The dawn of Chinese civilization is always closely linked with the warm luster of jade. If we are to trace the golden age of jade culture, the Shang and Zhou dynasties undoubtedly represent a brilliant chapter. At that time, jade articles were no longer merely simple ornaments; they were endowed with profound meanings of communicating with heaven and earth, demonstrating ritual systems, and uniting ethnic groups. As a cultural heritage protector, whenever I gaze upon the Shang and Zhou jade artifacts unearthed from the deep loess, I seem to hear ancient drumbeats, see sacrificial flames, and feel the reverence and obsession with jade in that era.
The Shang Dynasty was an era full of mysterious colors. The discovery of oracle bone inscriptions revealed its society dominated by ghost and deity worship. In this context, jade articles were given sacred missions. Yin Ruins in Anyang, the former capital of the Shang Dynasty, yielded a large number of exquisite jade artifacts, among the most famous being the burial objects from Fu Hao's tomb. Fu Hao, this brave and skilled queen, had not only heavy bronze artifacts but also an astonishing number of jade articles, totaling 755 pieces, in her tomb. These jade articles were diverse, including ritual vessels, tools, ornaments, and artworks. For example, the various jade dragons, phoenixes, and tigers, with their smooth lines and delicate carvings, all demonstrate the superb craftsmanship and rich imagination of Shang dynasty artisans. They were not merely burial objects but also symbols of Fu Hao's status and power during her lifetime, as well as a medium for her to communicate with ancestors and deities. Imagine, in that distant era without written records, how much reverence for heaven and earth, and how many prayers for life, were carried by a jade bi or a jade cong?
Upon entering the Zhou Dynasty, the establishment of the ritual and music system pushed jade culture to new heights. Duke of Zhou formulated rituals and music, incorporating jade articles into a strict hierarchical system. The 'Rites of Zhou · Spring Official · Grand Master' records: "Using jade to make six instruments, to ritualize heaven, earth, and the four directions." Bi, Cong, Gui, Zhang, Hu, Huang – these 'six auspicious jades' became important ritual vessels for sacrificing to heaven and earth, communicating with deities, and distinguishing social ranks. The Son of Heaven used a large gui, feudal lords used a secondary gui, ministers used zhang, scholars used hu, and commoners had no jade to wear. This strict hierarchical system was clearly expressed through the form, size, and ornamentation of jade articles. For example, the famous 'jade gui' had strict regulations on its length, shape, and patterns, defining the identity and status of its holder. It was no longer a mere object but the concretization of the national system and a maintainer of social order. Another significant feature of Zhou dynasty jade articles was the evolution of their ornamentation. Shang dynasty jade articles mostly featured mysterious patterns such as divine face masks and taotie motifs, while the Zhou dynasty gradually saw the emergence of more realistic and fluid patterns like kui dragon patterns, phoenix bird patterns, and grain patterns, reflecting a shift from divine authority to human-centered thought.
Shang and Zhou jade articles were not only ingenious in their form and ornamentation but also meticulously selected in their materials. Xinjiang Hetian jade, a jade stone with fine texture and warm, subtle luster, began to be widely used during the Shang and Zhou dynasties. This indicates that as early as three thousand years ago, the Chinese nation had already opened up a long jade route, transporting treasures from the distant Western Regions to the Central Plains, which in itself was a remarkable feat. The rarity, toughness, and unique physical properties of jade made it a symbol of 'virtue' in the eyes of the ancients. Confucius once said: "A gentleman compares his virtue to jade." The warmth, toughness, purity, and ability to conceal flaws without blemish of jade were endowed with the qualities a gentleman should possess. This 'jade virtue' philosophy is a manifestation of the deeper connotations of Shang and Zhou jade culture, and it has continuously influenced later aesthetic concepts and moral sentiments.
However, the dust of history will eventually cover everything. Shang and Zhou jade articles, these once glorious ritual vessels and divine objects, now lie quietly in museum display cases or are deeply buried underground, awaiting discovery. As cultural heritage protectors, our responsibility is not only to excavate and preserve these precious artifacts but, more importantly, to interpret the stories behind them and to inherit the cultural spirit they embody. Shang and Zhou jade articles are the brilliant crystallization of the early Chinese civilization; they bear witness to the ancients' reverence for heaven and earth, their pursuit of order and harmony, and their yearning for noble virtues. They are silent witnesses to history and key to understanding the roots of Chinese civilization. In modern society, we may no longer use jade articles to worship heaven and earth, but the gentleman's virtue and harmonious beauty represented by jade are still cultural genes worth cherishing and inheriting. To allow these ancient jade articles to radiate new brilliance in a new era and continue to tell their stories across millennia is our best tribute to our ancestors and our best gift to the future.