Jade 玉

Pillow 枕頭  Silver mounted jade plaques 鑲銀玉牌 Han dynasty 漢 (206 BC-220 AD) China 中國

During the late Warring States period (475-221 BC), wealthy families buried their deceased with all the necessities they would require for a comfortable afterlife. This practice continued and developed into the Han dynasty. In later periods, miniature models of household items were also placed around the coffin. Within the tomb, the location of the deceased’s head was of utmost importance, and families would provide the deceased with the best pillow they could afford. As jade was a valuable material, only wealthy families would have owned and used jade pillows.

Apart from its intrinsic value, jade was also believed to prevent decay when placed in contact with a dead body. This pillow is constructed from jade plaques edged in silver, to form a rectangular shape with square ends. The middle section is made from four rectangular plaques. The top plaque is slightly concave to better support the head, while the front and back plaques are finely incised with dragon motifs. The side sections are constructed from triangular plaques, while the two square ends are carved in relief with taotie masks with a loop, through which silver rings have been attached.

在戰國晚期（公元前 475-221 年），有权势的的家族埋葬会把死者埋葬，並為他們提供舒適的來世所需的所有必需品，這種做法一直延續到漢代。後期，棺材周圍還擺放著家居用品的微型模型。墓內，死者頭部的位置至關重要，家屬會為死者提供他們能負擔得起的最好的枕頭。由於玉是一種珍貴的材料，只有富裕的家庭才會擁有和使用玉枕。

除了其內在價值外，人們還認為玉與屍體接觸時可以防止腐爛。此枕由鑲銀玉片製成，呈長方形，兩端為方形。中間部分由四個矩形板製成。頂部飾板略微凹陷，以更好地支撐頭部，而正面和背面飾板均刻有精美的龍紋。側面部分由三角形飾板構成，而兩個方形末端則刻有帶有環的饕餮面具浮雕，並附有銀環。

Swan-form Bottle 天鵝形小瓶  Carved jade 玉雕 18th/19th century 十八/十九世紀  Mughal India 痕都斯坦

While jade carving is often associated with China, India too, has a tradition of jade carving. It was the Mughals who introduced this art form to India. Mughal sources of jade came principally from Kashgar, in Central Asia.

This charming Mughal jade bottle is made in the shape of a swan with its head turned back to look over its full, bud-shaped body. The turned neck forms a hook that allows the bottle to be secured or suspended from a belt. The sides of the body are finely carved with lappets incised to resemble feathers. A screw top with a bud finial forms the tail of the swan. The mouth of the opening is encircled with overlapping bands of feather lappets. Metal bands inlaid with semi-precious stones encircle the swan’s neck and the base of the tail. The eyes are also inlaid with semi-precious stones. Mughal jade vessels are known for having extremely thin walls, and another characteristic is the embellishment of the jade objects with metal mounts, precious stones and crystal.

虽然玉雕经常与中国联系在一起，但印度历史上也有传统的玉雕。正是莫卧儿帝国（1526—1858年，其疆域包括今日印度北部、巴基斯坦及阿富汗东部）将这种艺术形式引入印度。莫卧儿玉石的来源主要来自亚洲中部的喀什噶尔（中国新疆西部城市）。
这个迷人的莫卧儿玉瓶是天鹅的形状，它的头向后仰望着它饱满的芽状身体。转动的颈部形成一个钩子，可以将瓶子固定或悬挂在皮带上。身体的两侧精雕细刻有羽毛状的垂饰。带有花蕾尖顶的螺旋顶部形成了天鹅的尾巴。开口的嘴周围环绕着重叠的羽毛垂饰带。镶嵌半宝石的金属带环绕天鹅的脖子和尾巴的底部。眼睛还镶嵌着半宝石。莫卧儿玉器以壁极薄而著称，另一个特点是用金属底座、宝石和水晶点缀玉器。

Twin Badgers Ornament 雙獾把件  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

This charming piece is carved from a jade pebble and depicts two recumbent badgers, resting nose to tail. The craftsman has skillfully fashioned the badgers in openwork and retained the shape of the jade pebble, leaving small patches of the pebble’s russet skin to accentuate the piece.

