YUANG Liangrong, ZHANG En, TU Xiaoqiong. Historical Origin and Evolution of “Shexingpei”: Take Example of Dragon-Phoenix Type Jade Excavated from Tomb of Marquess Haihun[J]. Journal of Gems & Gemmology, 2016, 18(4): 55-59,65.
Citation: YUANG Liangrong, ZHANG En, TU Xiaoqiong. Historical Origin and Evolution of “Shexingpei”: Take Example of Dragon-Phoenix Type Jade Excavated from Tomb of Marquess Haihun[J]. Journal of Gems & Gemmology, 2016, 18(4): 55-59,65.

Historical Origin and Evolution of “Shexingpei”: Take Example of Dragon-Phoenix Type Jade Excavated from Tomb of Marquess Haihun

More Information
  • Received Date: March 30, 2016
  • The archaeologists have recently unearthed a dragon-phoenix type jade in the tomb of marquess Haihun, Nanchang, Jiangxi Province.The unearthed jade is white, and its type belongs to "Shexingpei" with dragon-phoenix.This jade is of excellent texture, and after 2000 years it cannot be seen any signs of calcification.More importantly, it has exquisite workmanship.The use of high or shallow relief and piercing crafts represent the highest level of Chinese jade in Han Dynasty.Based on the analysis of the jade, the authors explored the evolution of "Shexingpei" from the shape and decoration, and clarified the reasons in the process of the evolution.Finally, it revealed spiritual connotation under different social backdrop.
  • [1]
    黄诚.浅述两汉玉韘佩[J].东方收藏, 2015(3):19-22.
    [2]
    徐汝聪.楚[韦枼] [J].江汉考古, 2014(5):46-62.
    [3]
    石荣传.两汉韘式玉佩分期研究[J].四川文物, 2009(4):55-58.
    [4]
    黄佳欣.从韘到扳指的形态变化分析[J].设计, 2015(4):88-89.
    [5]
    黄曲.浅论"韘"及"韘形佩"[J].考古与文物, 2011(2):55-62.
    [6]
    田敬权.玉韘的使用及发展问题探究[J].神州, 2014(18):26-26.
    [7]
    常光明."玉玦"考——"玉玦"非"珥"亦非"韘"[J].英才高职论坛, 2009(2):16-17.
    [8]
    阳路.从玉韘到扳指[J].国家电网, 2015(11):104-105.
    [9]
    黄诚.汉代佩饰玉与佩玉思想研究[D].徐州:江苏师范大学, 2013.
    [10]
    古方, 于平常, 素霞, 等.中国出土玉器全集[M].北京:科学出版社, 2005.
    [11]
    岑桑, 张旭明.扳指坤厚载物的帝王之威[J].中国集体经济, 2015(2):76-81.
    [12]
    陈艾丽.浅析汉代玉器的文化内涵[D].西安:西安美术学院, 2010.
    [13]
    许晓东.韘、韘式佩与扳指[J].故宫博物院院刊, 2012(1):49-66.
    [14]
    李芽.中国古代戒指文化小考[J].服饰导刊, 2014(4):17-22.
    [15]
    张振松.飞凤形玉觿为何象征公正廉明[J].检察风云:预防职务犯罪专刊, 2015(2):18-19.
    [16]
    杨建芳.规律性认识与古玉辨伪——北京故宫博物院鹰攫人首玉佩及上博与美国弗利尔美术馆玉舞人的考察[J].文物, 2003(3):72-85.
    [17]
    周苏.玉韘的发展及变革[J].文物鉴定与鉴赏, 2010(1):58-61.
    [18]
    蔡庆良.蔡庆良说玉玉器鉴赏之三商、西周玉器风格比较(下)[J].紫禁城, 2010(4):62-69.
    [19]
    莫默, 丘志力, 张跃峰, 等.中国彩色宝玉石使用的三次高潮及其与古代丝绸之路关系探索[J].中山大学学报:自然科学版, 2014, 53(6):118-126.
    [20]
    丘志力, 吴沫, 孟增璐, 等.清代翡翠玉文化形成探释[J].中山大学学报:社会科学版, 2007, 47(1):46-50.
    [21]
    新华网.南昌西汉海昏侯墓出土龙凤纹玉佩[EB/OL].http://www.http://news.xinhuanet.com/photo/2015-11/19/c_128447-113.htm.2016-05-04.
    [22]
    玉缘.曾侯乙墓出土玉器之一[EB/OL].http://www.http://blog.sina.com.cn/s/blog_53f7b43f010007qg.html.2016-05-04.
    [23]
    嘉德在线.嘉德在线成立十周年精品拍卖正式亮相[EB/OL].http://www.collection.sina.com.cn/pmzx/20101215/1606-7765.html.2016-05-04.
    [24]
    王宏.《梦溪笔谈》译本翻译策略研究[J].上海翻译, 2010(1):18-22.
    [25]
    曹妙聪, 李晶.曾侯乙墓古玉器纹饰与工艺特点[J].宝石和宝石学杂志, 2007, 9(3):40-43.
    [26]
    陈福坤.古玉鉴定漫谈[J].东南文化, 1995(2):115-121.
    [27]
    杨伯达.论中国古代玉器艺术[J].故宫博物院院刊, 1995(S1):144-167.
    [28]
    杨伯达.玉润光华——中国玉文化[J].东方收藏, 2011(1):8.
    [29]
    何松.中国玉文化[J].宝石和宝石学杂志, 2005, 7(3):26-27.
    [30]
    何松.中国史前时期玉器的主要分布地域与特征及其玉文化[J].宝石和宝石学杂志, 2005, 7(2):37-41.
    [31]
    孙晓辉, 古方, 吕妍.鉴赏古玉之美[J].中国宝石, 2014(9):165-169.
    [32]
    夏鼐.汉代的玉器——汉代玉器中传统的延续和变化[J].考古学报, 1983(2):125-145.

Catalog

    Article Metrics

    Article views (321) PDF downloads (23) Cited by()
    Related

    /

    DownLoad:  Full-Size Img  PowerPoint
    Return
    Return