The history of jade has a long history. Jade culture is a unique culture of Chinese culture and even the Greater China cultural circle. From the rituals, rituals, and practical devices to the appreciation and harmony of jade, the veins and pan-cultural phenomena are worthy of investigation and discussion. As a jade producer, the author explores the Hetian jade culture as follows:

First, the pan-cultural characteristics of jade and the characteristics of the times:

Jade is a kind of attachment to culture and one of the characteristics of Chinese culture. The combination of formality and content is a major feature of other cultures. The foundation of China's farming culture is the idea of ​​the unity of nature and man. This idea runs through the history of China for thousands of years. The continuation of Chinese culture is fundamentally the blending of farming culture and the idea of ​​unity between man and nature. Chinese culture has been searching for everything that may seek development in the context of harmony between man and nature. Heaven and overturning, sustenance and deviation, self-examination and detachment, history and continuity, change and inheritance, also run through the Hetian jade culture.

I am particularly interested in the pan-cultural characteristics of Hetian jade. China is now keen to summarize culture, but the continuity and development of culture are generally ignored. Migratory culture and mutant culture should not be compiled into culture in essence, and Hetian jade culture, as continuity, development, The most prominent culture of the times, such as the characteristics of the times, should be the most characteristic of its pan-cultural characteristics. That is to say, its combination with the times and detachment, its refraction and display role in the culture of the times, the ability to retain culture. For example, jade accessories and ritual functions are generally considered to be incapable of coexistence, but archaeological excavations in recent years have shown that jade accessories and ritual functions have always coexisted, and there is a special phenomenon in Hetian jade culture that deserves attention. That is, every opening of Hetian jade will lead to a big leap in Hetian jade in the accessories, such as the Han Dynasty, the Song Dynasty, the Ming Dynasty, the Qing Dynasty, especially from the emperor to the king to the official to the people, and then to the official to the emperor, in the The Qing Dynasty finally achieved its pan-cultural characteristics.

The cultural characteristics of Hetian jade are also reflected in the continuity of its processing methods. For example, after the appearance of the machine and the solution of jade sand, the processing method of jade has not changed in essence, but the changes in carving and design style have further verified Hetian jade. Cultural characteristics. This is the expression of the strong sense of history of Chinese culture and the idea of ​​unity between man and nature. The existence of jade allows culture to be attached. This is a combination of nature and man, a fusion of ancient and modern, a sign that can be left to the future today, and a trace and indication. On the contrary, for example, bronzes, porcelains, etc., they are more of a history, a state, the continuity of which is dismembered by materials, processing, etc., and culture becomes fragmented.

The attributes of jade culture, the uniqueness or clarity of aesthetic standards, also make the inheritance and development of jade culture have rules to follow, and there are laws to follow. The standard of texture and the inheritance of the model make the veins of jade culture easy to find. At the same time, it also guarantees the further extension and influence of its pan-cultural characteristics.

Another characteristic of jade culture is the identity of Confucian culture. Jade culture is a distinct Confucian culture. It does not become the fusion and integration of Confucianism, Buddhism and Taoism as other cultures. This characteristic makes the jade culture highlight the representativeness of Chinese culture and even some exclusive cultural characteristics.

The contradiction and unity of jade's playability and practicality are filled with the development of jade culture. This is also one of the characteristics of jade culture that is different from other cultures. Such contradictions are not common in other material-based cultures. This contradiction has also directly led to the jade culture becoming one of the mainstream cultures of the era culture in every period.

It is not difficult to find that when the jade you get has obvious historical features, this jade will bring your feelings to that era, and then you will feel the more distant existence of jade itself. The feeling is that other works of art are hard to reach. The person with the highest art is living outside and swimming in the meantime. This is a cultural infiltration rather than the infiltration of a single item. Under the dual role of the ancient and modern desalination of jade and the aesthetics of jade, the culture of jade has been extended and passed down.

However, when we look at the jade culture, we must pay attention to its characteristics of the times.

Jade is transformed from artifacts and rituals to escorts to practical devices to players. Each piece is determined by the characteristics of the times. This kind of epoch is a testimony to history, but for jade culture, it has become a continuation, and is associated with the staged retro of Chinese culture. Jade culture has also continued the stage retro, which is jade culture. Different from the characteristics of other cultures. Jade culture is a group of retro-styled vintages, which are extremely common in ceremonial rituals. And each retrospective retro, inter-generational change is one of the characteristics of jade culture. This is rarely seen in Chinese culture except for calligraphy and painting culture. There are no obvious such characteristics including porcelain, furniture, and tea.

