Jade Sculpture of Human and Dragon
Jade carvings of human and dragon mainly existed in the Western Zhou Dynasty. Their shapes could be divided into three categories: human as the main body, human and dragon equal, and dragon as the main body. In the human-dragon jade carvings, the human image was prominent, and the dragon was in a subordinate position. Among this type of jade carvings, the side profile of a person in a kneeling position was more common. The chest, abdomen, and limbs were either prominent or obscure jade dragons with tongues. In some jade carvings, the image of a person was very prominent, but the image of a dragon was obscure, and it was easy to be regarded as a simple jade person. There was also a dragon-shaped jade ornament unearthed from Tomb 31 of the Marquis of Jin's tomb. It was a jade figure placed at the front of the dragon, and the image of a human pulling the dragon. The jade figure unearthed from Tomb 8 of the Marquis of Jin's tomb stood up. It had a round face, thick eyebrows, big eyes, a wide nose, and a flat mouth. Most of its image and clothing were highly realistic, but the hair ornament was made of three jade dragons. The hanging hands were also carved into the shape of a dragon. The jade ornament with dragon and phoenix patterns unearthed from Tomb No. 157 of Zhang Jiapo in Chang 'an was the most elaborate and gorgeous structure and decoration seen so far. It was composed of two human heads, three dragons and one phoenix. The shape was divided into upper, middle and lower layers. The upper layer had two human heads, one big and one small, and a dragon head with a tongue. The middle layer was a horizontal curved tail dragon, and the lower layer was a dragon and phoenix with opposite heads. For example, the human-dragon carved jade pendant unearthed from the tomb of Liang Ji in the Guo State Tomb of Sanmenxia was similar in size and position to the dragon. The jade ornaments carved with dragons as the main body showed the image of the dragon head. The human head was either sandwiched between two dragon heads or on the tip of the jade dragon's tongue. The human head was often smaller than the dragon head. Such jade sculptures could be seen in the tombs of Jin Marquis and Guo State. The significance of the Western Zhou Dynasty's human-dragon jade carving could be referred to Professor Zhang Guangzhi's research on the "human-beast motive" in ancient China art. It was that humans were the image of wizards, and beasts were magical animals that helped wizards communicate with heaven and earth. The integration of humans and beasts represented their close and mutually dependent relationship. At present, the jade carvings of the Western Zhou Dynasty were mainly works of the middle and late Western Zhou Dynasty. They could be found in Qiangjia Village, Wugong Huangjiahe, Chang 'an Zhangjiapo, Xinzheng County, Henan Province, Sanmenxia Guo State Cemetery, Quwo County, Shanxi Province, and other places. The patterns were all double-hook and single-shadow lines, and the common use of openwork techniques was varied. Read more exciting novels for free
The Complete Collection of White Jade Dragon Sculpture
He could read the latest chapter of " Carving Dragon in White Jade " in the Book Room, but there was no mention of whether it was a complete collection. Currently, there was no more information about the complete collection of " Carving of a Dragon in White Jade ". <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Dingshan Jade Sculpture
The jade carvings in Ding Shan's collection had many characteristics. The jade in his collection was carved into a small lion on a withered vine. It had a ganoderma in its mouth and its eyes were red. Its appearance and color matched well, using the color of the jade itself to carve. This piece of jade belonged to the jadeite class and was a Burmese grade A jade. The little lion's eyes were inlaid with gemstones, and the bottom was originally carved with red wood. The roots of ganoderma lucidum and the base seemed to be coiled together, and there were small holes in the gap to tie the rope. It had the function of both a table decoration and a handle. Ding Shan also collected a combination of Hetian jade carvings. Like a pagoda, it could be combined differently with a piece of material. It could be used to place relics or exquisite Buddha statues. It could be divided into four sections and could be stably inlaid without being affected by shaking or tilting of the table. It was in line with the characteristics of the Qing Dynasty. Although there was no seal, the back of the main body was engraved with Buddhist prophecies. Hetian jade emitted a soft luster under the sun. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Jade Master Sculpture
Jade carving masters turned jade raw materials into exquisite works of art through exquisite skills. For example, Liang Wenbin created jade carvings in his studio on Jade Street in Pingzhou, Guangdong Province, while Ruan Jinhai, a jade carving master in Zhejiang Province who had been in the industry for 25 years, created works based on his own thinking. The value of his works depended on the material and carving skills. There was also Ge Hong, who was born in the 1970s and was a master of China jade carving. His works were mainly based on small mountains and antique pieces in Suzhou. He paid attention to the harmonious relationship between carving and texture, combining innate beauty with acquired decoration. After establishing Ge Hong Jade Carving Studio in 2003, he constantly sought breakthroughs between craftsmen and masters. He also won many awards, such as the Silver Award in the first "Zigang" Cup Jade Carving Exhibition in Suzhou in 2008. In 2008, he won the gold medal of the "China Arts Cup" in Shanghai. In addition, there were masters like Ruihu who created jade carvings with the theme of the Red Army's Long March, inheriting the spirit of the Long March through their works. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Shucheng Jade Sculpture
