{"id":6072,"date":"2019-11-16T00:44:15","date_gmt":"2019-11-16T00:44:15","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/yangzhou-jade-carving-yang-zhou-yu-diao\/"},"modified":"2019-11-16T00:44:15","modified_gmt":"2019-11-16T00:44:15","slug":"yangzhou-jade-carving-yang-zhou-yu-diao","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/vi\/yangzhou-jade-carving-yang-zhou-yu-diao\/","title":{"rendered":"Yangzhou Jade Carving \u626c\u5dde\u7389\u96d5"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
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Category: Folk Art
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Region: Jiangsu Province
\u7f16\u53f7\uff1a\u2166-28
Ref. No.: \u2166-28
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Nominating unit[s]: Yangzhou city, Jiangsu Province
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Yangzhou is one of the major areas in China for jade production, and has a long history of jade carving. Jades like Yu Huang (a jade pendant) and jade pipe excavated from the Lo<\/em>ngqiu Neolithic Ruins in east Jianghuai and Han Dynasty tombs in Yangzhou are diverse in category and elegant in shape, having employed techniques such as openwork carving, intaglio line carving and low-relief carving. Yangzhou jade carving techniques reached its peak in the Tang Dynasty, and hollow-out carving and chain carving techniques came into being in the Song Dynasty, laying a foundation for the development of other special techniques. It reached another new height during the reign of Emperor Qianlong, when the Salt Administration of the South and North Huai areas set up a Jade Bureau at Jianlong Temple, Yangzhou in charge of the production of jades, as tributes, which were supplied for the imperial court on a yearly basis. The jade carving industry gradually declined after 1840, and many artisans moved to Shanghai, Hong Kong and other areas. For those who didn’t move to other places, most were engaged in the carving of plane jade pieces, and some changed their profession. In 1950s, Yangzhou Jade Factory was established, with the Yangzhou jade carving techniques surviving and being handed down again.
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Jade is well textured and hard, with the hardness of 4 to 8 Mohs’ hardness scale. Consequently, hand carving for jade is rather sophisticated, co<\/em>nsisting of carving and polishing processes. Raw materials for Yangzhou jade carving include white jade, gray jade and jasper from Xinjiang, Xiuyan jade, agate and topaz from Liao<\/em>ning Province, crystal from Jiangsu Province, malachite and turquoise from Hubei Province, Xinyi jade from Guangdong Province, as well as jade from Brazil, jadeite from Burma, lapis lazuli from Afghanistan, jasper from Canada and coral from Japan. The workmanship has still retained characteristics of Yangzhou traditio<\/em>nal culture despite evolving over centuries and integrated such techniques as intaglio carving, low-relief carving, high-relief carving, tridimensio<\/em>nal circular carving and hollow-out carving, through which jades look simple, vigorous, smooth, moisten, elegant, graceful and delicate in a dainty, exquisite artistic style. Yangzhou jade carving is a crystallization of artistic features of all different dynasties. For instance, the White Jade Cicada was made from Hetian Jade in the Western Han Dynasty, employing the Hanbadiao technique (a unique carving craft developed in the Han Dynasty), and featuring refined and forceful straight lines which suggest high skills in carving and polishing; Daye Co<\/em>ntrolling the Floods, a rarity made of gray jade from Xinjiang in the Qing Dynasty, using several techniques, with a height of 224 cm and 150,000 man-hours spent during a period of 6 years for its completion, , and costing over 15,000 taels of silver.
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Nowadays, jade artisans in Yangzhou have commanded these traditio<\/em>nal carving skills. Complying with the rules for jade carving “selecting materials according to gauges of them while applying carving techniques according to materials” in their practice, they have created a lot of jades with new composition, fine style and exquisite workmanship, with improving skills in jade identifying and carving. Their Shanzidiao and Lianzihuo techniques are quite unique, demo<\/em>nstrating the exquisite craftsmanship of Yangzhou jade carving. Major heirs of Yangzhou jade carving include Huang Yongshun, Gu Yongjun, Jiao Yiming, Liu Xiaohua, Li Xiaowei, Jiang Chunyuan, Xia Linbao, Wang Dehai, etc.
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Jades producers in Yangzhou are now co<\/em>nfronted with such challenges as high cost (the cost of jade keeps on rising every year), high expenses and tax, which make them very hard to sustain their business. Meanwhile, since jade carving is a hand-workmanship demanding a long production period, artisans are usually underpaid compared with great intellectual and manual efforts they have to make. These two major reasons directly co<\/em>ntribute to the shrinking population of existing artisans and the reluctance of younger generations to learn the trade. As a result, the trade lacks worthy successors, and in this sense, it is necessary to take actions against the extinction of this craft.
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