A 'Visit' to Stele Forest Relics | What Jade Masterpieces Are Hidden in Xi'an Museum?
Jade was not only used for adornment in ancient times but also served as a symbol of wealth and power, as well as a 'spiritual medium' for sacrifices to heaven and earth and communicating with gods and spirits. Over its long evolution, it gradually gave rise to a jade culture that combined luxurious materials, exquisite craftsmanship, elegant aesthetic taste, and lofty moral pursuits.
So, what exquisite jade pieces has Xi'an, the ancient capital of thirteen dynasties, left behind? Recently, 'Shaanxi Cultural Relics Quest' invited Tian Jiwei, deputy director of the Education and Promotion Department of Xi'an Museum, to give a live-streamed guided tour of the museum's 'Spirit of Heaven and Earth – Selected Ancient Jade Masterpieces from the Museum Collection' exhibition. Despite the sweltering summer heat, the livestream attracted 1.266 million viewers.
The exhibition displays over 100 sets of jade objects, spanning almost all historical periods from prehistoric times to the Ming and Qing dynasties. They are categorized into ritual jade, burial jade, ornamental jade, jade utensils, and display jade, reflecting the basic features and evolution of jade art in Xi'an across different eras.
Yangshao Culture Jade Discs and Longshan Culture Jade Congs
Tian Jiwei explains that jade culture dates back to extremely early times, at least 9,000 years ago. Early jade objects, like stone tools, were 'products' created during people's production and daily life, but due to their rarity and the difficulty of working them, they were reserved for occasions and places deemed most important by the people of that time.
The earliest jade object in the Xi’an Museum collection is a jade disc (bi) from the Yangshao Culture period (5000–3000 BC), unearthed in 2002 at the Yuhuazhai Subdistrict Office in Yanta District. The hole in early jade discs was not drilled with great 'precision,' and the overall level of workmanship was relatively low, appearing crude and unadorned—almost like a child’s craft project. Yet this is precisely a product of early human technical ability in its initial stages.
From a slightly later period, a jade cong of the Longshan Culture (3000–2000 BC) was unearthed in 1987 at Shanmenkou, Yanta District. A cong is square on the outside and circular inside, and like the bi, it belongs to ritual objects. In appearance, some have multiple tiers with animal-mask or human-face motifs on the edges. However, the one in the museum has only a single tier, with plain surfaces on all four sides and no decoration.
Also on display is a Longshan Culture three-holed jade knife. The three holes are not aligned in a straight line—some higher, some lower—and the hole diameters vary, indicating that the tools used were not of 'standard dimensions.' Yet the blade is finely polished, showing that the detailed techniques of early stone tool working were transferred to jade processing.
Displayed alongside the three-holed jade knife are Longshan Culture jade axes and jade spades. In early times, jade axes were closely related to stone axes but signified a higher rank. Compared with axes, the earlier yue (battle-axe) was larger and symbolized military authority. However, the jade yue on display appears relatively small. The existence of small yue is determined by material, means of production, and usage. In The Rites of Zhou, the Ceremonial Rites, and the Book of Rites, the dimensions of various levels of jade objects are strictly regulated, and the original uses of jade items as well as the ranks at which they could be used are clearly set out.
Another Longshan Culture jade piece is a hairpin (ji), unearthed at Mijiaya Village between the Jing and Wei rivers.
Relatively few jade pieces from the Xia, Shang, and Zhou dynasties are held in the museum, including a Xia-dynasty handle-shaped object, a Shang-dynasty jade ge (dagger-axe), and a Western Zhou jade swallow. These reflect the level of jade working at the time. Judging from the objects, cutting and grinding tools were already quite advanced. By the Spring and Autumn and Warring States periods, the variety and uses of jade had become more extensive, giving rise to categories that influenced all later eras. In the exhibition is a Warring States Qin-style jade ornament in the shape of an I-bar with a linked ring, featuring dragon motifs. Beneath the 'I' is a square bridge-shaped knob with a small movable ring inside, reflecting how jade carving in the Spring and Autumn and Warring States periods had entered a phase of unprecedented development.
