Hello everyone, I am Zhao Yaqin. Having worked in the jade industry for over thirty years, I have always held a profound reverence and fascination for ancient jades. Ancient jade is not merely a cold mineral; it is a living fossil of Chinese civilization, embodying the beliefs, aesthetics, rituals, and even the evolution of social systems of our ancestors. Today, I wish to share some of my latest reflections and practices in the field of ancient jade cultural research. I hope to open a new window for everyone, allowing us to jointly appreciate the infinite charm of ancient jades.
In recent years, with advancements in technology and deeper archaeological excavations, our understanding of ancient jades is constantly being refreshed. In the past, we focused more on the material, "qin" (patina/alteration), carving techniques, and forms of ancient jades, appreciating them as works of art or cultural relics. However, I increasingly realize that merely staying at these superficial levels is far from enough. The future of ancient jade research lies in deeply excavating its underlying "cultural genes"—that is, the profound cultural connotations and social functions that jade artifacts carried in specific historical periods.
For example, we all know that Hongshan Culture jades are renowned for their unique C-shaped dragons and pig-dragon forms. Traditional views hold them as totems of primitive worship, symbolizing tribal power and status. However, through a comprehensive analysis of excavation contexts, associated burial goods, and the social productivity of the time, we might propose a more profound perspective: these jades were not just simple totems. They might also have been closely linked to sacrificial rituals, fertility worship, and even astronomical observations in primitive agricultural societies. For instance, could the C-shaped dragon's form be related to certain celestial trajectories? Did the robust image of the pig-dragon symbolize abundance and procreation? These questions require us to step beyond the singular domains of art history or archaeology, and engage in interdisciplinary research combining knowledge from ethnology, religious studies, and even astronomy.
Another example is the jades from the Shang and Zhou dynasties, whose ritualistic properties are widely acknowledged. But simply calling them "ritual vessels" is insufficient. We should further explore: what roles did jades of different forms play in the ritual system of that time? Were they used for sacrificing to heaven and earth, or ancestors, or for alliances and diplomatic visits? What were the differences in material, size, and ornamentation among jades worn or used by nobles of different ranks? What social hierarchy and political ethics did these differences reflect? By delving into these questions, we can truly understand the "ritual culture" gene embedded in Shang and Zhou jades, rather than merely focusing on their exquisite carving techniques.
Regarding research methodology, I advocate for a shift from "artifactology" to "cultural anthropology." This means we should not be content with merely classifying and dating artifacts based on their forms and patterns. Instead, we must focus on the interactive relationships between artifacts and people, society, and beliefs. For example, through microscopic analysis of wear marks on ancient jade surfaces, combined with the manufacturing processes of tools from that era, we can infer the actual use of the jade. By precisely recording and analyzing the excavation locations of jades, we can reconstruct their original functions and symbolic meanings within tombs or sites.
Furthermore, the introduction of technological means has brought unprecedented opportunities to ancient jade research. For instance, non-destructive testing techniques can help us more accurately determine the material and origin of jades, and even trace their processing methods. 3D modeling and virtual reality technologies allow us to reconstruct the original forms and usage scenarios of ancient jades in a more intuitive way. These technologies do not replace traditional humanistic research but provide more solid data support and broader imaginative space for it.
Of course, ancient jade research also faces numerous challenges. Firstly, the scarcity of data. The excavation contexts of many ancient jades are unclear, or they have even been dispersed among the public, which poses significant difficulties for research. Secondly, the complexity of interdisciplinary integration. To truly understand the cultural genes of ancient jades, researchers need broad knowledge reserves and interdisciplinary thinking abilities.
However, challenges also mean opportunities. I believe that as long as we uphold rigorous academic attitudes, dare to innovate, and are good at collaboration, the future of ancient jade research will be full of infinite possibilities.
In summary, the future direction of ancient jade research lies in transitioning from mere artifact appreciation to a deep exploration of cultural genes. We must transcend superficial appearances and delve into the beliefs, rituals, social systems, and aesthetic concepts embodied by ancient jades. This requires us to employ interdisciplinary research methods, combine modern technological means, and always maintain a reverence for history and culture.
For collectors and enthusiasts, my advice is: in addition to focusing on the material, "qin" (patina/alteration), and craftsmanship of ancient jades, it is even more important to learn about the cultural stories behind them. Every piece of ancient jade is a microcosm of an era, a testament to a period of history. When you can decipher the cultural genes it carries, what you possess will be not just a precious cultural relic, but a bridge for dialogue with ancient people, and a profound understanding of Chinese civilization. Let us work together to ensure that the cultural brilliance of ancient jades continues to shine in modern society.