与身体系以两条圆弧形的阴线隔开,鳍的造型采抽象手法, 在鱼背及鱼腹上以阴线表示,并非从鱼身向外延伸, 鱼尾张开与地面平行, 并与头部对称.本件玉質經<a class="imagelink" title="click to see larger photo" href="http://www.exoticjades.com/wp-content/uploads/2006/08/715_l.jpg">拉曼光譜</a>測定為天然軟玉, 全器呈红色,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/Still_2013-02-05_204838_60X_N0034.jpg"> 差异风化</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/Still_2013-03-20_220501_60X_N0049.jpg">,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/Still_2013-02-05_205724_60X_N0036.jpg">溶蝕孔</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/Still_2013-03-20_220501_60X_N0049.jpg">擴散暈沁色</a>及<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-05-23_172912_60X_N0134.jpg">次生长晶体</a>明显.本器無論刀工或鑽孔方式, 均符合牟永抗所認為的紅山文化特徵(孔壁的螺絲紋寬窄、細密不均，高低起伏也很大,溝洼兩面並不對稱，不僅如此，即使是任何單面，其線條也不會和諧一致。牟老說這是鑒別真假紅山玉最為關鍵的點。)
紅山文化領緣玉璧, 外徑 23cm, 內徑6.5cm
本件紅山文化領緣玉璧，內領緣呈圓滑弧形，內領緣呈垂直平面。全器增生晶面、<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HSCollarBiAdditive-crystal-and-Mica.jpg">次生結晶體</a>、<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/DSCN3099.JPG">溶蝕孔</a>、<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HSCollarBiDifferential-weathering.jpg">差異風化</a>等古玉跡象明顯。紅山文化以後曾見領緣玉璧, 例如,
1976婦好墓出土, 中國社會科學院考古研究所藏 D. 18.6cm, hole edge H.1.4cm, T. 0.4cm者.
紅山玉蟬,L.5.8cm, W. 2.2cm
本玉蟬刀工渾厚圓潤具紅山風格, 全器沁色斑燦, 多處呈<a href="http://www.exoticjades.com/wp-content/uploads/HSCicada-Mica.jpg">曝露晶片</a>現象.
紅山文化鷹頭斧, H. 27cm.
在红山文化玉器中以动物首作为刀, 斧之柄的造形甚多. 本件红山玉器系兀鹰与斧的组合. 兀鹰颈部弯曲, 以便斧刃平放时兀鹰颈部呈现向上的姿势. 本器之<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HSAxeAdditive-Crystal1.jpg">增生晶体</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HSAxeDiffusive-Marking1.jpg">扩散晕沁色</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/HSAxeDifferential-Weathering.jpg">差异风化</a>及冰裂纹古玉迹象明显.
崧澤文化(3400-3300B.C.)
中国长江下游地区的新石器文化。因上海青浦崧泽遗址而得名。主要分布在环太湖地区。该文化上承马家浜文化，后继是良渚文化，年代约公元前3800～前3300年。生产工具有穿孔石斧、扁石锛、条形石锛、石凿、骨镞、陶纺轮等；晚期出现石犁状器。居民从事稻作农业，在陶器的羼和料中经常发现稻壳和稻草末。制陶工艺进步，用慢轮修整陶坯的技术已经普及。陶器有鼎、豆、壶、罐等，所采用的压划图案、镂孔和彩绘装饰，十分醒目和美观。流行各种玉石璜，当时作为项饰使用。
崧泽文化鳳形玉珮, W.8.7cm
與出土崧泽文化玉珮比較, 本器之形制, 刀工及鑽孔特徵接近崧泽文化玉珮. 古玉之跡象有<a href="http://www.exoticjades.com/wp-content/uploads/XiaPhoenixDissolvedPits.jpg" >溶蝕孔, 差異風化</a>及古代工具之痕跡. 本玉珮之造型酷似遨翔於天空之鷹, 或者有沒有可能遠古人類目睹<a href="http://www.exoticjades.com/wp-content/uploads/mm229-3.jpg">先進飛行器</a>所留下之記憶.
崧泽文化鳳形玉珮, W.8.7cm
與出土崧泽文化玉珮比較, 本器之形制, 刀工及鑽孔特徵接近崧泽文化玉珮. 古玉之跡象有<a href="http://www.exoticjades.com/wp-content/uploads/XiaPhoenixDissolvedPits.jpg" >溶蝕孔, 差異風化</a>及古代工具之痕跡. 本玉珮之造型酷似遨翔於天空之鷹, 或者有沒有可能遠古人類目睹<a href="http://www.exoticjades.com/wp-content/uploads/mm229-3.jpg">先進飛行器</a>所留下之記憶.
崧泽文化龍形(抹香鲸)玉珮, L.9.7cm
與出土崧泽文化玉珮比較, 本器之形制, 刀工及鑽孔特徵接近<a href="http://www.exoticjades.com/wp-content/uploads/01300000449741125082427200340.jpg">崧泽文化玉珮</a>. 古玉之跡象有<a href="http://www.exoticjades.com/wp-content/uploads/XiaDragonDissolvedPits.jpg">溶蝕孔, 差異風化</a>及古代工具之痕跡.本器之造型酷似抹香鲸, 從崧泽文化近海洋之地理環境言,<a href="http://www.exoticjades.com/wp-content/uploads/sperm-whale-2_imagelarge.jpg"> 抹香鲸</a>為本玉珮之主題可能性甚大.
唐代龙纹彩绘阳文皇帝之印玉印, H. 12 cm,W.10cm, D, 7cm, 1300 grams
本器材質為<a href="http://www.exoticjades.com/wp-content/uploads/2013-04-28-13.54.21.jpg">和田青玉(經GIA Duplex II Refractometer.( Reading: 1.61 )測定.)</a>, 彩繪紋飾之龍紋形式與唐太宗画像立轴黄龙袍之龍紋相似, 古玉跡象有<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-15_221431_60X_N0111.jpg">差異風化</a>及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2013/02/TangSeal3.jpg">增生晶體</a>.
參考資料:唐太宗画像立轴
【年代】唐代
【类别】中国古画
【文物原属】北京故宫南薰殿旧藏
【文物现状】现藏台北故宫博物院
唐太宗画像立轴
【属性】绢本设色画，立轴
【尺寸】纵八尺一寸三分（271cm），横三尺八寸零四厘（126.8cm ）
画像上太宗头戴乌纱帽，黑鬓发，长须，目光远视，身着窄袖
黄龙袍，腰间束玉带，双手持带，脚穿革靴而立，英姿勃发。
唐代是我国彩绘艺术发展的一个重要阶段。彩绘的绘制技艺已经非常成熟。它以丰富的色彩、华丽的图案为人们创造出完美的视觉效果，尤其是唐代创造的五彩间金装，使彩绘作品更显绚丽多彩金壁辉煌。唐以前，彩绘图案以花草为主，纹式比较单一。到了唐代，在众多知名画家的启发下，开始有了形象生动活泼形态各异的飞禽走兽。 莫高窟最鼎盛的雕塑、彩绘艺术都是出自唐代。
<a href="http://webtitle.nmh.gov.tw/3colors/index.asp">「唐三彩」</a>是唐朝一種色彩繽紛美麗的陶器，其實，唐三彩顏色可不是只有三種而已！唐三彩有非常多種不同的顏色，因為在中國人心目中，「三」代表著「多」的意思，所以稱呼唐朝的多彩陶器為「唐三彩」。唐三彩陶器中，常見的有受印度文化影響的天王神像、與唐朝人幻想中保護墓主的鎮墓獸，以及受到波斯文化影響仿金銀器質感的器皿，也包含了文武官俑、胡人俑、駱駝俑作品；所謂的「俑」，是一種用陶土捏塑而成的陪葬人物。其實，唐三彩的製作技巧在漢朝時就存在了，由於中國古代常見的陶瓷器作品，是以灰質陶器或紅色陶器為多，瓷器是以青瓷、白瓷、黑瓷等單一顏色為主，所以在民國初年在北京城內發現的唐三彩陶器，就以顏色豐富飽滿而顯得與眾不同。
因為唐三彩能充分地表現出盛唐時期的富麗堂皇和胡漢融合的多元文化，所以不但是人類文明史上的重要藝術品，也是後人研究唐朝文化非常重要的參考資料。
參考資料:唐太宗画像立轴
【年代】唐代
【类别】中国古画
【文物原属】北京故宫南薰殿旧藏
【文物现状】现藏台北故宫博物院
唐太宗画像立轴
【属性】绢本设色画，立轴
【尺寸】纵八尺一寸三分（271cm），横三尺八寸零四厘（126.8cm ）
画像上太宗头戴乌纱帽，黑鬓发，长须，目光远视，身着窄袖
黄龙袍，腰间束玉带，双手持带，脚穿革靴而立，英姿勃发。
唐代是我国彩绘艺术发展的一个重要阶段。彩绘的绘制技艺已经非常成熟。它以丰富的色彩、华丽的图案为人们创造出完美的视觉效果，尤其是唐代创造的五彩间金装，使彩绘作品更显绚丽多彩金壁辉煌。唐以前，彩绘图案以花草为主，纹式比较单一。到了唐代，在众多知名画家的启发下，开始有了形象生动活泼形态各异的飞禽走兽。 莫高窟最鼎盛的雕塑、彩绘艺术都是出自唐代。
<a href="http://webtitle.nmh.gov.tw/3colors/index.asp">「唐三彩」</a>是唐朝一種色彩繽紛美麗的陶器，其實，唐三彩顏色可不是只有三種而已！唐三彩有非常多種不同的顏色，因為在中國人心目中，「三」代表著「多」的意思，所以稱呼唐朝的多彩陶器為「唐三彩」。唐三彩陶器中，常見的有受印度文化影響的天王神像、與唐朝人幻想中保護墓主的鎮墓獸，以及受到波斯文化影響仿金銀器質感的器皿，也包含了文武官俑、胡人俑、駱駝俑作品；所謂的「俑」，是一種用陶土捏塑而成的陪葬人物。其實，唐三彩的製作技巧在漢朝時就存在了，由於中國古代常見的陶瓷器作品，是以灰質陶器或紅色陶器為多，瓷器是以青瓷、白瓷、黑瓷等單一顏色為主，所以在民國初年在北京城內發現的唐三彩陶器，就以顏色豐富飽滿而顯得與眾不同。
因為唐三彩能充分地表現出盛唐時期的富麗堂皇和胡漢融合的多元文化，所以不但是人類文明史上的重要藝術品，也是後人研究唐朝文化非常重要的參考資料。
古玉器文字
红山文化的年代大约为公元前3500-2200年，商朝的年代大约为公元前1766-1122年，红山文化的年代较商朝的年代早1千至2千年。一般认为商朝的甲骨文为中国最早的文字，然而，红山文化玉器出现相当多的古文字，其中某些文字与甲骨文相似。如果红山文化的年代较商朝的年代早，则红山文化玉器文字可能是中国最早的文字。
<font color="#CCFFFF">
本頁所列舉之三星堆玉器文字為減地陽紋, 有異於一些可疑玉器的陰線.<a href="http://collection.sina.com.cn/fcys/20120113/081552460.shtml">楊永年</a>認為古蜀是绝对存在文字的，否则就不会生成已被三星堆出土物所证明了的，那么成熟，那么灿烂的<a href="http://ent.newssc.org/system/2012/01/09/013417645.shtml">古文明现象。</a>用玉录字，不可能是唯一，更不可能是大宗。古蜀文字还可能存在于龟甲、兽骨、青铜等材质上，笔者预测更多的古蜀文字，应该出现在“陶土”制品上。或许，这会印合我国著名考古学家田昌五先生指出的“在商代之前，很可能有一个以陶器为书写材料的‘陶书时代’”的论断。或许，古蜀的陶书将与两河文明的“美苏尔文泥版文书”交辉相应，在东方和西方去照亮全世界的古代文明 有關古蜀文化玉器文字, 請參閱<a href="http://www.exoticjades.com/chinese/?cat=5">三星堆文化玉器資料</a><font color="#CCFFFF" align="left"></font>想要进一步了解中国古文字，请参阅高明着中国古文字学通论(北京大学出版社) 及上</font><a href="http://www.chineseetymology.org/CharacterASP/EtymologyHome.aspx">中国语源学网站</a>