The word for badger in Chinese is a homophone for the word joy, both pronounced huan. The badgers in the carving are also touching each other, forming a continuous loop. A pair of badgers therefore forms a rebus which means double joy, and therefore symbolizes marital bliss, with the wish that the happy couple will experience continuous joy in their lives together.

這件迷人的作品由一塊玉石雕刻而成，描繪了兩隻仰臥的獾，從鼻子到尾巴都在休息。工匠巧妙地以鏤空方式製作獾，並保留了玉石的形狀，留下小塊鵝卵石的赤褐色皮膚來突出這件作品。
獾在漢語中的字是huan，與歡樂的歡同音，所以也讀huan。雕刻中的獾也相互接觸，形成一個連續的循環。因此，一對獾組成了一個寓意雙重歡樂的畫謎，因此象徵著婚姻的幸福，希望這對幸福的夫婦在他們的生活中能夠體驗到持續的快樂。

Recumbent Dog Ornament 臥犬把件  Carved jade 玉雕  Ming dynasty 明 (1368-1644)  China 中國

The slender dog is carved wearing a collar with a bell, indicating that it has an owner. It is portrayed in a recumbent position with a long, curled tail. It appears to be resting, possibly after a long hunt. In China, dogs have been associated with hunting from very early times. The word for hunting, lie, is written with the dog radical, as are the words for winter hunt, shou and bird hunt, huo. To the ancient Chinese, dogs were essential to the hunt.

The depiction of this dog, with its droopy ears and slender figure with pronounced ribs, resembles the Saluki, a type of sighthound bred for hunting. The Saluki originated in the Middle East and traveled along the ancient trading route known as the Silk Road that stretched from ancient Iran to China.

這條細長的狗頭上雕刻著帶有鈴鐺的項圈，表明它有主人。它被描繪成橫臥的姿勢，尾巴長而捲曲。它似乎正在休息，可能是經過長時間的狩獵。在中國，狗很早就與狩獵聯繫在一起。打獵的字lie，用狗部首書寫，冬獵、狩、獵鳥、獲等字也是。對於古代中國人來說，狗是狩獵的必需品。

這隻狗下垂的耳朵和細長的身材，肋骨明顯，類似於薩路基犬，一種為狩獵而飼養的獵犬。薩路基人起源於中東，沿著古老的貿易路線—絲綢之路，從古代伊朗延伸到中國。

Archaistic Ewer 仿古龍嘴觥  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

The form of this ewer is based on archaic bronze gong vessels of the Zhou dynasty (1046-256 BC). Instead of making an exact copy of the form, the craftsman has modified the somewhat ungainly form of the original and given the vessel a taller, sleeker profile. The wide lip of the original with the animal head cover has also been changed to a dragon-headed spout with a loop beneath that suspends a loose ring. The low, domed cover is surmounted by an arched finial that also holds a loose ring. The handle of the vessel is a gentle ‘S’ shape, and the sides of the vessel and cover are decorated in archaistic motifs carved in low relief. The vessel is supported on four paw-form feet that issue from the mouths of mythical beasts. The result is an elegant and charming ewer, whose design, while rooted in archaism, seamlessly fits into the aesthetics of its time.
此壺的造型取材於周朝（公元前 1046-256 年）的古代青銅鑼器。工匠並沒有完全複製風格，而是修改了原件有點笨拙的風格，並賦予容器更高、更時尚的輪廓。原來的帶有動物頭蓋的寬唇也被改為龍頭噴口，下面有一個環，懸掛一個鬆動的環。低矮的圓頂蓋被一個拱形的頂部覆蓋，該頂部還帶有一個鬆動的環。器柄呈柔和的“S”形，器皿和蓋子的側面飾有低浮雕的仿古圖案。該容器由四隻爪形腳支撐，從神話野獸的嘴中伸出。最後設計出一款優雅迷人的水壺，其設計植根於古風，與當時的美學完美契合。

Mythical Beasts Ornament 瑞獸把件  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

This fantastic creature is portrayed in a recumbent posture with its head sharply turned backwards, looking towards its bushy tail. This tight posture maximizes the jade by carving the mythical beast to conform to the shape of the pebble, in order to carve away as little of the pebble as possible. The beast has a broad forehead surmounted by a single curved horn flanked by a pair of pointed ears. The creature’s bony spine runs the length of its back towards its tail.