The Differences and Functions of Bi, Yuan, Huan, and Jue
Ritual jade refers to jade objects used in ancient China for ceremonies such as sacrifices, court audiences, diplomatic exchanges, and military affairs. These objects were imbued with special meaning and became embodiments of ritual order—'concealing ritual within objects.'
Tian Jiwei explains that among the many ritual objects, the best-known are the 'Six Rites' used by the Son of Heaven to worship heaven, earth, and the four directions. The Rites of Zhou – Offices of Spring – Grand Minister of Rites states: 'Make jade into six ritual objects to honor heaven, earth, and the four directions. Use a dark bi to worship heaven, a yellow cong to worship earth, a green gui to worship the east, a red zhang to worship the south, a white hu to worship the west, and a black huang to worship the north.' The ancients combined the colours and shapes of jade with the theories of yin-yang and the five elements, thus producing six types of ritual jade for worshipping heaven, earth, and the four directions.
Among the six, the most representative is the bi disc. The ancients believed that heaven is round and blue, so they used a dark bi to worship heaven. Its usage history is extremely long, from Neolithic times right down to the present. The displayed bi discs with rush-mat patterns, grain patterns, and green jade are typical forms of Han-dynasty bi discs.
According to the explanatory text in the exhibition, the shape of the bi disc, following the ancient cosmological notion that heaven is round and earth square, symbolizes the sun and the sky, and it was primarily a ritual object for heaven worship.
The Erya – Explaining Implements says: 'When the "flesh" is twice the "hole," it is called a bi.' A bi is a flat circular disc with a round hole in the centre; the border is wide and the hole small. The central hole is called 'hao' and the surrounding solid part is called 'rou' (flesh). According to the Shuowen Jiezi and other ancient texts, if the hole is small and the body large, it is a bi; if hole and body are roughly equal in width, it is a huan (ring); if the hole is large and the body small, it is a yuan; and if there is a narrow slit (notch), it is a jue (slotted ring).
They had different uses. For example, the bi disc was used to worship heaven; the huan ring signified reconciliation and goodwill; the jue slotted ring expressed severance and decisiveness. A commentary in Xunzi – Grand Summary notes: 'In ancient times, when a minister committed an offense, he would be sent to the border and for three years not dare to leave; if given a huan, he could return; if given a jue, it meant final banishment.' Ancient rulers often used huan and jue to signal whether an exiled minister was recalled or banished forever. Meanwhile, close attendants, important ministers, regional lords, and the Son of Heaven could use a yuan to lead the way during important events, thus avoiding direct physical contact, which would have been a breach of ritual.
The 'Nine Orifices Plugs' and Jade Suits for Protecting the Deceased
The burial jade on display includes jade pig hand-grips, cicada-shaped mouth pieces, and jade eye covers.
Tian Jiwei explains that both the Huainanzi and Shuowen Jiezi state that jade has anti-decay properties, so early jade was also used as burial jade to protect the corpse, beseech the spirits to safeguard the soul, and ensure the tomb's security. Jade objects specially made for laying out the dead and for burial are called burial jade. The Western and Eastern Han dynasties were the peak period for the development of burial jade.
A complete Han-dynasty burial jade set often included a jade face mask, jade hand-grips, nine-orifice plugs, and jade discs, among others. During the encoffining ceremony, the deceased's face was covered with a black silk 'eye-closing' cloth adorned with jade pieces such as eye covers; the mouth contained a jade cicada signifying rebirth and renewal; the hands grasped jade pigs representing wealth; jade plugs sealed the eyes, ears, nose and other bodily openings; and jade discs were placed above and below the body to wrap the corpse. The deceased then lay inside a lacquered coffin inlaid with jade ornaments and was interred.
