Taken as a whole, this Jade Monkey is synonymous with no expense spared.
On the surface, which is about ten centimeters, there are gaps carved out between the three monkeys, making it quite artistic when viewed from all angles.
Coupled with the auspicious meaning, this is definitely a rare piece of ornamental display.
It can be said that each of these animal-shaped jades is not simple.
What about other types of jade? After putting away the animal-shaped jade, Chen Wenzhe looked at the other fragmentary jade, the most conspicuous of which was a white jade belt.
A jade belt is a kind of belt inlaid with several or even ten flat jade plates. It is a symbol of the rank of an ancient official.
Jade belts are square, rectangular, peach-shaped, etc.
Jade belts, often carved with various patterns on the surface, first appeared in the Northern Zhou Dynasty and were used until the Ming Dynasty. The jade belt system was abolished in the Qing Dynasty.
The jade belt in front of Chen Wenzhe is a set of jade plates all made of white jade.
The jade material is as white as fat, warm and thick.
The surface of the jade belt is smooth and smooth.
The overall jade texture is of good quality, with a dense texture and a grayish-white color in some parts.
Needless to say, this kind of jade with a clear color is unearthed.
This jade belt consists of seven belt plates, six peach-shaped bundles, four strip-shaped bundles, and one thallium head and one tail.
The back of the jade belt is drilled with an elephant trunk hole for hanging.
Jade belt boards are also called belt spans, ranging from 13 to 26 pieces.
Materials and quantities vary according to grade, and there are strict regulations.
Jade belt plates are of noble character and extravagant consumption, and were mostly used by nobles in ancient China.
It flourished in the prosperous Tang Dynasty and reached the height of Zhu Ming Dynasty, and the status of its users was extremely high.
"Jiang Wentong Collection" written by Liang Guojiang of the Southern Dynasty recorded: "I am lucky to have a colorful fan, and I go in and out of jade belts and noble ladies."
In the Tang Dynasty, when luxury was fashionable, jade belt plates were often decorated with a flat surface pressed against the ground and raised upwards.
It was not until the Song and Yuan Dynasties, especially from the Yuan Dynasty, that jade belt plates began to use a large number of multi-layer carvings and patterns, and incorporated many exotic style elements.
In the Yuan Dynasty, the regulations on the use of jade belt plates were very strict, and non-princes and ministers could not wear them.
It is known from records that in the Ming Dynasty, jade belts were limited to emperors, vassal kings, dukes, marquises, uncles, consorts and their wives who had established meritorious deeds.
The Ming Dynasty attached great importance to jade belts. The python robe and jade belt were both a noble attire and a treasure to collect.
"Ming Palace History" states that the jade belt should be plain in winter, exquisite in summer, and jade belt should be worn in March and September.
The so-called exquisite refers to the jade belt with carved patterns.
This group of plain white jade belt plates may have been used in the so-called light plain jade belts, which were worn daily by the upper class nobles in the Ming Dynasty.
Nice romance
The jade belt is obviously a symbol of status, while the other piece of jade, Ruyi, is a symbol of wealth.
Putting down the jade belt, Chen Wenzhe picked up another jade Ruyi. This Ruyi jade was larger, reaching 43.2cm in length.
If something like this were put up for auction, it would fetch at least three to five million.
This is because the shape of jade Ruyi is relatively simple, after all, it is very common in China.
Although this piece of jade is a common item among jade ruyi, its workmanship is anything but ordinary.
Not to mention anything else, just the middle part of this Ruyi handle is lightly embossed with thousands of valleys and rocks.
In particular, a vigorous ancient pine towers into the clouds. Under the pine is an old man with a beard, holding a handle of Ruyi on his shoulder.
This corresponds to the God of Lu among the three auspicious gods spread in Chinese Taoism. Holding Ruyi in the hand symbolizes good fortune for high-ranking officials.
"Historical Records Tianguan Shu" says: Wenchang Palace: the first is called the general, the second is called the secondary general, the third is called the noble prime minister, the fourth is called Si Ming, the fifth is called Si Zhong, and the sixth is Si Lu.
Si Lu is the star of fortune who is responsible for fame and fortune.