Another characteristic of the jade culture's characteristics of the times is that its processing technology does not essentially determine the ornamentation and styling of jade, which is similar to the Chinese calligraphy and painting culture. This feature guarantees the spontaneous continuation of the regular review of the jade culture. This is what we need to be clear when we explore the connotation of jade culture.

The characteristics of the jade culture are also reflected in the different aesthetic tastes of different eras. Although the aesthetic uniqueness of jade culture is carried out in terms of materials, the changes and demands of aesthetic tastes in the shape, ornamentation and use also make jade Different eras have their own characteristics of the times. The characteristics of the "Yu Bide", such as the Spring and Autumn Period, the characteristics of the "Jade Evil" in the Han Dynasty, the "four treasures of the Wenfang" in the Ming Dynasty, and the "Yushanzi" culture in the Qing Dynasty. In other words, the characteristics of the jade culture are related to the cultural needs of the times.

Second, Hetian jade from the altar:

"Jade, the beauty of the stone." Jade walks down the altar and people usually think it is a matter of Han. But I think that Confucius Yu Yu Yu De has completely removed the jade from the altar. Because the artifact does not need to be attached, the supremacy and existence is the truth, and the jade is truly separated from the category of the ancient artifacts. Confucius or Confucianism should be the true establisher and promoter of jade culture.

We believe that the development of jade lies in the establishment of the cultural connotation of jade. If jade exists only as a ritual or artifact, its cultural connotation cannot be established. The beauty of jade is actually culture. In fact, it is not difficult to find out that the spirit of the jade-attached meeting is somewhat far-fetched, and we will not discuss it here. What we need to discuss is how the jade after the altar has become a culture, or what is the root of culture?

The jade that walked down the altar or the Hetian jade was caused by the philosophy of self-improvement and self-improvement. It is also a manifestation of the spirit of Chinese culture and humanity. The idea of ​​unity between man and nature is not simply integration, but the interaction in integration. Hetian jade has become an important part of Chinese culture, which largely reflects the integration, interaction, moral ideals and historical responsibility of Chinese culture.

From the day when Hetian jade became Confucianism's moral orientation, Hetian jade has ended its era as an artifact and has stepped down from the altar.

Another characteristic of Hetian jade walking down the altar is that the influence of Shi and Tao in the history of Hetian jade did not cause Hetian jade to once again enter the altar. Although the Taoist influence on the jade in the Han Dynasty was almost a little bit of jade once again on the altar; the Tang Dynasty's ritual Buddha's actions also made the jade landscape infinite. However, the Confucian understanding and definition of jade is followed by the perfection and perfection of the feudal society. The feudal ruling thought is to abandon the existence of artifacts, and the respect for material is also strongly suppressed by Confucianism with the feudal ruling thought.

The "Day of God's Right" in Confucianism has played down the role of artifacts. "Tian Xingjian, gentlemen should strive for self-improvement", "contemporary and independent", the material nature of jade is ideological and idealized by Confucianism. The existence of the so-called "Yu De" is the ideology of material representation. That is to say, if there is no Confucian summary of the material form of jade, jade itself has no cultural connotation. With the constant infiltration of the Confucian culture on the jade culture, the non-stop summary and continuous strengthening have also fundamentally separated Hetian jade from other jade species in China.

After all, the relevant connotation of "Derby Yuyu" is only true that Hetian jade can truly match. Chinese jade culture is basically only Hetian jade and jade culture.

It is also the Confucian analysis of jade, which promotes jade culture as part of Confucian culture, and the result of blood connections, so that more Confucian people own, produce, retain, and communicate with jade. The appropriate aesthetic environment and circulation environment ensured the long-term presence of Hetian jade culture on the Confucian level. This kind of residency is actually the main driving force for the continuation and development of jade culture. Substances are diluted in culture. And this desalination makes jade no longer rely solely on the existence and evaluation of material attributes. Therefore, because the jade culture went down the altar, its value did not rely entirely on its simple material standards as the basis for evaluation.

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January 31, 2020