People also refined jade to an extraordinary degree, wrapping the entire body of the departed in small jade plates. A gold-wire sewn jade burial suit could have as many as several thousand plates, the least more than a thousand. The emperor was buried in a gold-wire jade suit, while enfeoffed kings used silver-wire suits. There were also copper-wire suits, silk-wire suits, and others.
The Xi’an region has yielded a large number of jade plates resembling those from jade suits, but no complete jade suit has been found. Grave robbing was rampant in ancient times, already prevalent during the reign of Emperor Wu of Han. Robbers mainly targeted gold and jade, so many tombs were unfortunately disturbed, and intact pieces are relatively rare.
A Jade Pendant Set Comprising Dozens of Pieces
The exhibition displays a Western Han jade pendant set (group pei). Tian Jiwei explains that the overwhelming majority of ancient Chinese jade items were ornaments. Ornamental jade, appearing in the Neolithic, remained continuously popular and can be broadly divided into crown ornaments, hair ornaments, necklaces, body ornaments, bracelets, waist pendants, and inlays. During the Eastern and Western Zhou periods, as the idea of 'the gentleman compares his virtue to jade' took deeper root, the wearing of jade pendants flourished, and jade shapes and decoration diversified.
The pendants of Zhou nobles were strung together from jade huang (arc-shaped pendants), jade tubes, and jade beads. The higher the status, the more huang there were, the longer the pendant, the more cumbersome the stride, and the slower the walk. The Book of Rites – Yuzao even sets requirements for the 'jade sounds' produced by the pendants when walking: as the various jade pieces clinked against each other, they had to accord with musical pitch, forming harmonies, and moreover had to match different pieces of music with different steps.
In this Western Han jade pendant set, the circular jade piece at the very top has a ratio of 'hole' to 'body' of approximately 1:1, so it should be called a huan (ring). Below that, from bottom to top, are two xi (tusk-shaped pendants), two huang, and two jade dancing figurines. Above them is a handgrip, and higher still is an exquisitely carved cloud-patterned jade huan—where the mysterious power of the immortals was thought to reside. Together with the enigmatic music-and-dance motifs, wearing such a pendant set speaks for itself about the wearer's rank.
So what kind of person could wear such a pendant? During the Spring and Autumn and Warring States periods, a ruler of a small state could certainly wear it; they might even wear more elaborate sets. For example, at Liangdai Village in Hancheng, archaeologists found a pendant set in which the huang pendants had more than three horizontal rows; one set consisted of over 40 pieces and was nearly a metre long, extraordinarily elaborate. Under the rules of ritual, people had to follow the rules. The number of huang was usually an even number between 2 and 8, but odd numbers also occurred. If it exceeded 8, it was very likely a case of 'ritual collapse and music decay,' or perhaps a local so-called ruler had grown powerful—'I have the wealth, so I'll wear as many as I please.' Rules were not necessarily followed by everyone; some people always harboured the desire to transgress the rules, especially when their wealth and power swelled. So, power had to be kept in the cage of institutions—this should have been the case since ancient times.
What function did the huan ring serve within the pendant set? Tian Jiwei explains that some emperors needed assistance when moving about; for example, when descending a high platform, a close attendant would hold a jade huan (or a yuan). The emperor would grasp it and step down together with the attendant.
At the very bottom of this pendant set are two xi tusk-shaped pendants. The exhibition also separately displays a Qin-dynasty xi. What were xi used for? Tian Jiwei says that wearing xi was a mark of an adult man in ancient times. According to the Shuowen Jiezi interpretation, an xi is 'an item with an extremely sharp point used for untying knots, made of ivory or animal horn.' Xi appeared as early as the Neolithic period, but by the Han dynasty they had gradually lost their knot-untying function and became purely decorative pendants, usually worn at the side. Because of the xi's original 'untying' function, wearing a jade xi symbolized that when a boy reached adulthood he would possess transcendent wisdom, capable of resolving all life's tangled difficulties with ease.