After the imperial examination system came into being in the Sui and Tang Dynasties, Lu Xing became the god who ruled the fate of scholars, and scholars all over the world worshiped him.
At the bottom of Ruyi, a short immortal stands in shallow relief under a pine tree. He wears long hair and a long robe, smiling broadly. He reaches out his hands to the golden pheasant in front of him to hug it, wishing to hold it in good luck.
The fortune star originated very early. It is said that dwarfs appeared in Daozhou in the Tang Dynasty and were selected as playthings by the court over the years.
After Yangcheng, the governor of Daozhou during the reign of Emperor Dezong of the Tang Dynasty, took office, he abolished this rule and refused the emperor's request to recruit dwarfs. The people of the state felt his kindness and worshiped him as a god of good fortune.
The meaning of blessing is very broad, encompassing all the good wishes and goals in secular life.
What Chinese people call auspiciousness mostly refers to blessing;
Therefore, auspiciousness can also be interpreted as blessing: "Zi Lin" says: "Zhenxiang is also a blessing."
"Fengjiaozhan" says: The first sight of fortune is called Xiang.
Ruyi is a special object in Chinese culture. It is popular because of its pleasing name. If there is an itch on the back of the ridge, which is out of reach, it can be scratched to satisfy people's wishes, hence the name.
This thing is also called holding the king, holding the friend or talking about the handle. Sanskrit is the free translation of Anaru.
The shape of Ruyi's head is like a heart, like a cloud, or a mushroom. It has a long and curved handle. It is pleasing to the eye and the eyes when holding one handle.
Everywhere beside the seat, the words are always as expected. This is a poem written by Emperor Qianlong back then.
In the Qing Dynasty, Ruyi basically got rid of its practical use and gradually turned into an artistic display and a symbol of auspiciousness.
To show good luck, go well with your heart, and carry good wishes such as praying for blessings and receiving good luck.
It has become an indispensable item for greetings, birthdays and joyous occasions.
On the days of the emperor's enthronement, wedding, New Year's Day, Longevity and other festivals, the most gorgeous and exquisite Ruyi in the world were brought to the palace one after another to bring good luck.
There is a poem from time to time that says, "Jiao and Qi all go to the jewelry market, and a moment of success is priceless."
Within the palace, the throne, couch, eucalyptus and other aspects are all indispensable with Ruyi's figure, which highlights the value of its furnishings and treasures.
For example, the British envoy Magartney recorded in "The Interview of the Qianlong Emperor's Envoy" that in every palace or house he passed, there must be a throne, and next to the throne, there must be a Ruyi.
During the Yongzheng Dynasty, the Ruyi tradition, which meant doing whatever you wanted, became popular again.
Yongzheng himself was also very fond of presenting and giving gifts, and from then on it became a common imperial utensil.
Because of the great freedom in the selection of materials, craftsmen can often unleash their endless creativity.
They present all kinds of auspicious meanings in various shapes and decorations.
Looking at the palace paintings and calligraphy collected in the Qing Dynasty, it is not difficult to find images of Ruyi being held in the hands of the emperor.
Both father and son of Yongzong and Qianlong appeared in portraits holding Ruyi in their hands.
For example, the scroll of "Yin Zhen's Recreation Picture" currently in the Palace Museum, the scroll of "Relaxation Picture" of Concubine Yongzheng, the horizontal axis of "The Picture of Emperor Qianlong Watching the Peacock Spreading Its Tail", and the page of "Hongli's Recreation in Ancient Costumes" painted by Lang Shining are the best. illustration.
This Ruyi handle has a graceful and dignified shape, graceful and smooth curves, rigorous and harmonious structure, and a hollow on the back. The craftsmanship is quite difficult.
The shape of the vessel is typical of the Qianlong court, and it is even more cherished by the three immortals of good fortune, wealth and longevity.
Therefore, compared with the countless Ruyi jade in history, the Ruyi jade in Chen Wenzhe's hand is very ordinary.
However, purely in terms of value, this jade Ruyi is not ordinary, and can even be said to be very precious.
Unfortunately, compared to the jade articles from other periods, the number of jade articles from the Yuan Dynasty is still too small. Such a fine jade Ruyi is not from the Yuan Dynasty, but from the Kangxi period of the Qing Dynasty.