<font color="#CCFFFF">
本頁所列舉之三星堆玉器文字為減地陽紋, 有異於一些可疑玉器的陰線.<a href="http://collection.sina.com.cn/fcys/20120113/081552460.shtml">楊永年</a>認為古蜀是绝对存在文字的，否则就不会生成已被三星堆出土物所证明了的，那么成熟，那么灿烂的<a href="http://ent.newssc.org/system/2012/01/09/013417645.shtml">古文明现象。</a>用玉录字，不可能是唯一，更不可能是大宗。古蜀文字还可能存在于龟甲、兽骨、青铜等材质上，笔者预测更多的古蜀文字，应该出现在“陶土”制品上。或许，这会印合我国著名考古学家田昌五先生指出的“在商代之前，很可能有一个以陶器为书写材料的‘陶书时代’”的论断。或许，古蜀的陶书将与两河文明的“美苏尔文泥版文书”交辉相应，在东方和西方去照亮全世界的古代文明 有關古蜀文化玉器文字, 請參閱<a href="http://www.exoticjades.com/chinese/?cat=5">三星堆文化玉器資料</a><font color="#CCFFFF" align="left"></font>想要进一步了解中国古文字，请参阅高明着中国古文字学通论(北京大学出版社) 及上</font><a href="http://www.chineseetymology.org/CharacterASP/EtymologyHome.aspx">中国语源学网站</a>
世界各國收藏古玉的博物館
世界各國收藏古玉的博物館網站:
<a href="http://www.npm.gov.tw/">國立故宮博物院</a>
<a href="http://www.dpm.org.cn/">故宮博物院(北京)</a>
<a href="http://www.thebritishmuseum.ac.uk/">大英博物館</a>
<a href="http://www.metmuseum.org/ ">紐約大都會博物館</a>
<a href="http://www.asianart.org/ ">舊金山亞洲藝術博物館</a>
<a href="http://www.pacificasiamuseum.org/ ">亞洲太平洋美術館</a>
<a href="http://www.artic.edu/aic/index.html ">芝加哥美術館</a>
<a href="http://www.si.edu/museums/">史密森尼博物館</a>
<a href="http://www.npm.gov.tw/">國立故宮博物院</a>
<a href="http://www.dpm.org.cn/">故宮博物院(北京)</a>
<a href="http://www.thebritishmuseum.ac.uk/">大英博物館</a>
<a href="http://www.metmuseum.org/ ">紐約大都會博物館</a>
<a href="http://www.asianart.org/ ">舊金山亞洲藝術博物館</a>
<a href="http://www.pacificasiamuseum.org/ ">亞洲太平洋美術館</a>
<a href="http://www.artic.edu/aic/index.html ">芝加哥美術館</a>
<a href="http://www.si.edu/museums/">史密森尼博物館</a>
秦代皇后之印實物證實秦始皇其實冊立了皇后
品名：秦辟邪玉跪人紋橢圓座陽刻篆文皇后之印, 高7.5cm, 長6cm, 寬3.2cm,165grams
"
秦始皇帝的母亲为帝太后。从见于文字的状况看，秦人在秦孝公以后，对立王后、立嗣，已十分重视了。立后(皇后)、立嗣的制度在这一时期已经确立了。”“秦国在发展壮大过程中，各种国家制度已臻完善，秦统一中国后更全面建立了各种制度，并定出了皇帝的正妻为皇后、母亲为皇太后的制度。但是秦始皇帝始终没有设立皇后，这成为令人费解的千古之谜。
《汉书•百官公卿表上》说：“詹事，秦官，掌皇后、太子家，有丞。属官有太子率更、家令丞，仆、中盾、卫率、厨厩长丞，又中长秋、私府、永巷、仓、厩、祠祀、食官令长丞。诸宦官皆属焉。秦时设置的“詹事”之官既然有“掌皇后太子家”的职能，说明秦代是有“皇后”的</font>。“詹事”的这一系列属官，颜师古在“诸宦官皆属焉”句后有注：“自此以上，皆皇后之官。”我们在出土的秦封泥中明确可以看到“私府丞印”(837～838)、“永巷”(563～565)、“永巷丞印”(566～574)，
傅嘉仪编著《秦封泥汇考》，上海书店出版社，2007，第121、83～85页。可知秦代是确实有这些“皇后之官”的。《百官公卿表下》又说“将行”官职：“将行，秦官。”颜师古注：“应劭曰：皇后卿也《初学记》卷一《中宫部•皇后第一》写道：“秦称皇帝，正嫡曰皇后，汉因之。”如果秦始皇不立皇后，大概不会有“秦称皇帝，正嫡曰皇后”的说法。我们似乎不能因为现在还没有看到秦始皇皇后的事迹，就断定“秦始皇帝始终没有设立皇后”。</font>正如我们不能因为没有看到秦史中有除了秦孝文王后之外其他王后的记载，就断定秦孝文王以外的历代秦国君主都没有立后一样。由于没有看到有关的历史记载，就轻易断定历史上不存在某一事实，这样的方法，已经有学者提出过批评，称之为“默证”。张荫麟先生指出：“凡欲证明某时代无某历史观念，贵能指出其时代中有与此历史观念相反之证据。若因某书或今存某时代之书无某史事之称述，遂断定某时代无此观念。，第271～272页。徐旭生先生则曾经对于“古史辨”派发表了这样的批评：“他们工作的勤奋是很可敬的，成绩也是很大的，但是他们所用的方法却很有问题。主要的，去世的张荫麟先生已经指出，就是太无限度地使用默证。这种方法就是因某书或今存某时代之书无某史事之称述，遂断定某时代无此观念。”“极端疑古学派的工作人对于载籍湮灭极多的时代，却是广泛地使用默证，结果如何，可以预料。”
徐旭生：《中国古史的传说时代》(增订本)，文物出版社，1985，第24～25页。在史学研究中，确实应当力戒这种有可能导致误见的方法，以追求历史的真知。张荫麟：《评近人对于中国古史之讨论》，《学术》第40期，1925年4月；《古史辨》第2册，上海古籍出版社，1982"
秦代官制
皇后诸卿
将行，掌皇后礼仪。
皇后卫尉，掌皇后卫队。
皇后少府，掌皇后私人事务。
皇后少仆，掌皇后车马。
"
秦始皇帝的母亲为帝太后。从见于文字的状况看，秦人在秦孝公以后，对立王后、立嗣，已十分重视了。立后(皇后)、立嗣的制度在这一时期已经确立了。”“秦国在发展壮大过程中，各种国家制度已臻完善，秦统一中国后更全面建立了各种制度，并定出了皇帝的正妻为皇后、母亲为皇太后的制度。但是秦始皇帝始终没有设立皇后，这成为令人费解的千古之谜。
《汉书•百官公卿表上》说：“詹事，秦官，掌皇后、太子家，有丞。属官有太子率更、家令丞，仆、中盾、卫率、厨厩长丞，又中长秋、私府、永巷、仓、厩、祠祀、食官令长丞。诸宦官皆属焉。秦时设置的“詹事”之官既然有“掌皇后太子家”的职能，说明秦代是有“皇后”的</font>。“詹事”的这一系列属官，颜师古在“诸宦官皆属焉”句后有注：“自此以上，皆皇后之官。”我们在出土的秦封泥中明确可以看到“私府丞印”(837～838)、“永巷”(563～565)、“永巷丞印”(566～574)，
傅嘉仪编著《秦封泥汇考》，上海书店出版社，2007，第121、83～85页。可知秦代是确实有这些“皇后之官”的。《百官公卿表下》又说“将行”官职：“将行，秦官。”颜师古注：“应劭曰：皇后卿也《初学记》卷一《中宫部•皇后第一》写道：“秦称皇帝，正嫡曰皇后，汉因之。”如果秦始皇不立皇后，大概不会有“秦称皇帝，正嫡曰皇后”的说法。我们似乎不能因为现在还没有看到秦始皇皇后的事迹，就断定“秦始皇帝始终没有设立皇后”。</font>正如我们不能因为没有看到秦史中有除了秦孝文王后之外其他王后的记载，就断定秦孝文王以外的历代秦国君主都没有立后一样。由于没有看到有关的历史记载，就轻易断定历史上不存在某一事实，这样的方法，已经有学者提出过批评，称之为“默证”。张荫麟先生指出：“凡欲证明某时代无某历史观念，贵能指出其时代中有与此历史观念相反之证据。若因某书或今存某时代之书无某史事之称述，遂断定某时代无此观念。，第271～272页。徐旭生先生则曾经对于“古史辨”派发表了这样的批评：“他们工作的勤奋是很可敬的，成绩也是很大的，但是他们所用的方法却很有问题。主要的，去世的张荫麟先生已经指出，就是太无限度地使用默证。这种方法就是因某书或今存某时代之书无某史事之称述，遂断定某时代无此观念。”“极端疑古学派的工作人对于载籍湮灭极多的时代，却是广泛地使用默证，结果如何，可以预料。”
徐旭生：《中国古史的传说时代》(增订本)，文物出版社，1985，第24～25页。在史学研究中，确实应当力戒这种有可能导致误见的方法，以追求历史的真知。张荫麟：《评近人对于中国古史之讨论》，《学术》第40期，1925年4月；《古史辨》第2册，上海古籍出版社，1982"
皇后诸卿
将行，掌皇后礼仪。
皇后卫尉，掌皇后卫队。
皇后少府，掌皇后私人事务。
皇后少仆，掌皇后车马。
古玉鉴定书籍
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古玉鉴定书籍：
1. 中国玉器全集编辑委员会(主编：杨伯达)：中国玉器全集
2. 钱宪和、谭立平：中国古玉鉴，地球出版社发行
3. 刘如水：中国古玉年代鉴别：商周出版
<a href="http://www.exoticjades.com/chinese/?attachment_id=9750" rel="attachment wp-att-9750">4. 古文物称谓图典</a>
古玉鉴定书籍：
1. 中国玉器全集编辑委员会(主编：杨伯达)：中国玉器全集
2. 钱宪和、谭立平：中国古玉鉴，地球出版社发行
3. 刘如水：中国古玉年代鉴别：商周出版
<a href="http://www.exoticjades.com/chinese/?attachment_id=9750" rel="attachment wp-att-9750">4. 古文物称谓图典</a>
中国古玉应再现风华
中华民族是一个爱玉的民族. 中国古玉的历史可以远朔至八千年前兴隆洼文化时期. 古代中国人将君子比德于玉, 对玉的钟爱, 可见一斑.
许慎说文解字云: 玉, 石之美, 有五德者. 润泽以温, 仁之方也. 鳃理自外, 可以知中, 义之方也; 其声舒扬, 专以远闻, 智之方也; 不挠而折,勇之方也; 锐廉不忮, 絜之方也. 玉之所以可爱可贵, 就是因为玉质温润光泽, 玉理纹路细致, 玉音清脆悠扬, 玉料坚硬不挠, 玉色清明剔透. 一件精致美好的玉器, 把玩在手中, 视其色, 听其声, 触其质, 感其理, 悠游其中, 真是人生一大乐事.
近年来, 古玉鉴定蔚为风气, 专家学者尽在断代, 系年, 真伪上下功夫. 然而, 玩赏玉器, 不应祇是探索玉器的历史渊源, 而应该再从文学及美学的角度, 审美的意象中去观想人生的哲理; 古玉的价值, 也不应祇是以其市场的价格为依归, 而应该融入古玉的内涵, 以提升观赏者的精神层面, 建立和谐及包容的社会价值. 若能如此, 则中国古玉势必能再现风华. <strong>电子邮件:</strong><a href="mailto:palaceantique@yahoo.com.tw">palaceantique@yahoo.com.tw</a>
许慎说文解字云: 玉, 石之美, 有五德者. 润泽以温, 仁之方也. 鳃理自外, 可以知中, 义之方也; 其声舒扬, 专以远闻, 智之方也; 不挠而折,勇之方也; 锐廉不忮, 絜之方也. 玉之所以可爱可贵, 就是因为玉质温润光泽, 玉理纹路细致, 玉音清脆悠扬, 玉料坚硬不挠, 玉色清明剔透. 一件精致美好的玉器, 把玩在手中, 视其色, 听其声, 触其质, 感其理, 悠游其中, 真是人生一大乐事.