Early jade ornaments were hung around the neck; later, when they became too heavy to wear on the neck, they were fastened at the waist. A hook was made, the pendant was hooked on and hung down, becoming an important clothing accessory. For example, in literary works from the Song, Yuan, Ming, and Qing dynasties, a literary young gentleman is often depicted wearing a jade pendant at his waist with a beautiful tassel below. This reflects a shift in cultural tradition.
In addition to the pendant set, the exhibition features a pierced and carved she-shaped jade pendant unearthed from a Western Han tomb in the northern suburbs of Xi'an. A she was originally a thumb ring used to protect the finger when drawing a bow to shoot arrows. By the Warring States period, it had evolved into a flat shape, completely losing its bowstring function and becoming a pure ornament. By the Han period, it had developed into a shield-shaped, flat pierced and carved pendant.
One particularly attractive item is a Tang-dynasty gold-inlaid jade pendant. Unearthed in 1976 from the Daming Palace site, the pendant is triangular, with triple-arc sides and carved on one face. The front is decorated with gold wire in a stylized double-phoenix design. The technique of inlaying gold and silver into jade began in the Spring and Autumn period and was most popular from the Warring States period to the Tang. Adorning a lustrous white jade piece with gold-inlaid decoration makes it especially magnificent and sumptuous.
Tian Jiwei remarks: 'We often say, "The gentleman compares his virtue to jade." In the course of jade's development, the ancients combined jade with human morality and culture, giving rise to a higher level of spiritual enjoyment and space. The spiritual connotations the Chinese have bestowed on jade are very rich, as seen in classical texts where jade virtue is explained in theories of five virtues, nine virtues, eleven virtues, and more. The most influential is Confucius's advocacy of the eleven virtues of jade. No matter how many virtues, the essence is that the most beautiful things transcending the material realm have been assigned to it. Yet today, many people who wear jade prize only its economic value. In fact, jade's purity, its gentle warmth, its clarity, its hardness—all are expressions of character. Some people wear a big jade bangle to show off their wealth, but that is not the purpose of wearing jade. Wearing jade is meant to manifest virtue, integrity, self-cultivation, and self-discipline. Where does your virtue lie?'
Jade Belts, Belt Hooks, and Abstinence Plaques
From the Sui and Tang to the Qing dynasties, jade belts, jade belt hooks, and abstinence plaques deserve special mention.
The exhibition includes a white jade tail-piece (tawei) depicting a dancing foreigner. This piece features a carved design of a man performing the swirling 'Huteng' dance. The Huteng dance was a male solo from the Western Regions; the dancer was called 'Huteng'er.' This dance originated from the state of Shi (present-day Tashkent, capital of Uzbekistan) in Central Asia. The dancer's right hand appears to be counting, while his left hand rests on his hip beating time; he leaps and stamps freely on a small round rug—a captivating sight.
Jade belt hooks were used by the ancients to fasten belts, hook garments at the collar, or attach small personal items; some were used together with pendant sets. Jade belt hooks appeared as early as the Neolithic, and were most popular from the Spring and Autumn and Warring States periods through to the Han. During the Wei, Jin, and Southern and Northern Dynasties, their numbers noticeably declined. The Song people revered antiquity, and works modelled on Warring States and Han belt hooks occasionally appeared. In the Ming and Qing dynasties, belt hook production revived and numbers soared, but by then jade belt hooks had lost their practical function and had become primarily playthings for officials, nobles, and scholars.
The display case mainly shows Yuan-dynasty jade belt hooks.
Tian Jiwei explains that the reason most of the belt hooks on view are from the Yuan period is due to the influence of Song culture. The auspicious meanings of these belt hooks include 'the azure dragon teaching its son' and 'the son ascending to heaven.' 'Today we talk about hoping one’s son will become a dragon. If you only hope but don’t teach him, can he become a dragon? So the saying about the azure dragon teaching its son is a beautiful wish people had for the future.'