Shucheng was a jade producing area in Chizhou City, Anhui Province. It was rich in jade resources, which provided sufficient raw materials for Shucheng's jade carving. Shu City's jade carving process had something in common with the traditional China jade carving process. There were many techniques in traditional China jade carving, such as engraving, embossed, round carving, engraving, inlaid, and beautiful colors. Before carving, one needed to choose the materials according to the texture, texture, color, and other factors of the jade. After determining the jade material, they would cut and saw it. Then, they would measure the material and make a rough blank. Then, they would drill holes, engrave patterns, and other fine processes. Finally, they would polish it. These steps might also be the basic process to follow in the process of carving jade in Shu City. Jade carving artists in Shu City might use the characteristics of local jade resources to create. For example, Shu City had Ciqing Township, Shijing Township, Shiliang Township, and Wufu Mountain, which were rich in jade. There were various types of jade, including green poplar jade, white jade, red jade, black jade, and so on. Carving artists could choose suitable carving techniques and design schemes according to the characteristics and color distribution of different jade. It was like using the beautiful color carving technique on the jade with a variety of colors, making the different colors become the unique decorative parts of the work. In terms of specific types of carvings, there might be circular carvings that reflected the three-dimensional relationship, embossed sculptures that protruded from the jade, or more complicated carvings. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Human Sand Sculpture Literature
There were a few human novels that he could recommend. These novels included The Fantasy Adventures of the Sand Sculpture Salted Fish, The Book of Troubled Times, The Spirit Walker, The Tang's Table, and The King of Familiars. These novels all had fantasy elements and humorous plots, suitable for readers who liked this type.
Golden Dragon Sculpture
The Golden Eagle Dragon Tattoo was composed of two works, Gratitude and Revenge after the Robbery and Golden Eagle Alliance. It was a martial arts novel written by Liu Canyang. The gang fighting plot in the novel showed a certain level of skill, and the duel between Chu Yun and the 'Douying Duo Hao' was quite exciting. The main plot of the story revolved around Chu Yun. His wife, Xiao Yunting, fell in love with the young master of the martial arts world, Bai Yu. Xiao Yunting plotted to murder Chu Yun and threw his body into the sea. However, Chu Yun survived the disaster and drifted to a deserted island. He obtained the Sun Card and the divine sword in a secret stone cave. After several years of cultivation, he returned to the martial arts world. He used the Sun Card to take over as the leader of the Golden Eagle Alliance, befriended his good friends Yan Xiaotian and Li Qiang, and even helped other sects fight against their enemies. His reputation was renowned all over the world. After that, Chu Yun killed the Lord of the Hundred-Edge Castle and Dou Ying for revenge. Young Master Baiyu and Xiao Yun Ting fled in panic. Finally, Chu Yun gave up on his revenge under the persuasion of the others. He exiled Young Master Baiyu and Xiao Yun Ting to the island while he and Li Qiang left the Jianghu. Judging from the two works that made up the novel," Gratitude and Revenge after the Robbery " had a better reading experience. It had the distinctive characteristics of Liu Canyang's martial arts novels and was above " Golden Eagle Alliance." Overall, the Golden Eagle Dragon Tattoo might be Liu Canyang's first breakthrough, but the plot was slightly simpler. The elements of love and desire, leniency and forgiveness, kindness and cruelty in the book made it interesting. Chu Yun had spared his enemies many times, indicating that he was not a murderer. However, he dealt with Xiao Yunting, who betrayed him, differently. It might be because of love that turned into hatred. The novel also influenced other martial arts novelists. The Golden Eagle's Love Silk, signed by Jin Yong, came from this book. As one of Liu Canyang's early works, it followed the traditional Wuxia novel style. Although it lacked novelty, it had some breakthroughs, especially the gang fights in it, which made a good start for the later iron-blooded Jianghu gang fights. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Emperor Qianlong and Suzhou Jade Sculpture