近年来, 古玉鉴定蔚为风气, 专家学者尽在断代, 系年, 真伪上下功夫. 然而, 玩赏玉器, 不应祇是探索玉器的历史渊源, 而应该再从文学及美学的角度, 审美的意象中去观想人生的哲理; 古玉的价值, 也不应祇是以其市场的价格为依归, 而应该融入古玉的内涵, 以提升观赏者的精神层面, 建立和谐及包容的社会价值. 若能如此, 则中国古玉势必能再现风华. <strong>电子邮件:</strong><a href="mailto:palaceantique@yahoo.com.tw">palaceantique@yahoo.com.tw</a>
中国古玉龙凤及神面纹饰的演进
中国古玉中龙凤及神面的纹饰, 可以追溯到红山文化及良渚文化. 红山文化玉器中已经出现商朝以来的龙凤造型, 皇宫古玉在线博物馆所展示的红山文化龙凤玉刀之龙凤造型与商代传国玉玺中的龙凤纹十分类似. 至于中国古玉中神面的纹饰应该是源于良渚文化的神面纹(一般称为兽面纹). 良渚文化的神面纹具有鸟类眼睛的造型, 演变到商周时期, 兽面纹具有野兽的造型(俗称饕餮纹), 到了春秋战国, 神面纹逐渐具备人面造型.
红山文化及良渚文化等文化期玉器上龙凤及神面的纹饰, 应该是当时人类对于大自然的飞禽走兽飞翔奔驰能力的向往, 对不可知力量的敬畏. 商周以后神权及君权社会的出现, 玉器上龙凤及神面的纹饰已形成对天地神明及君王崇敬的沟通图腾, 唐宋之后玉器上神面的纹饰较为少见, 而龙凤纹饰除了作为皇室图腾外, 大多已成为吉祥的象征.
红山文化及良渚文化等文化期玉器上龙凤及神面的纹饰, 应该是当时人类对于大自然的飞禽走兽飞翔奔驰能力的向往, 对不可知力量的敬畏. 商周以后神权及君权社会的出现, 玉器上龙凤及神面的纹饰已形成对天地神明及君王崇敬的沟通图腾, 唐宋之后玉器上神面的纹饰较为少见, 而龙凤纹饰除了作为皇室图腾外, 大多已成为吉祥的象征.
論古玉之變形
<中國古玉鑑>認為良渚或崧澤文化有些彎曲或變形的閃玉及蛇紋石器物, ..在海峽兩岸近年出現非常少, ..而且僅..分佈在蘇, 浙, 魯等地區附近, 如果有某種壓力, 如石棺板片的陷落, 就會..變形或扭曲的情形發生, 造成外表變形或扭曲的形狀.這樣的推論, 似乎不合乎物理學的常識. 如果能夠將玉片壓成弧形, 不但需要特殊狀態的支點, 力點, 與重力, 而且玉片物質上的變化也必須是地球當時形成玉礦的物理及化學狀態, 若具備了這種狀態, 玉片所埋藏的周遭勢必也已蒼海桑田, 不會唯獨 玉片彎曲或變形, 而江山景物依舊!就算是真的由於礦物內的晶體移位, 必也形成不規則的凹凸面, 而不是平滑的弧形面.
事實上, 許多良渚玉器有工就料的情形, 也就是說, 基於玉料的取材, 為了避開不可用的部分, 祇好將形狀遷就玉料, 以免浪費了珍貴的玉材.
事實上, 許多良渚玉器有工就料的情形, 也就是說, 基於玉料的取材, 為了避開不可用的部分, 祇好將形狀遷就玉料, 以免浪費了珍貴的玉材.
古玉器材质之科学鉴定
古玉的材质, 可透过一般折光仪及<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/DSCN7028.jpg">拉曼光谱仪</a>加以测定.一般而言,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2008/08/718_l.jpg">折光率(Refractive Index)为1.61</a>或<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2008/08/1s.jpg">拉曼光谱低频波数在600到800之间</a>, 高频波数在3700附近有显著强度时, 可证明被测试对象为闪玉(软玉)( 翠玉( jadeite) 之折光率為1.66) 本網頁所有翠玉均經<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0568-001.jpg">GIA Duplex II Refractometer測定</a>.</font>
古玉鑑价
尽管一般的说法是玉无价，这是从主观而言，然而在客观上，古玉的价格还是会受到某些因素的影响。一般而言，古玉的鉴价可以根据下列因素为之:
1.玉质:是否为和田玉, 和田玉中的水料, 尤其是羊脂白玉, 最为珍贵.
2.器物的大小与完整性: 一般而言, 完美无缺的玉器较值钱.
3.刻工的精致:刻工越精致,越难得也 越讨人喜欢, 当然越值钱.
4.市场的偏好: 华人场大多偏爱佛教文物及吉祥物.
5. 唯一性或稀少性: 历史上唯一的一件, 如和氏璧, 因为祇有一件, 当然值钱.
6.市场流通性：玉器在苏富比或嘉世德等国际拍卖公司的价格是一般市场的十倍百倍，原因在于这些国际拍卖公司保证在其市场所购得的玉器可以再度在其市场拍卖，这等于保障了市场流通性。
陈明杰教授发表相关论文:
1. 艺术品鉴价之实证研究－以中国古玉为例，「第二届两岸职业大学学术论坛」论文集，2010年8月8~9日
2. 古玉器网站营销通路之研究，「人文资源研究学报」（ISSN：1996-2541半年刊），第5期，2009年6月
3. 从科学角度实践古玉鉴定及古玉鉴价之实证研究，海内外华人教育休闲文化文物国际学术研讨会，2010年12月10日，台北
<font color="#999999">从科学角度实践古玉鉴定及古玉鉴价之实证研究摘要
「玉器在中国人的心目中具有深远悠久的情结。中国古玉的历史可以远朔至八千年前兴隆洼文化时期。从早期的为原始宗教祭祀天地鬼神服务，历经后来提供国家君王礼仪的表征，到以及各朝代作为反映社会现实生活的媒介，玉器的价值和定位在中国社会中总是显得重要而不可或缺。
古玉器的鉴定自宋元以来便有许多理论与实务的著作，目前古玉器的鉴定众说纷纭，莫衷一是，但是古玉器的科学鉴定已受到产官学界的认同，本研究的鉴定方法是古玉器科学鉴定的实践及归纳，本研究尝试提出基准比较法(reference comparison method) 来鉴定没有出土报告的传世古玉。
古玉鉴价在国内外一直尚未建立共同的标准，本研究系对古玉鉴价实证研究之初探性尝试，古玉器的鉴价应建立客观的标准，或许可参考无形资产的鉴价方法为之，本研究的实证回归模型是这个方向的一个尝试。本研究以长宽高及重量的加权尺寸指数，以及玉器的刀工、玉质、品相等因素则建立1到5的主观指针作为预测变量建立古玉鉴价回归方程式(Regression Equation)。最后本研究利用SPSS统计软件针对拍卖公司2009年505件汉代玉器加以执行。结果发现实证之回归方程式合乎理论之假设，即尺寸愈大之玉器，其价值愈高 ; 刀工、品相、玉质等综合指标愈高之玉器，其价值愈高。本研究尺寸指标及刀工、品相、玉质等综合指标之建立尚在初步的阶段，未来的研究可朝这些指针建立的规则化及客观化迈进。」</font>
1.玉质:是否为和田玉, 和田玉中的水料, 尤其是羊脂白玉, 最为珍贵.
2.器物的大小与完整性: 一般而言, 完美无缺的玉器较值钱.
3.刻工的精致:刻工越精致,越难得也 越讨人喜欢, 当然越值钱.
4.市场的偏好: 华人场大多偏爱佛教文物及吉祥物.
5. 唯一性或稀少性: 历史上唯一的一件, 如和氏璧, 因为祇有一件, 当然值钱.
6.市场流通性：玉器在苏富比或嘉世德等国际拍卖公司的价格是一般市场的十倍百倍，原因在于这些国际拍卖公司保证在其市场所购得的玉器可以再度在其市场拍卖，这等于保障了市场流通性。
陈明杰教授发表相关论文:
1. 艺术品鉴价之实证研究－以中国古玉为例，「第二届两岸职业大学学术论坛」论文集，2010年8月8~9日
2. 古玉器网站营销通路之研究，「人文资源研究学报」（ISSN：1996-2541半年刊），第5期，2009年6月
3. 从科学角度实践古玉鉴定及古玉鉴价之实证研究，海内外华人教育休闲文化文物国际学术研讨会，2010年12月10日，台北
<font color="#999999">从科学角度实践古玉鉴定及古玉鉴价之实证研究摘要
「玉器在中国人的心目中具有深远悠久的情结。中国古玉的历史可以远朔至八千年前兴隆洼文化时期。从早期的为原始宗教祭祀天地鬼神服务，历经后来提供国家君王礼仪的表征，到以及各朝代作为反映社会现实生活的媒介，玉器的价值和定位在中国社会中总是显得重要而不可或缺。
古玉器的鉴定自宋元以来便有许多理论与实务的著作，目前古玉器的鉴定众说纷纭，莫衷一是，但是古玉器的科学鉴定已受到产官学界的认同，本研究的鉴定方法是古玉器科学鉴定的实践及归纳，本研究尝试提出基准比较法(reference comparison method) 来鉴定没有出土报告的传世古玉。
古玉鉴价在国内外一直尚未建立共同的标准，本研究系对古玉鉴价实证研究之初探性尝试，古玉器的鉴价应建立客观的标准，或许可参考无形资产的鉴价方法为之，本研究的实证回归模型是这个方向的一个尝试。本研究以长宽高及重量的加权尺寸指数，以及玉器的刀工、玉质、品相等因素则建立1到5的主观指针作为预测变量建立古玉鉴价回归方程式(Regression Equation)。最后本研究利用SPSS统计软件针对拍卖公司2009年505件汉代玉器加以执行。结果发现实证之回归方程式合乎理论之假设，即尺寸愈大之玉器，其价值愈高 ; 刀工、品相、玉质等综合指标愈高之玉器，其价值愈高。本研究尺寸指标及刀工、品相、玉质等综合指标之建立尚在初步的阶段，未来的研究可朝这些指针建立的规则化及客观化迈进。」</font>
如何鉴定传世古玉?
一般而言, 传世古玉的数量远超过出土古玉. 因此, 鉴定传世古玉的重要性也远大于对出土古玉的鉴定.此外, 由于传世古玉缺少出土报告, 鉴定传世古玉也较土古玉的鉴定为困难. 所幸现代的科技有助于此一困难的解决. 在诸多方法中, 基准法(reference method) 似乎是可行的.
所谓基准法就是比较传世古玉与國家博物館所收藏之藏品作為标准器的各种特征, 加以比对. 进行的步骤是: 1. 选择具有出土报告的特定玉器作为标准器, 详细列出其各项特征, 例如, 差异风化, 冰裂纹, 层次感沁色, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/SanBi-Dissolved-Pits-Additive-Crystaks.jpg">溶蝕孔</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/WesternzhouFishAdditiveCrystal1.jpg">增生晶体</a>等物理化学迹象, 刀工, <a href="http://www.exoticjades.com/?page_id=2982">钻孔</a>,<a href="http://www.exoticjades.com/?page_id=2992"> 纹饰</a>等时代特征等, 2. 列出传世古玉相对应的各项特征. 3. 比对标准器与传世古玉相对应的各项特征. 如果两者的特征完全相同, 则此传世古玉应该与标准器同一时代. 相同特征的百分比愈高则愈可信.
