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.
Sunday, September 15, 2013
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.
Subscribe to:
Posts (Atom)