As for the shapes of jade belt hooks, in the Spring and Autumn and Warring States periods one can see turtle-shaped, shield-shaped, monkey-shaped, beast-shaped, and dragon-shaped hooks. By the Yuan, Ming, and Qing periods, we also see pipa-shaped and water-drop-shaped hooks. 'These Yuan-dynasty jade belt hooks have a distinct S-shaped profile, with the dragon head turned back very sharply; the head is somewhat flat and elongated, and there is a large knob slightly right of centre for inserting a leather belt. This is closely related to how people dressed during the Mongol Yuan period.'
In terms of form, there is a continuous tradition from the Yuan through the Ming and Qing. Later, belt buckles changed to a metal base with an inlaid or adhered jade ornament on top and a metal hook underneath—a kind of substitution. Since jade working was too laborious, it was simpler to make the buckle from gilt copper or another metal, then directly inlay a jade decoration. This also inspired a different aesthetic.
By the Ming and Qing, abstinence plaques appeared. Participants in sacrificial activities during the Qing would fast and purify themselves, showing reverence to spirits and deities. Those involved in ceremonies wore a small plaque-like object on the chest, around 4 to 9 cm in size. It served to warn officials to 'be mindful of words and deeds.' The front bore the Chinese characters 'zhai jie' (abstinence), while the back had the Manchu script. Large-scale sacrifices or grand ceremonies required fasting. The practice of ritual purification had roots in Han culture itself, and the Manchus were deeply influenced by Tibetan Buddhism. As this custom took hold, even the abstinence plaques worn during fasting became extremely lavish. They came in various forms: rectangular, oval, crabapple-shaped, sachet-shaped, as well as bat-and-peach and gourd shapes, made of jade, gold, copper, porcelain, wood, and other materials.
The exhibition also displays beautiful jade objects used for women's adornment in ancient times. For instance, a Tang-dynasty jade flower hairpin head unearthed from the Xingqing Palace site, and a Ming-dynasty 'Magpie on Plum Blossom' jade hairpin head collected in Xi'an.
'Early jade itself was ornamental and could be stuck into a woman’s hair. Later, as craftsmanship advanced, items made of gold, silver, copper, iron, bone, porcelain and the like could serve as the main stem for tying up the hair, with a decorative jade hairpin head or hair fork tip on the outside. These were highly aesthetic, for example decorated with floral designs or feather shapes. One can see the high skill and refined taste of the jade craftsmen who made them. Tang people considered jade more precious than gold or silver. A pair of double-pronged jade hairpins was worth roughly seven years’ living expenses for a family of twenty; a set of jade belt plaques cost about the total annual income of three to five hundred people.'
A Jade-Embellished Sword Requires Four Jade Ornaments
The several jade sword fittings on display are exquisite in both form and workmanship.
Tian Jiwei explains that the ancients attached great importance to wearing a sword, especially during the Qin and Han periods. For renowned figures, the sword grip, the toggle for fastening, the tip of the scabbard, and other parts would be decorated with very luxurious jade pieces.
'Many of these jade objects are hybrid metal-and-jade creations, not purely jade. The main body of the sword is metal; the scabbard is wooden, wrapped in precious skins like sharkskin or ray skin. From the guard to the pommel, and at the upper and lower ends of the scabbard, abundant jade was used for decoration. Initially, sword fittings were relatively plain, but later they became extremely elaborate, flaunting luxury and worth.'
'Inlaying jade ornaments on the hilt and scabbard is called jade sword embellishment, and a sword so decorated is known as a jade-fitted sword. Jade-fitted swords appeared in the late Spring and Autumn period. A complete jade-fitted sword consists of four jade fittings: the pommel (shǒu), the guard (gé), the scabbard slide (wèi), and the scabbard chape (bì).'
A 'Small World' Captured in Display Jade
The display jade in the exhibition hall is rich in type and quantity, spanning many periods.