China has a vast array of mythical beasts which are a testament to the boundless power of the human imagination. Many of these beasts are recorded in the 4th Century BC compendium, the Shan Hai Jing (Classic of Mountains and Seas), which describes faraway lands and the fantastic creatures found there. While clearly fictional, many of the mythical creatures mentioned have been incorporated into Chinese cultural life.

The mythical creatures most often represented in art include the dragon, phoenix, qilin, bixie, pixiu, and luduan. The latter three, because of overlapping characteristics, are sometimes difficult to identify with certainty.

這個虛構的生物被描繪成一個仰臥的姿勢，它的頭猛地向後轉，看著它濃密的尾巴。這種緊身的姿勢通過將神獸雕刻成符合鵝卵石的形狀來最大化玉石，以便盡可能少地雕刻掉鵝卵石。這隻野獸有一個寬闊的前額，上面有一個彎曲的角，兩側是一對尖耳朵。這種生物的骨刺從背部向尾巴延伸。
中國的神獸種類繁多，足以證明人類想像力的無窮力量。許多這些野獸都記錄在公元前 4 世紀的綱要《山海經》中，其中描述了遙遠的土地和在那裡發現的奇妙生物。雖然顯然是虛構的，但提到的許多神話生物已經融入了中國的傳統文化生活。
藝術中最常出現的神獸有龍、鳳、麒麟、辟邪、貔貅、甪端。後三者由於特徵重疊，有時難以確定。

Large Yellowish-green and Brown Jade Archaistic Vessel 黃綠棕玉仿古大器皿 Carved jade 玉雕 Ming - Early Qing Dynasty 明-清初 (14th-17th Century) China 中國

The flattened vessel is carved in high and low relief with intertwined chilong amidst interlocking cloud scroll. The stone is of yellowish-green color suffused with areas of russet, brown and cream.

The present vessel is very rare for its large size and for its extensive use of the natural inclusions in the stone to emphasize the intricate design of the chilong amidst dense cloud scroll. The deeply hollowed, high-sided vessel can be compared to Ming-dynasty rhyton vessels, although the naturalistic shape of the present vessel, which follows the curves of the original boulder, is highly unusual.

扁平的器皿上雕有高低浮雕，龍捲雲卷交錯。石頭呈黃綠色，泛著赤褐色、棕色和奶油色。
這個黃綠棕玉因體型龐大，大量使用石料中的天然內含物，更罕見的是這塊玉表層雕刻的錯綜複雜的設計，在濃密的雲卷中突顯赤龍。深鏤空、高邊的器皿可以與明代的菱形器皿相提並論，而且這個器皿遵循了巨石原本的自然主義形狀曲線，更是非常不尋常的設計。

Covered Vase 瑞獸蓋瓶  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

Yellow jade has been treasured since the Ming dynasty (1368-1644) for its rarity, and by the Qing dynasty, this appreciation had only increased. This charming piece made from this highly treasured material has married archaistic motifs with contemporary Qing dynasty aesthetics to great effect. The sides of the baluster-shaped vase are decorated with taotie masks, which typically consists of a frontally arrayed, bilaterally symmetrical, zoomorphic mask, with a pair of eyes and suggestions of a wide open mouth, as seen on this piece. This motif is commonly found on Shang (c. 1600-1046 BC) and Zhou dynasty (1046-256 BC) ritual bronzes, and also on Zhou and Han dynasty (206 BC-AD 220) period jades.

The vase is supported on the back of a mythical beast, which was a popular design in Qing dynasty jade carvings. The beast is carved in a crouching position, with a leonine head set with a pair of antler-like horns. A pair of elegantly curved wings rise from the creature’s shoulders. The body of the creature is detailed with scales.

