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A CELADON JADE RING, YUAN 青玉带沁色瑗 China, Qijia culture (ca. 2250-ca.1900 BCE) with a metal stand OD.11.7cm - ID.6.4cm Provenance: A Paris art instructor’s collection Note Our jade yuan is very close to the jade bi dis
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拍品描述 翻译
A CELADON JADE RING, YUAN 新石器时期晚期 齐家文化 青玉带沁色瑗 China, Qijia culture (ca. 2250-ca.1900 BCE) with a metal stand OD.11.7cm - ID.6.4cm Provenance: A Paris art instructor’s collection Note Our jade yuan is very close to the jade bi disk (Acc. No. S1987.924) in the collection of the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., part of the Arthur M. Sackler Collection, donated in 1987 (See image 3, Source: Smithsonian Institution). It shows similar jade material, russet coloration, carving technique, surface polishing, and perforation/drilling method. 此件玉瑗与藏于华盛顿特区史密森学会阿瑟·M·赛克勒美术馆(收藏编号 S1987.924)的玉璧在玉质、沁色、工艺、打磨方式及穿孔工艺等方面极为接近(如图3,图片来源:史密森尼学会)。 A yuan (jade ring) is an archaic circular jade artifact with no opening, originating from prehistoric times through the Han dynasty. According to Erya: Shiqi, its ancient standard form is defined as “hao bei rou” (好倍肉), where rou refers to the width of the jade rim and hao refers to the diameter of the central perforation. The overall form is characterized by a large central aperture, relatively narrow rim, thin walls, and a refined, balanced circular outline. It is always a complete closed ring, without any gap or break, clearly distinguishable from the jue (jade pendant ring with a gap). During the Shang and Zhou periods, jade yuans are typically plain and undecorated. From the Spring and Autumn and Warring States periods through the Han dynasty, they are often decorated with archaistic patterns such as grain (gu), cloud, or coiled dragon motifs. Sizes vary significantly: smaller yuans served as key components in composite jade pendants, while larger examples functioned as ritual objects in ancient ceremonial contexts. The term yuan (瑗) is phonetically related to yuan meaning “to assist” or “to support.” In ancient usage, it had a connotation of assistance and guidance. Aristocrats could grasp it with both hands when mounting chariots, ascending steps, or climbing, indicating a practical function as a supporting grip. At the same time, it served as a ceremonial token of identity. According to ritual texts, “summoning someone with a yuan” refers to its use as a formal emblem for imperial summons, conveying the ruler’s call to ministers or officials. It was also used in court visits and aristocratic banquets, symbolizing reception, assistance, and ritual respect. 玉瑗为上古至两汉经典圆形无缺环类玉器,依《尔雅·释器》古制,定为好倍肉之形制,肉指器身外缘玉边宽度,好指中心圆孔直径,整体特征为大孔窄边、器壁纤薄、轮廓空灵规整,通体多作正圆造型,无缺口、无断口,可明确区别于有缺的玉玦,商周时期多光素无纹,春秋战国至汉代常雕琢谷纹、云纹、蟠螭纹等仿古装饰纹样,尺寸跨度悬殊,小型玉瑗为组玉佩核心构件,大型玉瑗属上古礼仪用器,瑗字通援,本义含援引扶持之意,上古贵族登车、升阶、登高时可双手共握借力,兼具实用牵引功能,同时为古代专属信物,古礼记载召人以瑗,是君王征召臣下、传达召见旨意的礼信之物,亦用于朝聘、宴飨等贵族礼仪场合,象征接引、辅佐与礼遇,和肉好若一的玉环、肉倍好的玉璧形成严格形制区分,是先秦礼乐制度下体系完备的典型玉礼器。
Condition:This jade yuan is carved from celadon-yellow jade and is generally well preserved. It exhibits natural russet inclusions and fissures, with two old nicks visible along the outer rim. The surface shows a well-developed, aged patina. Such condition characteristics are typical of transmitted archaic jades and do not affect the overall form. 此件玉瑗整体呈青黄玉质,半通透,带自然沁色与绺裂,属典型高古玉生坑熟旧状态,整体形制规整,为齐家文化风格玉瑗,其主体为青黄色玉质,质地温润,局部带自然的黄褐色、黑褐色沁斑,沁色由表及里、过渡自然,为长期埋藏形成的次生色,无人工染色痕迹,玉质局部可见天然绺线,其中一条斜向绺裂由外缘延伸至内缘附近,绺线内有沁色填充,无崩口或二次损伤;器形为标准正圆环状,孔径与肉宽比例符合玉瑗特征,器壁规整,厚薄均匀,边缘打磨光滑,保留有古玉特有的熟旧包浆与哑光质感,无明显的现代抛光痕迹;外缘二处存在磕碰崩口,崩口处玉质裸露,可见受沁与老化痕迹,为埋藏或传世过程中形成的旧伤,无后期修补痕迹,整体无大面积断裂、缺失,仅局部绺裂与小崩口,保存状态尚可,此件玉瑗为自然老化与埋藏环境下形成的熟旧品相,绺裂与崩口属于高古玉常见的传世瑕疵,未影响整体形制与核心特征。

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