有關真品子岡牌的鑑定, <a href="http://blog.artron.net/space.php?uid=550903"><strong>古道心腸</strong></a>"明代陸子岡制子岡牌真跡考"一文之見解獨到, 值得參考:<a href="http://www.exoticjades.com/chinese/?attachment_id=9905" rel="attachment wp-att-9905">明代陸子岡制子岡牌真跡考</a>
所谓基准法就是比较传世古玉与國家博物館所收藏之藏品作為标准器的各种特征, 加以比对. 进行的步骤是: 1. 选择具有出土报告的特定玉器作为标准器, 详细列出其各项特征, 例如, 差异风化, 冰裂纹, 层次感沁色, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/SanBi-Dissolved-Pits-Additive-Crystaks.jpg">溶蝕孔</a>, <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/WesternzhouFishAdditiveCrystal1.jpg">增生晶体</a>等物理化学迹象, 刀工, <a href="http://www.exoticjades.com/?page_id=2982">钻孔</a>,<a href="http://www.exoticjades.com/?page_id=2992"> 纹饰</a>等时代特征等, 2. 列出传世古玉相对应的各项特征. 3. 比对标准器与传世古玉相对应的各项特征. 如果两者的特征完全相同, 则此传世古玉应该与标准器同一时代. 相同特征的百分比愈高则愈可信.
有關真品子岡牌的鑑定, <a href="http://blog.artron.net/space.php?uid=550903"><strong>古道心腸</strong></a>"明代陸子岡制子岡牌真跡考"一文之見解獨到, 值得參考:<a href="http://www.exoticjades.com/chinese/?attachment_id=9905" rel="attachment wp-att-9905">明代陸子岡制子岡牌真跡考</a>
古玉鑑定
古玉的鑑定是<strong><a href="http://www.exoticjades.com/?page_id=2980">客观而科学的</a></strong>. 一般而言, 古玉可透过观察玉器本身是否具备下列物理化学特性加以测定:差异风化,<a href="http://www.exoticjades.com/wp-content/uploads/HanEagle1.jpg"> 扩散沁色(玉器表面受到不同矿物随着玉之纹理结构, 侵蚀渗透至玉器内部, 所形成深浅层次不同的颜色)</a>,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/SanBi-Dissolved-Pits-Additive-Crystaks.jpg">溶蚀孔</a>(玉器埋在在地下时, 表面若接触到不同的化学物质, 所形成之不规则孔洞, 一般是洞口小, 洞内大且有角砾岩), 晶体曝露(曝露晶面是古玉受外界礦物影響所形成低於玉器表面的反光體(又稱雲母片)) , <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2006/10/WesternzhouFishAdditiveCrystal1.jpg">次生长晶体</a>(次生结晶体是古玉受外界礦物影響所形成高於玉器表面凸起的物體(多為針狀),這些針狀晶體係覆蓋於刀工紋飾之上, 說明了玉器雕琢在先,次生结晶体的形成在後. ).最重要的是, 直接判断玉器本身,而非"先入为主"的诉诸权威看法. 有时候, 即使是出土报告的结果都未必可信. 例如, 在汉代宫廷遗址挖到的玉器,有可能是汉代王室所保有商周的玉器, 未必是汉代的玉器. 也有可能在同一位置, 不同深浅的出土, 属于不同时期的遗物. 例如, 第一层属于商文化, 第二层属于龙山文化. 所以在同一地方可能出现两个时代以上的玉器, 也就不足为奇了.因此在鑑定时,每种可能的因素都要客观的详细的加以考虑, 才不会犯假权威常犯的错.
世界知名的玉器鑑定专家<a href="http://rosenzweigassociates.com/#home_anchor">Daphne Rosenzweig博士</a></font>认为, 要针对玉器本身作有系统的分析来从事鉴定, 而不是看此玉器的出身或曾为那个重要人士所拥有.
</font>
</font><font color="#CCFF00">古玉泰斗<a href="http://artist.artxun.com/11530-yangboda/">杨伯达</a></font>认为古玉研究和鑑定如果只是建立在经验的基础上，是不会有多大作为的，他要为中国古玉的研究和鑑定找出一条新路来。
杨伯达先生经过长期深入的研究，将中国古玉鉴定建立在科学基础之上，其开宗立派的历史作用是无可取代的。杨先生的科学赏玉观内涵丰富，其方法论概括如下：
<blockquote>
1.研究古玉不能仅仅停留在它的功用层面上，还要从其矿物学、地质学、宝石学、工艺学、材料学等方面进行研究
2.古玉研究要同考古学结合。不同历史时期的器物具有不同的艺术风格；而同一历史时期的不同器物在艺术风格上往往有相通之处。更由于出土文物可以进行明确的断代，其相伴出土的玉器在古玉鉴定上可以发挥标准器的作用。因此，古玉断代可以从考古材料中找证明，从出土文物中类比年代。
3.古玉研究要重视文献的考证。中国玉文化历史悠久，历朝历代的古文献都有记载，当然对这种记载不加分析全盘接受的观点不可取，但是也不能对这种记载缺乏信任而不去学习体会其含义。以正确的态度研究考证历史文献，可以为古玉鑑赏寻找出相关证据，达到解疑释惑的目的
⒋研究中国玉文化还要从神学、美学、伦理学、哲学诸方面阐述其外在特点和内涵精髓。.</font>中国人自古以来就崇玉、尚玉，这是世界上其他民族所没有的。崇玉推至极致就认为玉是天地鬼神的食物，于是玉被作为祭神、通神的神物；尚玉的最高境界是比德于玉，将玉道德化，标榜为君子的化身，以玉的美德规范政治家和文人士大夫的思想修养和行为。
</blockquote>
各时代之玉器风格可简述如下:<blockquote>红山文化的玉器造型多以圆形的弧线为主, 其特色是原始及质朴, 刚劲挺拔, 浑圆饱满, 以形取胜. 大多数的玉器具有同面的内部贯穿喇叭形孔, 俗称象鼻孔, 孔道弯曲, 外宽内窄, 孔壁呈现薄砣具所琢出之细阴线.良渚文化距今约四,五千年, 主要分布于长江下游的太湖流域.玉器以玉琮, 玉璜, 玉钺为主. 主要纹饰为神人兽面纹. 制玉工艺技术精湛, 细如发丝的阴雕线是代表作.齐家文化玉器种类繁多, 但多以素面为主. 工艺的特征是单向钻孔, 留有毛边. 薄片切割的精美玉刀是代表作.三星堆文化的年代约为夏商周时代. 三星堆文化的玉器多为闪玉, 刀工精美, 象征顺风耳与千里眼的凸眼与扇形耳的造型是特征.龙山文化的玉器有玉圭, 玉璜, 玉勒, 玉璧环, 玉牙璧等. 龙山文化的玉器工艺技术精美, 常用阴线, 阳线, 素面或浅浮雕.夏代玉器有玉瑗, 玉钺, 牙璋, 牙璧, 玉佩等. 夏代玉器大多大, 长, 薄, 纹饰对称, 平衡, 有出齿.
商代玉器不但玉质精美, 刀工更是洗练精准. 典型的减地阳纹, 折铁线(阳线主线条线条的一端为圆球状, 经过第一次圆形直角转弯之际, 生出一分支线条, 尖锐的末端微微向圆形直角相反方向勾起, 主线条第二次圆形直角的转弯, 最后的末端形成尖锐状, 有时候, 在经过转弯后, 在结束成之前, 也会出现勾起的分支线.)及宛转流畅的双钩阴线, 对称的直角如意云纹, 盾形纹饰等是商代玉器的特色.
西周玉器的刀工风格最大特色是单双斜刀法, 有所谓45度大斜刀法, 此法至汉以后即失传.
春秋玉器刀法源于西周晚期, 线条更为细腻. 典型的纹饰条是饱满的如意云纹. 春秋玉器一直是专业收藏家的宠儿. 战国玉器刀工精美, 线条流畅, 主要纹饰以龙,凤, 舞女及谷纹. 圆雕上的浅浮雕以抽象简化的龙凤纹为主, 出廓的龙凤纹则以写实纹饰表现.汉代玉器工艺有所谓汉八刀的粗犷刀法, 主要纹饰为辟邪兽, 玉器趋向大件, 东汉以后, 四灵兽, 云气纹, 玉鹰成为主要纹饰.唐代玉器的特征是写实与生活化, 佛教色彩浓厚, 玉器上施加彩绘, 鎏金, 多飞天, 胡人造型. 宋元辽金玉器则多以秋山春水为主题, 宋代童子又是许多玉器的纹饰.明代玉器中最负盛名的文人玉工陆子刚的玉器, 陆子刚所以制作的玉牌, 已成为玉牌形制的名称--子刚牌, 其署名更是后世模仿的对象, 真品的子刚牌多为阳线铭文. 据考证陆子刚非上等通白玉不刻. 清代玉器在乾隆时期, 由于皇室的重视, 成为玉器文化最后的高峰期, 乾隆工也成为刀工精美的代名词.</blockquote> <font color="#CCFFCC">有關西漢玉璽鑑定, 請參閱<a href="http://tw.myblog.yahoo.com/jw!b_.8WhaREQNaUIMDvaUY6WJ90T0-/article?mid=1809&sc=1">陳文卿論述</a>.</font><font color="#FFFFCC">有關子岡牌之鑑定請參閱<a href="http://blog.artron.net/space.php?uid=550903&do=blog&id=821375">明代陆子冈制子冈牌真迹考</a></font>讀者請注意, <a href="http://www.exoticjades.com/chinese/?attachment_id=9802" rel="attachment wp-att-9802">紅山古玉真品難覓假貨橫行 各大拍賣行拒絕拍賣</a>, 不得不謹慎.其他有關古玉真偽之區別可參閱古玉真赝对比鉴定<a href="http://www.sd89.net/lyst/guyutf001.htm">http://www.sd89.net/lyst/guyutf001.htm</a>
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<a href="http://www.exoticjades.com/chinese/?page_id=584">陈明杰教授</a>发表相关论文:
1. 艺术品鉴价之实证研究－以中国古玉为例，「第二届两岸职业大学学术论坛」论文集，2010年8月8~9日
2. 古玉器网站营销通路之研究，「人文资源研究学报」（ISSN：1996-2541半年刊），第5期，2009年6月
3. <a href="http://www.exoticjades.com/chinese/?page_id=1613">从科学角度实践古玉鉴定及古玉鉴价之实证研究</a>，海内外华人教育休闲文化文物国际学术研讨会，2010年12月10日，台北
世界知名的玉器鑑定专家<a href="http://rosenzweigassociates.com/#home_anchor">Daphne Rosenzweig博士</a></font>认为, 要针对玉器本身作有系统的分析来从事鉴定, 而不是看此玉器的出身或曾为那个重要人士所拥有.