Tian Jiwei explains that display jade objects are mostly round carvings of human figures, animals, or plants. From the Shang and Zhou to the Qin and Han, jade birds, crouching beasts, rabbits, and horses belong to this category. There are also cups, bowls, plates, and ewers that were both functional and artistic room furnishings. After the Tang dynasty, the number of display jade pieces gradually increased; many bird, beast, and flower works featured novel shapes and superb craftsmanship—lively, vivid, and naturally gorgeous. The Ming and Qing period was the most flourishing era for display jade, with a steady stream of finely carved, high-quality jade everyday items and artistic furnishings.
A set of jade ornaments in the form of wild geese, each about 3.5 cm long and 2.5 cm wide. Some are preening their feathers with their beaks, some are looking up and gazing around, some are flapping their wings as they walk, while others spread their wings to soar. 'These should be an overall portrayal of waterfowl in lush, watery areas. They are purely decorative, vividly capturing the birds' postures.' According to related materials, this set of wild goose ornaments was collected from Weiqu in Chang'an District. They are oval plaques with wild geese carved on the surface; the green jade bears traces of soil staining. Behind the goose's tail is a round hole for fixing the piece to an object. Based on carving technique, subject matter, and provenance, they are dated as Song-dynasty jade. The exquisite carving may express longing for distant relatives or nostalgia for home.
In contrast to the realistic style of the goose ornaments, a Han-dynasty jade pillow in the form of a piglet uses the 'Han Eight Cuts' technique—a Han freehand carving method that captures the spirit with just a few cuts, focusing on the essence rather than meticulous detail.
A Ming-dynasty plum-blossom-patterned jade cup is extremely elaborate. 'Logically, it could still have inlaid ornaments to further display its luxury. But the taste of the time prized the intrinsic qualities of the jade itself, demanding pure and unadulterated material, without excessive complexity or dazzling decoration.'
A Qing-dynasty 'qiaose' (clever colour) Fu Lu Shou mountain-form ornamental piece may have originally had a relatively precious wooden stand carved with rocks and clouds. The upper part should feature bats, pine trees, cranes, and other symbols of fortune, prosperity, and longevity.
A Qing-dynasty quadruple-linked vase is highly decorative. It appears to have been made by taking about fifteen percent of four vases and joining them, with a square space extended in the middle. Such four-linked vases were quite popular in the Qing. Wholly decorative, the jade material is black jade, also called qingyu.
Besides the quadruple vase, there is also a quadruple linked box. 'The Qing imitated many older vessels, including four-linked vases and four-linked boxes from previous dynasties. These jade boxes were used to hold small trinkets and perfumed powders.'
A Qing-dynasty three-legged jade toad is especially eye-catching. 'Four-legged toads are easy to find; three-legged ones are hard. It carries a strong symbolic meaning, representing rarity and preciousness. The material closely resembles Lantian jade, with a relatively coarse texture, but the overall shape is very pleasing, with just a single leg at the rear.'
In an area with prominent characteristics of the Song, Yuan, and Ming periods, many small ornaments are placed. Among them is a Song-dynasty jade horse figurine only about two centimetres long, with an adorable head-to-body proportion. A Qing-dynasty jade boy figurine makes use of the qiaose technique; the caramel-coloured parts delineate the clothing and lower body, while the bright part is used for the face, which features the typical 'spring-onion-tube nose' characteristic.
A nearly 7 cm Ming-dynasty jade pixiu (mythical beast) has smooth mane hair along the back of its head, crouching close to the ground, and also shows caramel colour. Behind it is a Yuan-dynasty jade pixiu.
A Qing-dynasty openwork jade scent pouch clearly took much effort and is exquisitely refined. 'Openwork jade scent pouches usually contained cold incense that emitted a subtle fragrance; they didn't need to be lit. Placed in a room, they gave off a barely perceptible scent.'
A Qing-dynasty yi-shaped cup modelled on Western Zhou bronzes has decoration deliberately mimicking the forms and motifs of Western Zhou bronzes, but without copying the foot section. 'Like a bronze yi, it is a water vessel, but smaller. It can still hold and pour water, but is mainly a display piece.'
