“A piece of jade, carved through five millennia of time; two cities, guarding the bloodline of the same origin.” Accompanied by the clear, resonant sound of jade chimes, Taiwan youth Mao Yongxun, distinguished teacher at Nanjing Institute of Tourism & Hospitality, arrived at the Nanjing Museum, where she joined associate researcher Zhang Changdong to trace the millennia-old jade culture that has endured and been passed down across the Strait.
Video:https://youtu.be/eG5os6H9MOk?si=1yLiSeg6xgXJSCml
In the History Gallery of the Nanjing Museum, Mao’s gaze fell upon a jade ornament glowing with a soft, lustrous sheen, the openwork jade ornament with human, bird and beast designs. “In Taiwan, I often heard teachers say that the openwork jade ornament with human, bird and beast designs at Nanjing Museum is the ‘pinnacle of prehistoric jade carving’. It’s amazing to finally see it today!” she said with excitement.
“Cultural relics, too, await those who long for them,” Zhang replied with a smile. He explained that the openwork jade ornament was unearthed from the Zhaolingshan site in Kunshan, Jiangsu, dating back more than 5,000 years to the early Liangzhu culture. “Look at how a person, a bird and a beast coexist in this carving. Doesn’t it resemble a ‘mythical universe’ in miniature?”
On this jade ornament, just 5.5 cm high and 0.5 cm thick, three living beings are intricately carved, every line revealing the ingenuity of ancient craftsmen. “The bird perches on the kneeling human figure. On the person’s long headwear, beneath the bird, the person lifts a small four-legged, short-tailed beast, which is straining to climb upward.” Mao was deeply captivated by this piece, which embodies the wisdom of the ancients. She said thoughtfully, “When I saw the Jadeite Cabbage at the Taipei Palace Museum, I couldn’t help wondering where such exquisite craftsmanship originated. Seeing this piece today, I finally have the answer.”
Archaeological findings show that the workmanship of the Liangzhu jadeware involved processes like cutting, shaping, drilling, incising, grinding and polishing. Essentially, it already included all the major processes used in later jadeware making. Zhang explained that the openwork jade ornament with human, bird and beast designs is made of nephrite (tremolite) and crafted with a range of techniques, including line engraving, round carving, openwork carving, drilling, grinding and polishing, which is a work of exquisite crafting.
“Our ancestors were so wise and brilliant. Using the most primitive tools, craftsmen achieved the highest level of artistry,” Mao exclaimed in delight, “The Jadeite Cabbage is an artifact of the Qing Dynasty. This sculpture resembles a real cabbage almost perfectly. It was carved using the very same techniques. Only the tools used later became more advanced.”
Zhang nodded, “Liangzhu craftsmen followed the natural shape of jade, skillfully arranging the designs of the human, bird, and beast. Qing-dynasty craftsmen likewise respected the jadeite’s natural color, carving the green areas into leaves and the white into the cabbage stalks. All of this reflects the wisdom of ‘crafting materials according to their natural characteristics’.”
Beyond technique, the ancient intention of using jadeware to express wishes and prayers has also been passed down as an unbroken tradition.
When the openwork jade ornament was unearthed, it was placed right on the chest of the tomb’s owner. It may have served as a medium for the Liangzhu people to communicate with heaven and earth, gods and divinities, embodying their reverence for nature and the unknown, and their prayers. “Looking at such jadeware feels like traveling through time and space, touching the lives of the Liangzhu people,” said Mao.
The Jadeite Cabbage is also a symbol of the refined life of the ancients. It was originally among the furnishings in Palace of Eternal Harmony of the Forbidden City, and is said to have been the dowry of Consort Jin, a consort of the Guangxu Emperor in the late Qing Dynasty. The whiteness of the cabbage symbolizes purity, representing the new bride’s chastity. The insects on it signify fertility, wishing the bride many children and grandchildren. Zhang added that the Liangzhu jadeware uses symbolic patterns to communicate with heaven and earth, while the Jadeite Cabbage conveys blessings through naturalistic realism; though separated by time, they both embody the principle of “jade as a vehicle for virtues and values”.
When the openwork jade ornament with human, bird and beast designs of the Nanjing Museum “meets” the Jadeite Cabbage of the Taipei Palace Museum in dialogue, what they convey is not only the continuity of craftsmanship but also the enduring bond of a shared cultural lineage.
“Unfortunately, one of the long antennae of the katydid at the leaf tips is slightly broken.” Speaking of the Jadeite Cabbage, Mao expressed a hint of regret. Zhang also shared the sentiment: “What a pity! What should have been perfect is missing a small part, and that’s heartbreaking.”
Across the long river of time, jadeware may bear traces of imperfection, yet the spirit of Chinese jade culture has been passed down intact through generations of artisans, resonating across the Strait. This is not only the story of cultural relics, but also a shared cultural memory and emotional anchor for every Chinese person. “Standing before the jade ornament, we hear an echo that travels across the Strait. Blades may grow dull, but the spirit of jade endures,” as Mao put it.
Since September 2025, Modern Express has launched the “Bond with Treasures: Cross-Strait Youth Explore National Treasures” Program. This exploration of jade culture is one of its featured activities. The openwork jade ornament with human, bird and beast designs, hailed as the “pinnacle of prehistoric jade carving”, dates back over 5,000 years, while the Jadeite Cabbage housed in the Taipei Palace Museum is a masterpiece of Qing-dynasty jade carving. When they “meet” in dialogue, they convey not only the continuity of craftsmanship but also the enduring bond of a shared cultural lineage.