Chinese Jade Carving 中國玉器 @ 藏玉札記(Jade Carving Gallery)

玉，廣受中國人尊重珍愛。自文明開始以迄今日，無論中華文化經歷過何等巨大的激盪，崇玉愛玉的民族情懷，仍是根深蒂固，玉雕藝術也綿延不絕。

Jade has been adored and revered by Chinese people since time ancient. From the dawn of civilization, in spite of the formidable tribulations that have fallen upon the Chinese, both sentiment toward jade and the tradition of jade artistry have endured the passage of time and remained undiminished in strength.

由考古資料得知，七、八千年前，先民已認識美麗堅實的閃玉(Nephrite)，取之磨為兵器，琢為飾物。一些似玉的美石，亦同為先民所採用。

Archaeological data indicate that the ancients from seven to eight thousand years ago were acquainted with wondrous and durable nephrite and employed it in fashioning ornaments and grinding weaponry. In addition, they worked with beautiful stones, using them as jade simulants.

在距今約七千至四千年前之間的新石器時代晚期，掌管祀戎大權者，多用珍貴的美玉製作「祭器」，禮拜神祇祖先。他們相信天圓地方，便琢製圓璧與方琮，來禮拜天神與地祇；他們相信氏族遠祖的生命，是經由神物源自上帝，便在玉器上雕飾想像中神祇祖先的形貌，甚至刻繪極具深義的符號，用來禮拜祭祀。希望藉玉器特有的質地、造形、花紋與符號，產生感應的法力，與神祇祖先交通，汲取祂們的智慧，獲得福庇。

During the late Neolithic period, which predates modern society by approximately four to seven thousand years, rulers possessing the important powers in matters of religion and the military created the worship object from jade to worship the deities and ancestors. To honor the Spirit of the Heaven and Earth the round pi disk (璧) and square ts'ung (琮) tube were designed to accommodate the belief that the heaven was round and the earth square. They believed that the lives of their forefathers originated with God and were mediated through supernatural beings. They accordingly depicted on these jade objects their visualizations of these divine images, and went so far as to incise meaningful markings as a form of worship. Relying upon jade's unique qualities of material, form, ornamentation, and markings, they sought to command mystical forces in the hope of communicating with the spiritual realm and partaking of divine wisdom.

上古的中國社會，個人地位階級，端視人與神祇祖先關係的親疏而定。事神之「禮」，建立了人神之間的溝通管道，也維繫了人際間的和諧關係。「瑞器」就是象徵身份地位的玉器。「祭器」與「瑞器」的制度，都起源於新石器時代晚期，夏、商、周三代，配合不同的政治體制與社會結構，持續發展。在宗廟祭典與朝享會盟上，發揮其形而上的功能，以維繫禮制，故總稱為「禮器」。

The status of an individual in ancient society was determined by his perceived degree of association with the supernatural. The ritual (禮 li ) for worship established channels of communication between the profane and spiritual worlds and promoted harmonious relations in society. The authority object stood as an emblem of the ruler's power and status. Originating in the late Neolithic, the Hsia(夏), Shang(商), and Chou (周) dynasties. this authority object and system of worship adapted and evolved according to the various political systems and social organizations of the respective time period. Whether in the worship ceremony held in the ancestral shrine or at the meeting convened by the ruler with his(her) vassals, they assumed metaphysical significance and formed an integral part of the worship ceremony. As a consequence, they are referred to as ritual objects(禮器).

東周時期，人文主義興起，儒家將一些傳承自原始宗教的文化成份，加以道德化、生活化，提倡「君子比德於玉」的觀念。於是佩玉的風氣大盛，而雕琢之精美，後世亦難出其右。
　
During the Eastern Chou (東周) Dynasty, humanism made its appearance. Recasting the ancient shamanistic practices into a system of moral beliefs with application to daily living, the Confucian scholars directly compared the virtuous man to jade. Pendants achieved great popularity and were exquisitely executed, attaining a degree of perfection unmatched in future ages.