</font>
</font><font color="#CCFF00">古玉泰斗<a href="http://artist.artxun.com/11530-yangboda/">杨伯达</a></font>认为古玉研究和鑑定如果只是建立在经验的基础上，是不会有多大作为的，他要为中国古玉的研究和鑑定找出一条新路来。
杨伯达先生经过长期深入的研究，将中国古玉鉴定建立在科学基础之上，其开宗立派的历史作用是无可取代的。杨先生的科学赏玉观内涵丰富，其方法论概括如下：
<blockquote>
1.研究古玉不能仅仅停留在它的功用层面上，还要从其矿物学、地质学、宝石学、工艺学、材料学等方面进行研究
2.古玉研究要同考古学结合。不同历史时期的器物具有不同的艺术风格；而同一历史时期的不同器物在艺术风格上往往有相通之处。更由于出土文物可以进行明确的断代，其相伴出土的玉器在古玉鉴定上可以发挥标准器的作用。因此，古玉断代可以从考古材料中找证明，从出土文物中类比年代。
3.古玉研究要重视文献的考证。中国玉文化历史悠久，历朝历代的古文献都有记载，当然对这种记载不加分析全盘接受的观点不可取，但是也不能对这种记载缺乏信任而不去学习体会其含义。以正确的态度研究考证历史文献，可以为古玉鑑赏寻找出相关证据，达到解疑释惑的目的
⒋研究中国玉文化还要从神学、美学、伦理学、哲学诸方面阐述其外在特点和内涵精髓。.</font>中国人自古以来就崇玉、尚玉，这是世界上其他民族所没有的。崇玉推至极致就认为玉是天地鬼神的食物，于是玉被作为祭神、通神的神物；尚玉的最高境界是比德于玉，将玉道德化，标榜为君子的化身，以玉的美德规范政治家和文人士大夫的思想修养和行为。
</blockquote>
各时代之玉器风格可简述如下:<blockquote>红山文化的玉器造型多以圆形的弧线为主, 其特色是原始及质朴, 刚劲挺拔, 浑圆饱满, 以形取胜. 大多数的玉器具有同面的内部贯穿喇叭形孔, 俗称象鼻孔, 孔道弯曲, 外宽内窄, 孔壁呈现薄砣具所琢出之细阴线.良渚文化距今约四,五千年, 主要分布于长江下游的太湖流域.玉器以玉琮, 玉璜, 玉钺为主. 主要纹饰为神人兽面纹. 制玉工艺技术精湛, 细如发丝的阴雕线是代表作.齐家文化玉器种类繁多, 但多以素面为主. 工艺的特征是单向钻孔, 留有毛边. 薄片切割的精美玉刀是代表作.三星堆文化的年代约为夏商周时代. 三星堆文化的玉器多为闪玉, 刀工精美, 象征顺风耳与千里眼的凸眼与扇形耳的造型是特征.龙山文化的玉器有玉圭, 玉璜, 玉勒, 玉璧环, 玉牙璧等. 龙山文化的玉器工艺技术精美, 常用阴线, 阳线, 素面或浅浮雕.夏代玉器有玉瑗, 玉钺, 牙璋, 牙璧, 玉佩等. 夏代玉器大多大, 长, 薄, 纹饰对称, 平衡, 有出齿.
商代玉器不但玉质精美, 刀工更是洗练精准. 典型的减地阳纹, 折铁线(阳线主线条线条的一端为圆球状, 经过第一次圆形直角转弯之际, 生出一分支线条, 尖锐的末端微微向圆形直角相反方向勾起, 主线条第二次圆形直角的转弯, 最后的末端形成尖锐状, 有时候, 在经过转弯后, 在结束成之前, 也会出现勾起的分支线.)及宛转流畅的双钩阴线, 对称的直角如意云纹, 盾形纹饰等是商代玉器的特色.
西周玉器的刀工风格最大特色是单双斜刀法, 有所谓45度大斜刀法, 此法至汉以后即失传.
春秋玉器刀法源于西周晚期, 线条更为细腻. 典型的纹饰条是饱满的如意云纹. 春秋玉器一直是专业收藏家的宠儿. 战国玉器刀工精美, 线条流畅, 主要纹饰以龙,凤, 舞女及谷纹. 圆雕上的浅浮雕以抽象简化的龙凤纹为主, 出廓的龙凤纹则以写实纹饰表现.汉代玉器工艺有所谓汉八刀的粗犷刀法, 主要纹饰为辟邪兽, 玉器趋向大件, 东汉以后, 四灵兽, 云气纹, 玉鹰成为主要纹饰.唐代玉器的特征是写实与生活化, 佛教色彩浓厚, 玉器上施加彩绘, 鎏金, 多飞天, 胡人造型. 宋元辽金玉器则多以秋山春水为主题, 宋代童子又是许多玉器的纹饰.明代玉器中最负盛名的文人玉工陆子刚的玉器, 陆子刚所以制作的玉牌, 已成为玉牌形制的名称--子刚牌, 其署名更是后世模仿的对象, 真品的子刚牌多为阳线铭文. 据考证陆子刚非上等通白玉不刻. 清代玉器在乾隆时期, 由于皇室的重视, 成为玉器文化最后的高峰期, 乾隆工也成为刀工精美的代名词.</blockquote> <font color="#CCFFCC">有關西漢玉璽鑑定, 請參閱<a href="http://tw.myblog.yahoo.com/jw!b_.8WhaREQNaUIMDvaUY6WJ90T0-/article?mid=1809&sc=1">陳文卿論述</a>.</font><font color="#FFFFCC">有關子岡牌之鑑定請參閱<a href="http://blog.artron.net/space.php?uid=550903&do=blog&id=821375">明代陆子冈制子冈牌真迹考</a></font>讀者請注意, <a href="http://www.exoticjades.com/chinese/?attachment_id=9802" rel="attachment wp-att-9802">紅山古玉真品難覓假貨橫行 各大拍賣行拒絕拍賣</a>, 不得不謹慎.其他有關古玉真偽之區別可參閱古玉真赝对比鉴定<a href="http://www.sd89.net/lyst/guyutf001.htm">http://www.sd89.net/lyst/guyutf001.htm</a>
电子邮件:<a href="mailto:palaceantique@yahoo.com.tw">palaceantique@yahoo.com.tw</a>
<a href="http://www.exoticjades.com/chinese/?page_id=584">陈明杰教授</a>发表相关论文:
1. 艺术品鉴价之实证研究－以中国古玉为例，「第二届两岸职业大学学术论坛」论文集，2010年8月8~9日
2. 古玉器网站营销通路之研究，「人文资源研究学报」（ISSN：1996-2541半年刊），第5期，2009年6月
3. <a href="http://www.exoticjades.com/chinese/?page_id=1613">从科学角度实践古玉鉴定及古玉鉴价之实证研究</a>，海内外华人教育休闲文化文物国际学术研讨会，2010年12月10日，台北
联络我们
網站負責人: 陈明杰(Mitchell Chen)教授
美国佛罗里达州鉴定师协会会员(2010-2012)
国立台湾大学经济研究所硕士(1970)
美国史丹福大学工程研究所硕士(1975)
景文科技大学通识中心<a href="http://www.exoticjades.com/wp-content/uploads/Certificate-of-Service1.jpg">古玉鉴定副教授</a>
国立故宫博物院佛经附图专案英文翻译及审稿
中华征信所古玉鉴定顾问
email: palaceantique@gmail.com
美国佛罗里达州鉴定师协会会员(2010-2012)
国立台湾大学经济研究所硕士(1970)
美国史丹福大学工程研究所硕士(1975)
景文科技大学通识中心<a href="http://www.exoticjades.com/wp-content/uploads/Certificate-of-Service1.jpg">古玉鉴定副教授</a>
国立故宫博物院佛经附图专案英文翻译及审稿
中华征信所古玉鉴定顾问
email: palaceantique@gmail.com
古玉网站
本古玉网站由<a href="http://www.exoticjades.com/chinese/?page_id=584">陳明杰教授</a>維護, 致力于将正确的古玉鉴定方法公诸于世,让国宝级的中國古玉享有应有的尊荣.本网站系从<a href="http://www.exoticjades.com/chinese/?page_id=1612">科学角度进行古玉鉴定</a>,为让读者容易辨识古玉迹象,多数古玉均附上<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/Six21.jpg">显微照相</a> .为推广古玉文化, 本古玉网站致力於探索玉器的历史渊源, 再从文学及美学的角度, 审美的意象中去观想人生的哲理; 融入古玉的内涵, 以提升观赏者的精神层面, 建立和谐及包容的社会价值, 期使中国古玉能再现风华.欢迎方家不吝赐教(若有任何指教, 请Email电子邮件<a href="mailto:palaceantique@yahoo.com.tw">palaceantique@yahoo.com.tw</a> 聯絡電話: 美國加州 408-781-3336)
Saturday, September 7, 2013
Ming and Qing (1368 AD-1911 AD)
Qing Dynasty</strong></a>, due to the emphasis of jade artifacts from the imperial court, especial from the Emperor Chienlung himself, jade artifacts of the Qing Dynasty become the last high peak in terms of quality and quantity of Chinese jade carving history. Refractive index of all the jadeite items has been tested with<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0574.jpg">GIA Duplex II Refractometer.( Reading: 1.66 )</a>
Buddha Carving Series-Ming Dynasty Jade Goddess of Mercy, H. 28 cm
<strong><em>Jade Identification:</em></strong>
Bodhisattva Avolokitesvara with a Buddhist rosary and mudra of mercy.
Standing on the lotus seat, the Goddess of Mercy holds a string of Buddhist rosary of 36 beads with her left hand and shows mudra of mercy with her right hand. Wearing turban, shawl , necklace and rope, the Goddess of Mercy has shown a facial expression of great compassion and wisdom.
Carved with Hotan nephrite with yellow green tone, this artifact is made with mastery workmanship.
Archaic evidences of differential weathering, diffusive markings, cleaving veins and secondary crystals are presented.
<strong><em>Jade Appraisal </em></strong>:USD80,000-100,000
Qing Dynasty(AD1644-1911),Jade Plaque, W. 5.2cm, T. 0.5cm, 20grams
<strong><em>Jade Identification:</em></strong>
The object is designed to have dragon head on each end of the plaque. Woven grids scales are seen on the necks with an intermedian section with sprout crops motifs. Made of top quality Hetian mutton jade( <a href="http://www.exoticjades.com/wp-content/uploads/DSCN0685.jpg">Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.61</a>), the object has shown various archaic evidences such as <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-02-02_152220_60X_N0015.jpg">cleaving veins</a> and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-02-02_152405_60X_N0016.jpg">differential weathering</a>.
<strong><em>Jade Appraisal</em></strong>
USD8,000-USD10,000
Qing Dynasty Geese Set, H.5cm, W.7cm, D.5cm, 180 grams
<em><strong>Jade Identification:</strong></em>
Made from top quality Hetian jade, this three geese set is seen holding the lotus plant to imply the continuous passing three major examinations which will lead to high ranking posts in the government. The pronunciation of goose in Chinese has the same sound as the name of the ancient examination system( 科舉 ). The head of the biggest goose is high imply the highest level examination is passed with high score or the first place. The Chinese translation of this carving is 連中三元. Antiquity evidences consist of <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-04_224618_60X_N0076.jpg">differential weathering</a>, <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-04_225051_60X_N0077.jpg">cleaving vein</a> and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-04_224520_60X_N0075.jpg">diffusive marking</a>.
<em><strong>Jade Appraisal:</strong></em>
USD6,000-8,000
Buddha Carving Series-Ming Dynasty Jade Goddess of Mercy, H. 28 cm
<strong><em>Jade Identification:</em></strong>
Bodhisattva Avolokitesvara with a Buddhist rosary and mudra of mercy.
Standing on the lotus seat, the Goddess of Mercy holds a string of Buddhist rosary of 36 beads with her left hand and shows mudra of mercy with her right hand. Wearing turban, shawl , necklace and rope, the Goddess of Mercy has shown a facial expression of great compassion and wisdom.
Carved with Hotan nephrite with yellow green tone, this artifact is made with mastery workmanship.
Archaic evidences of differential weathering, diffusive markings, cleaving veins and secondary crystals are presented.
<strong><em>Jade Appraisal </em></strong>:USD80,000-100,000
Qing Dynasty(AD1644-1911),Jade Plaque, W. 5.2cm, T. 0.5cm, 20grams
<strong><em>Jade Identification:</em></strong>
The object is designed to have dragon head on each end of the plaque. Woven grids scales are seen on the necks with an intermedian section with sprout crops motifs. Made of top quality Hetian mutton jade( <a href="http://www.exoticjades.com/wp-content/uploads/DSCN0685.jpg">Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.61</a>), the object has shown various archaic evidences such as <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-02-02_152220_60X_N0015.jpg">cleaving veins</a> and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-02-02_152405_60X_N0016.jpg">differential weathering</a>.