A Yuan-dynasty 'Two Dragons Playing with a Pearl' cup stand has beautiful shape and decoration. 'In the past, both tea and wine drinking involved a cup stand with a cup placed on top. The cup belonging to this stand has not been found; it was probably a stemmed cup, since stem cups were popular in the Yuan period.'
Tian Jiwei notes that three jade cups were unearthed at one time from the Duling Mausoleum site of Emperor Xuan of Han. Two are currently on display in the gallery.
These cups are all gold-rimmed vessels; the central band at the mouth and the base are wrapped in thin sheet gold. Gold-rimmed vessels in the Han were cups used for ingesting jade powder in pursuit of immortality, with a specific purpose. They were certainly used during grand sacrificial ceremonies by the Son of Heaven or important nobles, meant as prayers for prolonged life and for national prosperity.
'Its rim is called "gold mouth." In ancient times, there was a strict rule: the emperor used "gold-capped" vessels, the empress "silver-capped" (kou means reinforcing and decorating the rim with metal). These three cups were unearthed near Duling, clearly indicating they were used by Emperor Xuan. "Gold and jade fill the hall," "gold and jade bring auspiciousness"—the two most precious materials in the world were brought together. It is a symbol of national culture and an embodiment of the taste of royal life.'
'These jade cups, including the base and the cup body, were carved in one piece, which is extremely rare from a jade-working perspective. Among the top ten jade cups nationwide, the three exquisite Han-dynasty Hetian jade cups in the Xi’an Museum collection—along with the Qin jade cup from the Epang Palace site—are undoubtedly among the museum's greatest treasures.'
In the main exhibition of Xi’an Museum, there is also a stemmed jade cup unearthed at Chezhang Village, Epang Palace site, dating from the Qin dynasty. It is 14.5 cm tall, with a mouth diameter of 6.4 cm and a foot diameter of 4.5 cm. The entire cup body is covered with a continuous pattern of cloud and persimmon calyx motifs. The base and the cup itself are separate; the base resembles a dou (stemmed bowl), with a straight-sided, slightly tapering cup above. Because it was found at the Epang Palace site, many suspect it may have been used by Qin Shi Huang or other very important officials. Some scholars have adjusted its dating slightly forward or backward based on its decorative motifs and detailed carving, but that does not affect its status as an important jade masterpiece from the Qin-Han period, at least 2,200 years old.
'It can be said that these jade cups on display at Xi’an Museum are a summation, bringing together all the beautiful connotations of Chinese culture, showcasing the highest level of craftsmanship, and reflecting the destiny of the nation and its people.'
Tian Jiwei mentions that among the jades unearthed at the Duling site, besides the cups, there were also jade dancing figures. They were formerly displayed in this gallery but are currently on loan for an external exhibition. From photographs, one can see the two jade dancers with very beautiful faces, their garments joined together. The hems of the skirts also use qiaose, with relatively darker colouring, while the brightest section happens to be at the heads.
The jade piece is 10.5 cm tall and 7.8 cm wide at the lower part. The jade dancers are carved in full three-dimensional round relief, standing side by side with sleeves linked. The figures have fine features, slender builds, and graceful postures, with hair done in high chignons and serene smiles at the corners of their mouths. Both wear quju deep robes, belted with two wide silk sashes, the long hems trailing on the ground. The dancer on the left lifts her sleeves with both hands, holding them at the waist; the dancer on the right extends her left forearm upwards, right hand pressing at her waist, with a long sleeve curving downward as she flicks it. This captures a vivid moment of the dancers' movement.
'It is the largest and highest-ranking jade dancer pair with a clear excavation record, and the only known connected pair of qiaose three-dimensional round-carved jade dancers. It was also a personal possession of Emperor Xuan of Han. It is the most vivid portrayal of the Han court's most popular "Sleeve-Lifting and Waist-Bending Dance" and an invaluable material resource for studying Han court culture, women’s attire, and dance history.'
Source: Huashang Net