自明代（1368-1644）以來，黃玉因其稀有而備受珍視，到了清代，人們更加欣賞珍視它。這件由這種珍貴材料製成的迷人精緻作品將古代圖案與當代清代美學相結合，效果極佳。欄杆形花瓶的側面飾有饕餮面具，通常由一個正面排列的、雙邊對稱的、動物形態的面具組成，有一雙眼睛和一張張大的嘴，如圖所示。此圖案常見於商朝（約公元前 1600-1046 年）和周朝（公元前 1046-256 年）的禮器青銅器，以及周漢（公元前 206 年至公元 220 年）時期的玉器上。
花瓶託在神獸背上，是清代玉雕中流行的一種設計。野獸被雕刻成蹲伏姿勢，獅子頭上鑲著一對鹿角狀的角。一對優雅彎曲的翅膀從生物的肩膀上升起。該生物的身體飾有鱗片。

Lotus-form Brush Washer 蓮紋筆洗  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

Cup and Cup Stand 盃連盃托  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

This elegant cup and stand, carved from white jade, would have been made for the Qing Court. White jade was valued for its beauty and rarity, and having utensils fashioned from white jade was almost exclusively the domain of Imperial families.

The sides of the deep dome-shaped cup are carved with three decorative bands. The first, a band of ruyi heads, the second, a band with an undulating line enclosing ruyi heads, and the third a band of ruyi heads incorporating chrysanthemum blossoms. The openwork handles on either side of the cup are carved in the form of blossoming chrysanthemum sprigs. The cup is supported on a short circular foot, that fits into the center of a raised pedestal, that is carved in the form of an open chrysanthemum blossom which rises from the center of the oval tray.

這件精美的白玉杯座，為清廷所製。白玉因其美麗和稀有而受到重視，而用白玉製成的器皿幾乎是皇室的專屬。

深圓頂杯的側面刻有三道裝飾帶。第一個是如意頭帶，第二個是波浪線環繞如意頭的帶子，第三個是帶有菊花的如意頭帶。杯身兩側的鏤空提手雕刻成盛開的菊花枝形。杯子支撐在一個短圓形腳上，該腳適合一個凸起的底座的中心，底座上雕刻著一朵開放的菊花，從橢圓形托盤的中心升起。

Archaistic Ewer 仿古鳳飾龍鋬觥  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

This elegant pouring vessel has been carved from white jade with a flattened, ‘U’ shaped body supported on an oval foot and rising to a flared rim with a pouring spout at one end. The handle has been fashioned in the form of a chilong. The chilong appears to be clambering up the side and clutches onto the rim to peer inside. A phoenix head suspending a loose ring has been carved beneath the spout. The sides are decorated with archaistic motifs carved in low relief.

The design of this vessel traces its inspiration to archaic bronze pouring vessels from the Zhou dynasty (1046-256 BC) such as the gong and yi. During the Qing dynasty, and especially during the Qianlong reign, there was a great interest in archaism. The Qianlong emperor’s love of jade and his fondness for antiquities combined to result in many jade art works made in archaistic styles during his reign. This revival of ancient design motifs continued till the end of the Imperial era.

這件優雅的倒酒器由白玉雕刻而成，扁平的“U”形主體支撐在一個橢圓形的腳上，並上升到一個喇叭形的邊緣，一端有一個倒水口。手柄以赤龍的形式製作。赤龍似乎正在爬上側面並抓住籃筐向內窺視。出水口下方刻有鳳凰頭懸垂松環。側面飾有低浮雕的仿古圖案。

此器的設計靈感源自周朝（公元前 1046-256 年）的古代青銅澆注器，如鑼和羿。清代，特別是乾隆年間，古風引起了極大的興趣。乾隆皇帝對玉的熱愛和對古物的喜愛，共同造就了他在位期間製作的許多仿古風格的玉器藝術作品。這種古代設計圖案的複興一直持續到帝國時代結束。

Lotus Pods Study 蓮蓬把件  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

Bi Disc 鳳紋璧  Carved jade 玉雕  Warring States period 戰國 (475-221 BC)  China 中國

The earliest bi discs were produced in the Neolithic period and through the Shang, Zhou and Han dynasties, they continued to play a variety of ritual, funerary and ornamental roles. From the earliest times, they were buried with the dead, possibly representing heaven. As time went on, the simple disc grew increasingly complex, combining mythical beasts into the design, such as the current example.

This disc has been encased in bronze, with the visible face being carved in low relief with a ground of comma spirals within raised borders at the inner and outer edges. The outer edge of the disc is carved with two openwork integral phoenix-form appendages at the four and eight o’clock positions. The phoenix are depicted in profile with their long tail feathers appearing to support the disc. The jade has turned opaque due to long-term contact with minerals in the earth as a result of burial.