<strong><em>Jade Appraisal</em></strong>
USD8,000-USD10,000
Qing Dynasty Geese Set, H.5cm, W.7cm, D.5cm, 180 grams
<em><strong>Jade Identification:</strong></em>
Made from top quality Hetian jade, this three geese set is seen holding the lotus plant to imply the continuous passing three major examinations which will lead to high ranking posts in the government. The pronunciation of goose in Chinese has the same sound as the name of the ancient examination system( 科舉 ). The head of the biggest goose is high imply the highest level examination is passed with high score or the first place. The Chinese translation of this carving is 連中三元. Antiquity evidences consist of <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-04_224618_60X_N0076.jpg">differential weathering</a>, <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-04_225051_60X_N0077.jpg">cleaving vein</a> and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-04_224520_60X_N0075.jpg">diffusive marking</a>.
<em><strong>Jade Appraisal:</strong></em>
USD6,000-8,000
Qing Dynasty Phoenix Jade Boulder, H. 7.5cm, W. 5cm, D.2.5cm
<strong><em>Identification</em>:</strong>
The front side of the boulder is carved with a phoenix resting on a plum tree, the back side of the boulder is carved with thres branches of lingzhi. The workmanship of this boulder is of mastery quality. The vivid and delicate carving of the phoenix have made this small jade boulder a wonderful piece to collect. Antiquity evidences consist of differential weathering and diffusive marking.
<strong><em>Appraisal</em>:</strong>
USD5,000-8,000
Qing Dynasty Mutton White Hetian Jade Arm Bracelet, D.10cm
Qing Dynasty, Tri- Dragon Bi, D. 7.6cm, T. 0.4cm, 55grams
<strong><em>Identification:</em></strong>
Carved with Hetian white jade, the three dragons at the center of the bi has the style of <a href="http://www.exoticjades.com/wp-content/uploads/wsdragon329.jpg">Warring States,open work tridragon jade plaque, D.6.4cm, unearthed in 1974 from graveyard#1, Chungshan State, Nan Chis, Peishan County, Hepei Province.A collection of Hepei Province Museum</a> Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/B2.jpg">differential weathering </a>and <a href="http://www.exoticjades.com/wp-content/uploads/Qing-Cleaving-Vein.jpg">cleaving vein</a>.
<strong><em>Appraisal:</em></strong>: USD4,000-6,000
Qing dynasty Jade Paperweight, 8cm x 5.5cm x 1.5cm, 127grams
Identification:
Made of fine Hetian jade, this paperweight is skillfully designed with openwork motif of flowers and carved with mastery workmanship. With low price, it is a valuable collection item which has great potential room for price increase. The manual carving and differential weathering have proved its antiquity.
Appraisal: USD3,000-5,000
Qing Dynasty Jadeite Plaque , H. 7cm, 5cm, 50grams
<strong><em>Identification:</em></strong>
There are four motifs on this jadeite plaque: the monkey, the calabash, the zuyi, and peach. According to the Chinese culture, the monkey (猴 )has the same pronunciation of marquis( 侯 ), second of the five orders of ancient Chinese nobility. The pronunciation of calabash in Chinese (葫蘆 ) has the same ones of luck and big salary from the public post( 福祿 ), the zuyi is as you wish, and the peach signifies eternal life. Wish mastery workmanship, this Qing Dynasty plaque will give you an ease mind to keep.<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0573.jpg">( Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.66 )</a>
Qing Dynasty Mutton White Hetian Jade Arm Bracelet, D.10cm
Qing Dynasty, Tri- Dragon Bi, D. 7.6cm, T. 0.4cm, 55grams
<strong><em>Identification:</em></strong>
Carved with Hetian white jade, the three dragons at the center of the bi has the style of <a href="http://www.exoticjades.com/wp-content/uploads/wsdragon329.jpg">Warring States,open work tridragon jade plaque, D.6.4cm, unearthed in 1974 from graveyard#1, Chungshan State, Nan Chis, Peishan County, Hepei Province.A collection of Hepei Province Museum</a> Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/B2.jpg">differential weathering </a>and <a href="http://www.exoticjades.com/wp-content/uploads/Qing-Cleaving-Vein.jpg">cleaving vein</a>.
<strong><em>Appraisal:</em></strong>: USD4,000-6,000
Qing dynasty Jade Paperweight, 8cm x 5.5cm x 1.5cm, 127grams
Identification:
Made of fine Hetian jade, this paperweight is skillfully designed with openwork motif of flowers and carved with mastery workmanship. With low price, it is a valuable collection item which has great potential room for price increase. The manual carving and differential weathering have proved its antiquity.
Appraisal: USD3,000-5,000
Qing Dynasty Jadeite Plaque , H. 7cm, 5cm, 50grams
<strong><em>Identification:</em></strong>
There are four motifs on this jadeite plaque: the monkey, the calabash, the zuyi, and peach. According to the Chinese culture, the monkey (猴 )has the same pronunciation of marquis( 侯 ), second of the five orders of ancient Chinese nobility. The pronunciation of calabash in Chinese (葫蘆 ) has the same ones of luck and big salary from the public post( 福祿 ), the zuyi is as you wish, and the peach signifies eternal life. Wish mastery workmanship, this Qing Dynasty plaque will give you an ease mind to keep.<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0573.jpg">( Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.66 )</a>
Qing Dynasty Jadeite Plaque, w/ Nine Dragons Motifs, L. 8.3cm, W. 5.8cm, T. 0.6cm, 74grams
<strong><em>Identification</em>:</strong>
Made with mastery workmanship coupled with elaborate and exquisite design, this jadeite plaque has motif of nine dragons which is the symbol of emperor, five in one side and four in another side of the plaque. Based on the quality of workmanship and the noble symbol, this is the jadeite plaque is supposed to be only could be own by the emperor!<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0570-001.jpg">Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.66 </a>
<strong><em>Appraisal</em>:</strong>USD18,000-20,000
Qing Dynasty Jadeite Plaque, L.9cm, W. 5.9cm, T.0.7cm, 95grams
strong><em>Identification:</em></strong>
With multi layer carving technique of mastery workmanship, this top quality jadeite plaque consists two landscape paintings on both sides. One side is seen a phoenix resting on the paulownia tree which is behind the bridge hanging over two cliffs with two ruyi, under the bridge waves from the water are seen. The phoenix implies nobility and the zuyi implies your wish will come true. The other side is seen a deer on the rock above which is seen a bat behind the Japanese banana leaves ( which implies to have big business , the pronunciation of leaves in Chinese is the same as 業, business) . The deer implies will have a high ranking position in the government( the pronunciation of deer, 鹿 is the same as 祿, income from government) and the pronunciation of bat in Chinese 蝠 is the same as 福, which is luck. Antiquity evidence of <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-10_215656_60X_N0090.jpg">cleaving vein </a>and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-10_215912_60X_N0091.jpg">ancient tool marks </a>are seen.<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0569.jpg">Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.66 </a>
<em><strong>Appraisal:</strong></em>
USD 10,000-12,000
Jadeite sea shell form open-work carving, L.8.3cm, H.5cm, D. 4cm
<em><strong>Identification:</strong></em>
With the form of sea shell, this jadeite open work carving is seen skillful design of two dragons integrated with zuyi and peach to signify lucky wish and eternal life. With elaborate and exquisite design and mastery workmanship coupled with best quality of jadeite, and the sea shell is one of the mascots in buddhism( sea shell, bottle, wheel, bell, fish, knot, umbrella, lotus), this is one of the valuable jadeite carving to collect. Antiquity evidences consist of <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-10_204201_60X_N0089.jpg">differential weathering</a>, <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-10_203545_60X_N00871.jpg">cleaving veins </a>and<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-10_203424_60X_N0086.jpg"> diffusive marking</a>.<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0568-001.jpg">Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.66 </a>
<em><strong>Appraisal:</strong></em>USD20,000-25,000
Qing Dynasty Jadite Pendant, 8 x 5.5 x 0.9 cms, 80grams
<strong><em>Jade Identification:</em></strong>
Made of jadeite , the motifs seen on the pendent include two bats, squash, pumpkin, lotus root, peach and auspicious design. The two bats mean double luck, the squash and the pumpkin signify having many offspring, the lotus root means perfect couple, the peach means longevity. The object should be used as a gift for the occasions of marriage or birthday. With mastery workmanship and obvious signs of <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-11_090638_60X_N0102.jpg">dissolved pit</a> and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-11_090729_60X_N0103.jpg">differential weathering</a>, the object is a nice piece of pendants in the Qing Dynasty. (<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0574.jpg"> Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.66 </a>)
<em><strong>Jade Appraisal:</strong></em> USD3,000-5,000
Qing Dynasty Jadeite Plaque, L. 8cm, W. 4cm, T. 0.6cm, 58grams
<em><strong>Identification:</strong></em>
Made of jadeite, this plaque has zhuyi as main design with phoenix, pumpkin and peach as subsidary designs. The zhuyi signifies to achieve any wishes, the pumpkin signifies many offsprings, the peach signifies having long life, the phoenix signifies to be from noble families.<a href="http://www.exoticjades.com/wp-content/uploads/DSCN0571.jpg">Refractive index has been tested with GIA Duplex II Refractometer. Reading: 1.66 </a><a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-11_085013_60X_N0099.jpg">Differential weathering</a>,<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-11_085038_60X_N0101.jpg">diffusive marking</a> and<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-11_085025_60X_N0100.jpg"> cleaving veins </a>are seen to prove its antiquity.
<em><strong>Appraisal:</strong></em>US$3,000-5,000
Sui, Tang, Song and Yuan (589 AD-1368 AD)
Tang Dynasty, The Six Arms Dorje Tsundi, H.50cm, 10kgs
The Six Arms Dorje Tsundi The motif of <a href="http://www.exoticjades.com/wp-content/uploads/427.jpg">flying fairies</a> shown on the aureole conforms the genre of those appeared on the jade objects of the Tang dynasty( such as the <a href="http://www.exoticjades.com/wp-content/uploads/DSCN9712.jpg">wooden Buddha statue in National Palace Museum in Taipei</a>) . In addition, the appearance of baring the chest and exposing the arms conforms that of Buddha statues from Tibetan esoteric Buddhism. Four of the six arms of the statute are holding wheel of the law, axe, mani bead, miniature Buddha set, the other two hands making mudra of meditation. The inscriptions on the back of aureole are identified that the statue is The Six Arms Dorje Tsundi Bodhisattva. Antiquity identification evidences consist of<a href="http://www.exoticjades.com/wp-content/uploads/Differential-Weathering.jpg">differential weathering</a>,<a href="http://www.exoticjades.com/wp-content/uploads/Additive-Crystals.jpg"> additive crystal</a>, <a href="http://www.exoticjades.com/wp-content/uploads/SixE-Cleaving-Vein.jpg">cleaving vein</a>, deteriorate marking,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/Six21.jpg">dissolved pit</a> and<a href="http://www.exoticjades.com/wp-content/uploads/2008/08/dscn26981.jpg"> diffusive marking</a>. Considering the workmanship, the jade quality, the cultural and historical elements, this item should be one the most precious objects to collect.
The Six Arms Dorje Tsundi The motif of <a href="http://www.exoticjades.com/wp-content/uploads/427.jpg">flying fairies</a> shown on the aureole conforms the genre of those appeared on the jade objects of the Tang dynasty( such as the <a href="http://www.exoticjades.com/wp-content/uploads/DSCN9712.jpg">wooden Buddha statue in National Palace Museum in Taipei</a>) . In addition, the appearance of baring the chest and exposing the arms conforms that of Buddha statues from Tibetan esoteric Buddhism. Four of the six arms of the statute are holding wheel of the law, axe, mani bead, miniature Buddha set, the other two hands making mudra of meditation. The inscriptions on the back of aureole are identified that the statue is The Six Arms Dorje Tsundi Bodhisattva. Antiquity identification evidences consist of<a href="http://www.exoticjades.com/wp-content/uploads/Differential-Weathering.jpg">differential weathering</a>,<a href="http://www.exoticjades.com/wp-content/uploads/Additive-Crystals.jpg"> additive crystal</a>, <a href="http://www.exoticjades.com/wp-content/uploads/SixE-Cleaving-Vein.jpg">cleaving vein</a>, deteriorate marking,<a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/Six21.jpg">dissolved pit</a> and<a href="http://www.exoticjades.com/wp-content/uploads/2008/08/dscn26981.jpg"> diffusive marking</a>. Considering the workmanship, the jade quality, the cultural and historical elements, this item should be one the most precious objects to collect.
