Page 23 - Chinese Archaic Jades From The Yangdetang Collection PART II Christie's.pdf

A significant development in the art of jade carving
during the Spring and Autumn Period to the Han
dynasty was the increasing popularity of burial jades,
and indicative of a developed and highly specialised
production system. Although the crafting process of
burial jade did not differ from that of everyday jade
artefacts, the difference in the attention to detail between
the two presented a stark contrast. For instance, burial
jades are less refined, and with more remnant markings
from the jade carving process visible on the objects.
Whereas everyday jade artefacts such as accessories that
were worn, these are mostly finely carved and well-
polished with markings from the production process
properly polished and seldom visible. Occasionally, some
tool marks were visible, for example markings left by
tube drills used to remove the material and the vertically
aligned iron bar tool marks in the scabbard buckle hole
of a jade sword. (fig. 23, lot 2769). It is interesting to
fig. 23 detail of sword pommel in lot 2769 note that during this period there was an abundance of
圖二十三 拍品 2769 號玉劍首細部
works that combined the use of jade and metal.
5. Conclusion
五、小結
The Guofeng (Airs of the State) part of Shijing (Classic

《詩經 ‧國風》中曰：「如切如磋，如琢如磨。」切、 of Poetry) contains a section on how the virtues of a
person can be ‘cut, ground, carved, and polished’ to a
磋、琢、磨四字概括了骨、牙、玉、石的施治方法，
more advanced state. These four words cover a spectrum
其實這四字用在中國治玉工藝發展的前三個時期也十 of works that have been interpreted through different
分合適。這一時期是中國古典主義玉雕的產生、發展、 media of bones, teeth, jade, and stone carvings. These
完善並達到頂峰的時期，也是中國玉雕藝術最具神秘 words are equally applicable in the development of
魅力的時期。 all three early stages of the jade carving technology as
outlined above. These periods had seen the emergence,
development, and culmination of classic Chinese jade
carvings, and when Chinese jade artwork reached the
peak of its mystical charm.

1 楊伯達，《關於琢玉工具的再探討》，頁 87，楊伯達著：《楊伯達論玉—八 1 Yang Boda, Yang Boda Lun Yue, ‘A Discussion of Jades by Yang Boda’, Guanyu zhuoyu
秩文選》，紫禁城出版社，2006 年。 gongju de zai taolun’, Re-examining tools used for jade carvings’, Forbidden City Press,
2006, p. 87
2
明宋應星原著，羅振玉署，《天工開物—卷下 ‧ 珠玉》，據民國涉園重刊本
景印，國際文化出版公司 1995 年 2 月出版。 2 Song Yingxing in Ming Dynasty (signed by Luo Zhenyu), Tiangong Kaiwu, ‘The
Exploitation of the Works of Nature’, volume 2 (Pearls and Jade chapter), reprinted from
3 S.W. Bushell、Kunz G. F. 及其他：《Investigations and Studies in Jade: The Heber R.
Bishop Collection》，紐約，1906 年。本文所用李澄淵繪《玉作圖》均來源於此 version republished by Sheyuan Bibliotheca in the Minguo years, International Cultural
Press, February 1995
書，故宮博物院收藏。
3 S.W. Bushell; Kunz G. F. and others. Investigations and Studies in Jade: The Heber R. Bishop
Collection. New York, 1906. The ‘Yuzuotu’ (Illustrations of the Manufacture of Jade) by
Li Cheng-yuan used in this essay are taken from this book from the National Palace
Museum archives.
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