最早的雙盤產生於新石器時代，一直到商、週、漢，繼續扮演著各種儀式、喪葬和裝飾的角色。從最早的時候起，他們就與死者一起埋葬，可能代表天堂。隨著時間的推移，簡單的圓盤變得越來越複雜，在設計中加入了神獸，比如这个鳳紋璧玉雕。

此圓盤以青銅包裹，可見面採用低浮雕雕刻，內外邊緣凸起的邊框內有逗號螺旋。圓盤外緣在四點鐘和八點鐘位置刻有兩個鏤空一體的鳳凰形附屬物。鳳凰被描繪在側面，它們的長尾羽似乎支撐著圓盤。由於埋藏地下與地球中的礦物質長期接觸，玉石變得不透明。

Dragon Brush Washer 龍紋筆洗  Carved jade 玉雕  Qing dynasty 清 (1644-1911)  China 中國

For much of China’s history, brushes were the primary writing implement, used not only for calligraphy but also for painting. As such, brush washers, while not included as one of the Four Treasures of the Scholars’ Studio (brush, ink, paper and ink stone) were an indispensable item for the scholars’ table. Brush washers are used to hold water to remove excess ink from a brush, dilute the ink on the brush or rinse the brush.

This bowl-shaped example, carved from white jade, is decorated with a chilong on the exterior. The chilong is carved in high relief among low relief clouds. According to legend, the dragon had nine sons, one of them being the chilong, which is an auspicious beast that represents strength, authority and stateliness. A dragon chasing a flaming pearl is carved in high relief in the interior. Dragons such as this, symbolize imperial authority.

This washer, made from such a prized and valuable material, and decorated with dragons would likely have been used by a member of the ruling class.

在中国历史上的大部分时间里，毛笔是主要的书写工具，不仅用于书法，还用于绘画。因此，不属于文人阁四宝（笔、墨、纸、砚）之一的刷子，是文人书桌上不可缺少的物品。刷子垫圈用于保持水从刷子上去除多余的墨水，稀释刷子上的墨水或冲洗刷子。
这件碗形的龍紋筆洗，用白玉雕刻而成，外面饰有赤龙。赤龙在低浮雕云层中以高浮雕雕刻。相传，龙有九个儿子，其中一个是赤龙，这是一种吉祥的野兽，代表着力量、权威和威严。内部以高浮雕雕刻一条追逐一颗燃烧的珍珠的龙。像这样的龙，象征着皇权。
这件龍紋筆洗，由如此珍贵的材料制成，并饰有龙，很可能是统治阶级的皇室使用过的。

Bi Disc with Cloud Pattern and Dragon Handles 雲紋雙龍柄盤璧 Carved nephrite jade 雕刻軟玉 Ming Dynasty 明(1368 - 1644) China 中國

Carved stone discs, called bi, have been in use in China since Neolithic times, starting with the Liangzhu Culture (3300 - 2300 BC). They are almost always carved out of precious nephrite jade, though sometime other hard stones are used, or even glass in later times. The function of bi is still not entirely understood, they are thought o be related to early Chinese beliefs of the heavens, astronomy, and the afterlife. In later times, they were indicators of morality and social rank.

Starting in the Song Dynasty, bi, became favored by the literati for their association with antiquity, morality, and mystery. While the ancient bi discs were coveted and appreciated, they also crafted and commissioned new ones in the archaic style, such as the present bi.

This particular bi features handles to either side in the form of a pair of stylized kui dragons. The disc itself is carved in relief with a yunwen, or cloud pattern design.

從新石器時代的良渚文化（公元前 3300 年至 2300 年）開始，中國就開始使用石刻盤，稱為璧。它們幾乎總是由珍貴的軟玉雕刻而成，儘管有時會使用其他硬石，甚至在後來使用玻璃。璧的功能仍未完全了解，它們被認為與中國早期對天堂、天文學和來世的信仰有關。在後來，它們是道德和社會地位的指標。

從宋代開始，璧因與古蹟、道德和神秘聯繫在一起而受到文人的青睞。在古代璧盤受到追捧和欣賞的同時，他們還製作並委託製作了具有古代風格的新璧，例如這塊璧。

這塊特殊的璧以一對程式化的夔龍形式在兩側都有把手。圓盤本身刻有云紋或云紋設計浮雕。