During the Qianlong period, the jade carvings in Suzhou were closely related to the Qianlong Emperor. From the aspect of recruiting jade craftsmen, the Qianlong Dynasty Office recruited 18 batches of jade craftsmen from Suzhou, nearly 40 people, of which 27 people knew the specific names. It could be seen that Qianlong attached great importance to Suzhou jade craftsmen. In terms of jade production tasks, the country was strong at that time and had abundant financial and material resources. The palace manufacturing office specially set up a jade carving workshop to make jade for Qianlong. Suzhou took on the main task of processing jade. Moreover, the jade ware work sent by Emperor Qianlong to Suzhou was sometimes not accompanied by a sample, which gave the craftsmen more room for creation. For example, in the thirty-eighth year of Emperor Qianlong, the materials for making jade bowls were sent to Suzhou. After the jade craftsmen took the materials to make the jade bowls, they used the remaining materials to carve out the painting of "Lady in the shade of Tong". Emperor Qianlong was very appreciative of this work. Suzhou jade carving had its unique advantages, such as the selection of materials, meticulous polishing, exquisite and novel shape, superb jade carving skills, exquisite jade pieces, smooth lines, etc. This might be one of the reasons why Emperor Qianlong loved Suzhou jade carving. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Jade Human Head
In the cultural area of Shimao Ruins in Shaanxi Province (4300 - 3800 years ago, located in Shimao Village, Gaojiabao Town, Shenmu City, Yulin City, Shaanxi Province), there were unearthed cultural relics related to jade figures. Among them, the head of SSY122 jade figure of Shimao Culture was almost milky white. The jade surface was round and smooth with wax luster. The color was soft and elegant. Some parts were buried with brown spots for a long time. They were 4.5 cm high, 4.1 cm wide and 0.5 cm thick. They were in a sheet shape. They were carved with shallow embossed and Yin line. They were in a side silhouette double-sided image. They had a serene face and a natural expression. They had a round face, slightly bulging cheeks, concise and vivid facial features. There was an oval bun or a small crown on the top of their heads. They had an aquiline nose. The mouth was protruding and slightly open like a smile. There was an olive-shaped beadless eye on each side. The big ears protruded from the back of the head. The lower jaw was slightly retracted and the lower part was a thin short neck. There was also a round hole in the middle of the cheek that could be used for wearing. In addition, there were also soft jade, slightly yellow jade heads collected by the people. Their square faces, aquiline noses, olive-shaped big eyes, bulging cheeks, protruding ears, and pierced cheeks were very similar to the jade heads collected by the Shaanxi History Museum. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Dragon Jade and Imperial Jade
Dragon jade was a kind of jade with fine texture, compact grain structure, light green and dark green color, occasionally yellow and white, complex and beautiful texture, and sometimes "dragon pattern". It was mainly produced in the Moxisa Kuangqu of Myanmar. Its value was reflected in its preciousness, cultural value, and collection value. Imperial green was a commercial term used to describe the green color of jade. The color of the imperial green jade was pure and uniform. The tone was deep with a little blue, but the overall color was not biased towards blue. In addition to the color requirements, the water must also meet the requirements, which was to be at least ice type. The price of imperial green jade varied according to its quality and color. The larger the green area of the jade, the more precious the imperial green jade bracelet was. It could be made into a variety of jewelry, ornaments, etc. It had the meaning of seeking good fortune and avoiding evil, and it was also worth collecting. Both of them were special varieties of jade. Dragon jade was expensive because of its texture, texture, and many other characteristics, while imperial jade was precious because its color reached a specific standard and the water content reached the standard.
Jade Jade with Dragon Pattern
The dragon patterns on jadeite had different characteristics in different periods. In the Qing Dynasty, there was a jade belt buckle with a dragon pattern. The ware was divided into two parts that could be connected. The hook head was the dragon head, and the other ring was connected. The surface of the ware was hollowed out with dragon patterns, and the bottom was carved with four strips of holes. The material was exquisite. The dragon pattern was emerald green, and the bottom was green jade. There was also a jade plate with a green dragon pattern from the Qianlong period of the Qing Dynasty. It was oval in shape, with the outer ring decorated with cloud blessing patterns. The front was embossed with cloud dragon patterns. The dragon head was mighty, the dragon horns were thick, the eyes were prominent, and the nose was wide. The back of the dragon was hidden in the clouds. The body was spiraling, the body was thick, and the limbs were strong. The middle of the back was round and engraved with the words "Longevity". It revealed the royal aura of the Qianlong period. In modern times, there were all kinds of jade products with dragon patterns, such as high-ice jade dragon cards. The dragon patterns on the jade ware reflected the craftsmanship and cultural content of different periods, reflecting people's love and admiration for the dragon as a cultural symbol, and had a certain artistic value and collection value. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>