Tang Dynasty,Seal of Emperor, H. 12 cm,W.10cm, D, 7cm, 1300 grams
The Tang Dynasty was an important period in the development of Chinese painting art. The painted drawing skills have been very mature.With rich colors and ornate to create the perfect visual effects, the Tang Dynasty has created various colorful painted works on different material, jade is one of them.
"Tang San Cai" is a colorful and beautiful pottery in the Tang Dynasty, tricolor glaze colors is not only three kinds! Sancai may have many different colors, because in the eyes of the Chinese people, the "three" means many, although Sancai may be advent in the Han Dynasty, "Tang San Cai" is still the most famous to the whole world.
Buddha Carving Series
<strong><em>Identification</em></strong>:
Carved with chalcedony, the object is the bodhisatta in meditation escorting with two waiters. The bodhisatta has a high comb hair, plump chest, slim waist. Sitting cross-legged on the bronze lotus seat, the bodhisatta has the left elbow slightly drooping while right elbow elevating. The head is tilted to the left with eyes slightly open to practice meditation. Although this is an buddhism artwork, the design has adopted the principle of Taoism by inlaid jade plaques with motif of dragon and tiger on both sides of the bronze base. The front side of the base has a low relief deity face The front side of the aureole has two low relief Central Asian style goddess playing lute while the back side of the aureole is the low relief statue of Buddha. Antiquity evidences include <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2008/09/dscn0109.jpg">diffusive marking</a>, additive crystal and differential weathering.
Tang Dynasty,Jade Bell, H.20cm
<strong><em>Identification</em></strong>:
Vajra bell adder of Tantric Buddhism, introduced into China from India, Buddhist monasteries popular in all parts of the country, especially the prevalence of Tibet, Inner Mongolia, Qinghai, Gansu, Sichuan, Yunnan and other provinces.
This vajra jade bell is constituted by three parts, the bell, the handle and the clapper. The Vajra bell carved with the edge of the top and the whole body are decorated with exquisite chrysanthemum and lotus pattern and prayer beads pattern. Bell handle carved on both sides of the Bodhisattva heads in the middle of the bell handle, the top is an open work structure.
The carving decoration with the style of the Tang Dynasty, it has antiquity of evidences of cleaving veins, diffusive markings, additive crystals and calcification. With mastery workmanship, this Tang Dynasty jade Vajra bell is one of the best collections of its kind.
Tang Dynasty,Jade Bell, H.20cm
<strong><em>Identification</em></strong>:
Vajra bell adder of Tantric Buddhism, introduced into China from India, Buddhist monasteries popular in all parts of the country, especially the prevalence of Tibet, Inner Mongolia, Qinghai, Gansu, Sichuan, Yunnan and other provinces.
This vajra jade bell is constituted by three parts, the bell, the handle and the clapper. The Vajra bell carved with the edge of the top and the whole body are decorated with exquisite chrysanthemum and lotus pattern and prayer beads pattern. Bell handle carved on both sides of the Bodhisattva heads in the middle of the bell handle, the top is an open work structure.
The carving decoration with the style of the Tang Dynasty, it has antiquity of evidences of cleaving veins, diffusive markings, additive crystals and calcification. With mastery workmanship, this Tang Dynasty jade Vajra bell is one of the best collections of its kind.
Tang Dynasty(AD618-907) Jade Beauty , H.22.5cm
<strong><em>Identification</em></strong>:
Carved with yellow tone jade, this beauty has quite similar appearance as <a href="http://www.exoticjades.com/wp-content/uploads/TangLady.jpg">the color wood beauty statue of the National Palace Museum in Taipei</a>.In addition, the hair style is similar to that of the one of the lady of the<a href="http://www.exoticjades.com/wp-content/uploads/20130527_0371.jpg"> Tang painting</a>.Antiquity evidences include calcification, cleaving vein and <a href="http://www.exoticjades.com/wp-content/uploads/dscn2766.jpg">diffusive marking</a>.
Tang dynasty, Jade Toad, H. 10cm, L.19cm.
<strong><em>Identification</em></strong>:
Carved with three legs and a horn on the head, this is the legendary auspicious animal whose mouth contain a corn carrying the meaning of wealth. On the body, water wave and fire motifs. Antiquity evidences include dissolved pits,<a href="http://www.exoticjades.com/wp-content/uploads/TangtoadAdditiveCrystal.jpg"> additive crystal</a>, <a href="http://www.exoticjades.com/wp-content/uploads/TangtoadDiffusiveMarking.jpg">diffusive marking</a>, <a href="http://www.exoticjades.com/wp-content/uploads/TangtoadCleavingVein.jpg">cleaving vein </a>and calcification.
Han (206 BC-220 AD)
The jade carving technique of the Han dynasty is famous for its straightforwardness and is known as the eight times of carving for each line. The main motif for western <a href="http://www.chinahighlights.com/map/ancient-china-map/han-dynasty-map.htm">Han</a> is the auspicious animal. The size of jade artifacts tends to become large due to the sufficient supply of Hotan jade. After eastern Han, the main motifs are the four auspicious creatures (dragon, phoenix, tiger, the couple of snake and turtle), cloud and eagle. Defferent from previous periods, Han Dynasty jades have modern Chinese characters reading long happiness, suitable for offsprings appeared on many bi-disks jades.
Emperor Kwan-Wu of Eastern Han dynasty (BC6-AD57) mutton white Jade, H. 15cm, Weight: 1.0kg.
<strong><em>Identification:</em></strong>
The inscription of "Kwan-Wu-Yu-Zhi(光武御製)" on the chest has identified the original owner of the container which is supposed to be water container for brush writing (硯滴) in Chinese (writing brush had been used already before Eastern Han). In other words, it was made by the order of the first emperor Kwan-Wu of Eastern Han dynasty about two thousands years ago. With mastery workmanship, this artifact is made of top quality mutton white jade(see <a href="http://www.exoticjades.com/wp-content/uploads/DSCN0526-001.jpg">gem lab test result </a>). As far as antiquity is concerned,evidences of <a href="http://www.exoticjades.com/wp-content/uploads/HanEagle1.jpg">diffusive marking</a>, deteriorate marking and differential weathering are obvious.
<strong><em>Appreciation</em>:</strong>
The container design of mother carrying baby on the back has seen in the<a href="http://www.exoticjades.com/wp-content/uploads/sb106niaozun.jpg"> western Zhou Dynasty bronze artifacts</a>. The lid of the container has a young eagle carving. Underneath the tail having two branches( having similar style to that of the bronze bird container ) of the mother eagle protecting a young dragon. The mother eagle is staring backward at both the young eagle and young dragon to make sure they are nicely taken care of. The noble character of loving not only the own loved but also the others has fully been expressed. This theme conforms the Emperor Kwan -Wu's economic policy of paying attention to people's livelihood, resting with the people. The motif of dragon is seen on both wings, with the Yu-I ( fulfill of one's wishes) curly cloud motif on the tail. Both motifs are the symbol of nobleness and luck.<a href="http://en.wikipedia.org/wiki/Emperor_Guangwu_of_Han"> Fairly unique among emperors in Chinese history was Emperor Guangwu's combination of decisiveness and mercy. He often sought out peaceful means rather than bellicose means of putting areas under his control. He was, in particular, one of the rare examples of a founding emperor of a dynasty who did not kill, out of jealousy or paranoia, any of the generals or officials who contributed to his victories after his rule was secure.</a> The main theme of this jade artifact has fully expressed this.Judging from the perfect design made of top quality jade and historic significance, this artifact is no doubt one of the most valuable one for serious collectors.
<strong><em>Appraisal</em></strong>：USD1,000,000-1,500,000.
Emperor Kwan-Wu of Eastern Han dynasty (BC6-AD57) mutton white Jade Paperweight, H. 7cm, D. 7.5cm, Weight: 500g.
<strong><em>Identification:</em></strong>
This seal-form paperweight (paper had been used before Eastern Han Dynasty ) is made of mutton white jade( see <a href="http://www.exoticjades.com/chinese/wp-content/uploads/2007/01/DSCN0527-001.jpg">test result from gem lab </a>) with carving style of Han Dynasty. The inscription of "Kwan-Wu-Yu-Zhi(光武御製)" on the bottom side of the paperweight has clearly indicated the item belongs to the imperial palace of Emperor Kwan Wu, the first emperor of the Eastern Han dynasty of China. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanPaperWeight1.jpg">diffusive marking</a> , <a href="http://www.exoticjades.com/wp-content/uploads/HanPaperWeight2.jpg">differential weathering</a> and<a href="http://www.exoticjades.com/wp-content/uploads/HanPaperWeightAdditiveCrystal2.jpg"> additive crystal</a>.
<strong><em>Appreciation:</em></strong>
The paper weight has a high relief dragon carving with the body curling around the head. The imposing and majestic looking of the dragon has been thoroughly expressed. In addition, the round and smooth carving has made it easy for holding by hand. It symbolizes that all the livings and properties under the heaven are under the emperor's control.
<strong><em>Appraisal：</em></strong>USD800,000-1,000,000.
Han Dynasty,Jade Pixiu Plaque, L.25.5cm, W.20.5cm,
<strong><em>Identification</em></strong>:
Applying the techniques of low relief and open work, this artifact presents one god’s face, three divines and eighteen mythical animals on the jade plaque as thin as 0.2cm. The appearances of all figures which may be only the head, half and whole body of the mythical animals have been depicted vividly. Despite the difficulty of workmanship, the lines of the objects on the artifact are presented smoothly and elegantly,it is no doubt that this artifact is a masterpiece in jade carving.
<strong><em>Appraisa</em>l</strong>：USD100,000-150,000.
Han Dynasty Rhino Set, L. 22cm, H. 14cm
<strong><em>Identification</em>:</strong>
Carved with white jade, this jade container has the shape rhino with the young rhino as the cover. The whole body is decorated with low relief of auspicious motif. The main motif is a phoenix fabricated with stripes. The major antiquity evidences are calcification and differential weathering.
Han Dynasty, Jade Pixie, L.30cm
<strong><em>Identification</em></strong>:
Carved with green tone Hetian jade, this pixie has Han style with curling wing and fire motif on the thigh. Two tubes are seen under the eyes and above the nose. Antiquity evidences are shown for the <a href="http://www.exoticjades.com/wp-content/uploads/HanPixiuAdditive-Crystal.jpg">additive crystal</a>,<a href="http://www.exoticjades.com/wp-content/uploads/HanPixiuDifferential-weathering.jpg"> differential weathering</a> and <a href="http://www.exoticjades.com/wp-content/uploads/HanPixiuCleaving-Vein.jpg">cleaving vein</a>.
Han Dynasty, Jade Bi, D.19.5cm,T.0.8cm
<strong><em>Identification</em></strong>:
Carved with yellow tone Hetian jade, this bi is decorated crop sprouts on both sides. The edge of the bi has sharp angle. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanBi-Deteriorate-Marks.jpg">diffusive marking </a>and <a href="http://www.exoticjades.com/wp-content/uploads/HanBiDifferential-Weathering.jpg">differential weathering</a>.
Han Dynasty, Musical Slabs, 14.2cm-10.3cm
<strong><em>Identification</em></strong>:
Combined with open work and low relief acarving techniques, this musical slab set has seven pieces the length of them ranges from 14.2cm to 10.3cm. The subject motifs are the four auspicious animals of green dragon, white tiger, cinnabar phoenix and shenwu( turtle coupling with snake ). The dragon are part carved with open work style and part of low relief, the phoenix are carved open work style , while the tiger and turtle coupling with snake are low relief style. Antiquity evidences include<a href="http://www.exoticjades.com/wp-content/uploads/HanMusicAdditive-Crystal.jpg"> additive crystal</a>, calcification and differential weathering. In addition, <a href="http://www.exoticjades.com/wp-content/uploads/GoldResidual2.jpg">gold residual </a>is seen in one of the slab.