漢室崇玉，生者佩玉、食玉；亡者裹玉、填玉。甚至在帛畫、墓磚上，都飾以玉璧圖象。圓璧有助於靈魂通天的觀念，此時發揮至極。
　
The Han (漢) Dynasty imperial family held jade in great esteem. Living members wore pendants and ingested jade powder. The deceased were bound and stuffed with jade. Even the painted banner and tomb tiles were imprinted with the image of the pi disk. The belief in the round pi disk assisting the spirit in reaching the heavens received its greatest support at this time.

六朝至唐朝，中土玉雕藝術轉衰。雖然李唐盛世仍秉承道統，舉行封禪大典，然而，禮神玉冊都難用真玉，而以次玉代之。傳世玉器，僅見帶銙、梳、簪、佩等。部份恐亦係西域工匠所製。

From the Six Dynasties (六朝) to T'ang (唐) Dynasty, jade artistry within the heartland of China suffered a decline. Despite the glory of the T'ang Dynasty which saw the resumption of the large-scale feng-shan (封禪) ceremony and other ancient traditions, the sets of tablets used in this ceremony were now fashioned only using beautiful stones (as jade simulants). Among the relics passed down the generations, only the jade belt plaque, comb top, hairpin ornament, pendant, etc. can still be found. More likely than not, a portion hail from the lapidaries of the barbaric tribes in China's West (西域).

宋、明以後，玉雕藝術再度興盛，帝王祭典用玉之外，更因學者對商、周禮制的考訂，民間遂興起研究與仿製古玉的熱潮。

From the Sung (宋) and Ming (明) Dynasties onward, jade artistry recovered its former grandeur. Due in part to the emperor's use of jade in officiating ceremonies, but even in greater part to the examination by scholars into the rituals of the Shang and Chou dynasties, popular movements both to research and forge ancient jades arose.

此時，以知識相結合的士大夫階層，重視生活品味。玉製文房陳設，除供欣賞把玩外，還兼具實用功能。自然界的花鳥、人物、山水等，也成為裝飾主題，呈現柔美雅緻的文人品味。由於所取玉料，多為河中玉仔，玉匠往往以工就料、因材施藝。所琢玉器，常是圖必有意，意必祥和。

The newly formed intellectual class of the Sung Dynasty cultivated their tastes in living. The displayed jade objects from the studio possessed ultilitarian functions in addition to providing visual delight. The most frequently seen motifs were those of flowers, birds, man, and landscapes, a fact which demonstrates the refined taste of the literati. Lately, as the materials from which jades of this time were fashioned originated as river pebbles, jade craftsmen accommodated their carving techniques to the shapes they encountered. The resulting shapes and patterns were all imparted with deep, and usually auspicious meanings.

清朝盛世的宮廷玉雕常是體大厚重、工整對稱。代表王室的龍紋及各種吉祥主題最為常見。更加琢御題詩、款，配以檀座，護以囊匣，極富廟堂華藻之美。痕都斯坦玉器，亦於此時經由回部傳入，細薄如紙，淺雕層花疊葉，甚至鑲嵌金銀琉璃，呈現華麗的異域風情。

The jades from the Ch'ing (清) imperial court at its height are characterized by their impressive size, neatness, and symmetry. They most frequently bear the dragon design, emblem of the emperor, various auspicious symbols, imperial inscriptions and marks. When finally outfitted with pedestals of sandalwood and placed in specially designed cases and boxes, they attain the majesty of the imperial palace itself. During this same period, Hindustan jade from Moslem territories made its appearance. Whether carved with floral decor in shallow relief, worked to a thinness rivaling that of paper, or even inlaid with colored glass or gold and silver thread, splendid Hindustan jade conveys the exotic appeal of a distant land.

雲南至緬甸北部蘊藏的輝玉(Jadeite)，於十九世紀大量產銷中土，成為玉作界新寵，此風至今不衰。
總而言之，中國的玉雕藝術，源遠流長，各時代呈現不同的意義與風格，歷久而彌新。小格的呈現分享，期待來訪欣賞的人能更體察中華古文明的博大精深。

Jadeite from Yunnan (雲南) Province and northern Burma was imported in large quantities into China in the nineteenth century and quickly attracted its admirers, who continue to treasure its beauty. In summary, Chinese jade artistry boasts a long tradition, and derives much of its diversity from the differing styles and significance assumed by jades of differing periods. It is hoped that the present display will allow the viewer to experience the sheer magnificence and profundity of the ancient Chinese civilization.