In the vast river of Chinese jade culture, jade wares from the Ming and Qing dynasties undoubtedly constitute a brilliant chapter. They not only inherited the exquisite craftsmanship of previous dynasties but also displayed unprecedented diversity and vitality against the backdrop of social change and cultural integration. They were symbols of imperial power, an outlet for literati and scholars, and a yearning for a better life among ordinary people, embodying the splendor of a prosperous era and the charm of daily life.
Ming Dynasty jade wares began in the late Yuan Dynasty, flourished during the Yongle and Xuande periods, and reached their peak during the Jiajing and Wanli reigns. At that time, the large influx of Hetian jade provided the material basis for jade carving. The style of early Ming jade wares inherited the traditions of the Song and Yuan dynasties, featuring smooth lines and common themes such as flowers, birds, figures, and auspicious beasts. However, with the development of the social economy, the rise of the urban class led to an increasing secularization of jade wares. The famous “Zigang Jade” represents the pinnacle of Ming Dynasty jade art. Lu Zigang, a native of Suzhou, was a master jade carver of the Ming Dynasty, renowned for his works, which were said to be “exquisite without exception” when handled by him. He was skilled in various techniques such as thin-walled carving, openwork, and relief carving, and he integrated painting and calligraphy into jade carving, creating the unique form of the “jade plaque.” Zigang plaques often feature poems, landscapes, flowers, and birds on the front, with an inscription on the back, displaying the refined taste of literati within a small space. For example, the “White Jade Plaque with Pine and High Scholars by Zigang,” housed in the Palace Museum, has a warm jade texture and exquisite carving; the pine branches are vigorous and ancient, and the high scholars are leisurely and content, perfectly expressing the artistic conception of literati painting. This was not only a breakthrough in jade carving techniques but also a deep integration of jade culture and literati aesthetics.
Entering the Qing Dynasty, jade carving reached another peak in the history of Chinese jade culture. During the reigns of Kangxi, Yongzheng, and Qianlong, the nation was at its zenith, and the imperial demand for jade wares was unprecedented. Emperor Qianlong, in particular, had an obsessive love for jade wares, personally participating in their design and even setting strict requirements for the carving techniques and auspicious meanings of the patterns. The Imperial Workshop (Zaobanchu) established a massive jade workshop, gathering skilled craftsmen from all over the country, sparing no expense for meticulous carving. During this period, jade wares were diverse in type, regular in form, elaborate and magnificent in ornamentation, and rich in auspicious meanings. For instance, the famous “Jade Mountain with the Story of Yu the Great Controlling the Flood,” standing 224 cm high and weighing 5 tons, took six years to be carved by Yangzhou jade artisans. Its majestic scale demonstrates the grand spirit and superb craftsmanship of Qing Dynasty jade carving. Furthermore, the introduction and imitation of Mughal jade wares (originating from northern India, as thin as cicada wings, inlaid with gold threads and gemstones) added an exotic flavor to Qing Dynasty jade wares, reflecting the inclusive nature of Qing Dynasty culture.
In addition to imperial jade wares, folk jade wares of the Ming and Qing dynasties also showed vigorous vitality. With the development of the commodity economy, jade wares were no longer exclusive to the aristocracy; ordinary people also began to wear jade ornaments and collect jade artifacts. Folk jade wares featured a richer variety of themes, full of life, such as auspicious patterns symbolizing “fortune, prosperity, longevity, and happiness,” zodiac themes, and images of Guanyin and Buddha. Although these jade wares were not as luxurious as court jade wares, they conveyed people’s simple wishes for a better life with their unpretentious and warm characteristics. For example, the common folk “Child Playing with Lotus” jade pendant, depicting lively and lovely children with lotus flowers, symbolized continuous progeny and long-lasting blessings, genuinely reflecting people’s hopes for offspring and family happiness at that time.
Ming and Qing jade wares are not merely exquisite crafts but also witnesses to history. They record the aesthetic tastes of Ming Dynasty literati and reflect the ambitions of Qing Dynasty emperors; they are symbols of imperial majesty and everyday adornments for common people. From the refined elegance of Zigang plaques to the majestic grandeur of the Jade Mountain with Yu the Great, from the opulent splendor of court jade wares to the warm charm of folk jade wares, Ming and Qing jade wares, with their unique artistic charm and profound cultural connotations, became a peak in the development history of Chinese jade culture. Studying them not only allows us to appreciate the superb ancient Chinese jade carving art but also to glimpse a microcosm of the society, economy, and culture of that era, and to feel the Chinese nation’s unique affection and unremitting pursuit of jade. Today, these jade wares, carrying historical memories, still shine brightly in museum display cases, telling the world their past glory and stories, and inspiring us to continue inheriting and promoting this unique jade culture heritage.