Han Dynasty, L.13cm
<strong><em>Identification</em></strong>:
Carved with yellow green tone Hetian jade, this sword ornamant set has the motif of Eastern Han. The scabbard buckle has low relief tiger and dragon motif. The pommel insert has the motif of horse and bear. At the center is the circular clude motif. One side of the sword guard has the deity face. The other side is the snake and dragon. The scabbard chape has deity face on one side and has the motif of horse and fairy. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanSword2Additive-Crystal.jpg">additive crystal</a> and <a href="http://www.exoticjades.com/wp-content/uploads/HanSwoed2Differential-Weathering.jpg">differential weathering</a>.
Han dynasty, Jade Mythical Animal Set, H.14cm
<strong><em>Identification</em>:</strong>
Carved with yellow green tone Hetian jade, this mythical animal set has the upper part as dragon with one horn. The young dragon is lying on the neck. The lower part is a phoenix shape. On the back has an open work carving of deity face. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanMA-Additive-Crystal.jpg">additive crystal</a>, <a href="http://www.exoticjades.com/wp-content/uploads/HanMA-Cleaving-Vein.jpg"> cleaving vein </a>and<a href="http://www.exoticjades.com/wp-content/uploads/HanMA-Diffusive-Marking.jpg"> diffusive marking</a>.
Han Dynasty, Jade Vase, H.20, W.12
<strong><em>Identification</em></strong>:
Carved with the typical horn cup style of the Eastern Han Dynasty, this jade vase use the theme of the legendary Mother of the West Heaven to have the mixed structure of Goddess and phoenix. The base of the vase has the motif of lotus. One phoenix climbing on the edge of the vase. Low relief carving lily and plantain leaves are seen around the cup. Antiquity evidences include<a href="http://www.exoticjades.com/wp-content/uploads/HanMother-Additive-Crystal.jpg"> additive crystal</a>, calcification and<a href="http://www.exoticjades.com/wp-content/uploads/HanMother-Diffusive-Marking1.jpg"> diffusive marking</a>.
Han Dynasty Jade Bi Disk, H.10cm, W.7cm, T.0.6cm, 65grams
<strong><em>Identification:</em></strong>
The object is designed to include three major sections: The outer ring with connected cloud of the bi-disk, the inner open work with one side seen “eternal happiness(長樂)" inscription( The name of one the palaces in the Han Dynasty), the other side dragon and phoenix motif, the dragon form attached on the top edge of the outer ring. Pervasive populated are various archaic elements including<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-01_092902_60X_N0069.jpg"> cleaving veins</a>, <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-01_092227_60X_N0067.jpg">additive crystals</a> and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-01_092328_60X_N0068.jpg">differential weathering</a>.
<strong><em>Appraisal:</em></strong>USD8,000-10,000
Han Dynasty, Sword Ornament, L.11.5cm
<strong><em>Identification</em></strong>:
Carved with green tone Hetian jade, this sword ornament set has the motif of Eastern Han. The scabbard buckle has low relief dragon motif.One side of the pommel insert has the motif of dragon. The other side id lotus. One side of the sword guard has the deity face. The other side is the dragon. The scabbard chape has deity face on one side and has the motif of dragon. Antiquity evidences include<a href="http://www.exoticjades.com/wp-content/uploads/HanSwordCarving-Style-and-Differential-Weathering.jpg"> differential weathering</a> and <a href="http://www.exoticjades.com/wp-content/uploads/HasSword-Diffusive-Markigns-and-Differential-Weathering.jpg">diffusive marking</a>.
Han Dynasty,Bi Cong, Huang, Kuei Combination, H.15cm, W.11cm
<strong><em>Identification</em></strong>:
The object is the combination of the four ritual jades: bi, cong, huang and kuei. Three auspicious animals are surrounding them. Antiquity evidences include dissolved pit, additive crystal and calcification.
Jade Mandarin Duck Pair,L.14cm
<strong><em>Identification</em>:</strong>
Carved with white jade, the feather details are carefully depicted. The beat has an open work design to have the vivid effect to utter the sound. The abstract design on the wings have the Han Dynasty typical shape. Antiquity evidences include calcification, <a href="http://www.exoticjades.com/wp-content/uploads/HanDuckCleavingVein.jpg">cleaving vein</a> and<a href="http://www.exoticjades.com/wp-content/uploads/HanDuckDiifusiveMarking.jpg"> diffusive markings</a>.
Han Dynasty,H. 13.2cm
<strong><em>Identification</em></strong>:
The relative thick eyebrow popularly seen in many Han Dynasty animals. On the chest, low relief dragon, phoenix and deity face motifs are seen. The incised lines are carved relatively deep. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanEagleSetAdditiveCrystal.jpg">additive crystal</a>, dissolved pits and calcification.
Western Han Dynasty, Ko Halberd Axe, L.13cm, H.7.7cm, T.0.4cm, 45grams
<strong><em>Identification</em></strong>:
Carved with green tone Hetian jade, this pixie has Han style with curling wing and fire motif on the thigh. Two tubes are seen under the eyes and above the nose. Antiquity evidences are shown for the <a href="http://www.exoticjades.com/wp-content/uploads/HanPixiuAdditive-Crystal.jpg">additive crystal</a>,<a href="http://www.exoticjades.com/wp-content/uploads/HanPixiuDifferential-weathering.jpg"> differential weathering</a> and <a href="http://www.exoticjades.com/wp-content/uploads/HanPixiuCleaving-Vein.jpg">cleaving vein</a>.
Han Dynasty, Jade Bi, D.19.5cm,T.0.8cm
<strong><em>Identification</em></strong>:
Carved with yellow tone Hetian jade, this bi is decorated crop sprouts on both sides. The edge of the bi has sharp angle. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanBi-Deteriorate-Marks.jpg">diffusive marking </a>and <a href="http://www.exoticjades.com/wp-content/uploads/HanBiDifferential-Weathering.jpg">differential weathering</a>.
Han Dynasty, Musical Slabs, 14.2cm-10.3cm
<strong><em>Identification</em></strong>:
Combined with open work and low relief acarving techniques, this musical slab set has seven pieces the length of them ranges from 14.2cm to 10.3cm. The subject motifs are the four auspicious animals of green dragon, white tiger, cinnabar phoenix and shenwu( turtle coupling with snake ). The dragon are part carved with open work style and part of low relief, the phoenix are carved open work style , while the tiger and turtle coupling with snake are low relief style. Antiquity evidences include<a href="http://www.exoticjades.com/wp-content/uploads/HanMusicAdditive-Crystal.jpg"> additive crystal</a>, calcification and differential weathering. In addition, <a href="http://www.exoticjades.com/wp-content/uploads/GoldResidual2.jpg">gold residual </a>is seen in one of the slab.
Han Dynasty, L.13cm
<strong><em>Identification</em></strong>:
Carved with yellow green tone Hetian jade, this sword ornamant set has the motif of Eastern Han. The scabbard buckle has low relief tiger and dragon motif. The pommel insert has the motif of horse and bear. At the center is the circular clude motif. One side of the sword guard has the deity face. The other side is the snake and dragon. The scabbard chape has deity face on one side and has the motif of horse and fairy. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanSword2Additive-Crystal.jpg">additive crystal</a> and <a href="http://www.exoticjades.com/wp-content/uploads/HanSwoed2Differential-Weathering.jpg">differential weathering</a>.
Han dynasty, Jade Mythical Animal Set, H.14cm
<strong><em>Identification</em>:</strong>
Carved with yellow green tone Hetian jade, this mythical animal set has the upper part as dragon with one horn. The young dragon is lying on the neck. The lower part is a phoenix shape. On the back has an open work carving of deity face. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanMA-Additive-Crystal.jpg">additive crystal</a>, <a href="http://www.exoticjades.com/wp-content/uploads/HanMA-Cleaving-Vein.jpg"> cleaving vein </a>and<a href="http://www.exoticjades.com/wp-content/uploads/HanMA-Diffusive-Marking.jpg"> diffusive marking</a>.
Han Dynasty, Jade Vase, H.20, W.12
<strong><em>Identification</em></strong>:
Carved with the typical horn cup style of the Eastern Han Dynasty, this jade vase use the theme of the legendary Mother of the West Heaven to have the mixed structure of Goddess and phoenix. The base of the vase has the motif of lotus. One phoenix climbing on the edge of the vase. Low relief carving lily and plantain leaves are seen around the cup. Antiquity evidences include<a href="http://www.exoticjades.com/wp-content/uploads/HanMother-Additive-Crystal.jpg"> additive crystal</a>, calcification and<a href="http://www.exoticjades.com/wp-content/uploads/HanMother-Diffusive-Marking1.jpg"> diffusive marking</a>.
Han Dynasty Jade Bi Disk, H.10cm, W.7cm, T.0.6cm, 65grams
<strong><em>Identification:</em></strong>
The object is designed to include three major sections: The outer ring with connected cloud of the bi-disk, the inner open work with one side seen “eternal happiness(長樂)" inscription( The name of one the palaces in the Han Dynasty), the other side dragon and phoenix motif, the dragon form attached on the top edge of the outer ring. Pervasive populated are various archaic elements including<a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-01_092902_60X_N0069.jpg"> cleaving veins</a>, <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-01_092227_60X_N0067.jpg">additive crystals</a> and <a href="http://www.exoticjades.com/wp-content/uploads/Still_2013-04-01_092328_60X_N0068.jpg">differential weathering</a>.
<strong><em>Appraisal:</em></strong>USD8,000-10,000
Han Dynasty, Sword Ornament, L.11.5cm
<strong><em>Identification</em></strong>:
Carved with green tone Hetian jade, this sword ornament set has the motif of Eastern Han. The scabbard buckle has low relief dragon motif.One side of the pommel insert has the motif of dragon. The other side id lotus. One side of the sword guard has the deity face. The other side is the dragon. The scabbard chape has deity face on one side and has the motif of dragon. Antiquity evidences include<a href="http://www.exoticjades.com/wp-content/uploads/HanSwordCarving-Style-and-Differential-Weathering.jpg"> differential weathering</a> and <a href="http://www.exoticjades.com/wp-content/uploads/HasSword-Diffusive-Markigns-and-Differential-Weathering.jpg">diffusive marking</a>.
Han Dynasty,Bi Cong, Huang, Kuei Combination, H.15cm, W.11cm
<strong><em>Identification</em></strong>:
The object is the combination of the four ritual jades: bi, cong, huang and kuei. Three auspicious animals are surrounding them. Antiquity evidences include dissolved pit, additive crystal and calcification.
Jade Mandarin Duck Pair,L.14cm
<strong><em>Identification</em>:</strong>
Carved with white jade, the feather details are carefully depicted. The beat has an open work design to have the vivid effect to utter the sound. The abstract design on the wings have the Han Dynasty typical shape. Antiquity evidences include calcification, <a href="http://www.exoticjades.com/wp-content/uploads/HanDuckCleavingVein.jpg">cleaving vein</a> and<a href="http://www.exoticjades.com/wp-content/uploads/HanDuckDiifusiveMarking.jpg"> diffusive markings</a>.
Han Dynasty,H. 13.2cm
<strong><em>Identification</em></strong>:
The relative thick eyebrow popularly seen in many Han Dynasty animals. On the chest, low relief dragon, phoenix and deity face motifs are seen. The incised lines are carved relatively deep. Antiquity evidences include <a href="http://www.exoticjades.com/wp-content/uploads/HanEagleSetAdditiveCrystal.jpg">additive crystal</a>, dissolved pits and calcification.
Western Han Dynasty, Ko Halberd Axe, L.13cm, H.7.7cm, T.0.4cm, 45grams
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