Dialogue Between the Perceived World and the Physical World
The previous two sections have allowed us to gain insight into the various workings of human vision, as well as an understanding that our perceived world is a three-dimensional world. As a result, when viewing jade artifacts with three-dimensional styles or two-dimensional silhouette designs, the brain perceives these designs to be natural and harmonious. However, jade beasts with distorted three-dimensional designs, or which have been projected as flattened units on a surface, are generally perceived by the brain after close inspection as being weird and unnatural, as such contorted creatures cannot exist in the real world.
Yet from another perspective, based on the general theory of relativity proposed by Albert Einstein and which was validated in 1919, the perceived world is really an illusory construct of the brain, while the actual physical world is a four-dimensional space, where the passage of time may quicken or slow, and space can be warped and distorted by physical forces. Therefore, the contorted and flattened jade beasts that seem so unnatural in our perception, may in fact be more accurate representations of objects in the real physical world.
To create their fantastical illusory effects, jade artifacts from the Warring States period to the Han Dynasty utilized many design techniques that challenge sensory perception; but when viewed in the context of their ultimate aesthetic goal of dynamic illusion, the rich imagination and creativity inherent in each work becomes clear. Moreover, a close inspection of the unnatural aspects of these jade designs can serve as a starting point for the exploration and comprehension of other scientific theories.
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Jade Divine Beast
Late Western Han Dynasty to Eastern Han Dynasty
- W 4.4 cm, H 6.8 cm
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Jade Rhyton with Dragon and Phoenix Pattern
Early to Middle Western Han Dynasty
- W 10.1 cm, H 18.3 cm
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Jade Sword Pommel with Beast Pattern
Early to Middle Western Han Dynasty
- Diameter 6.4 cm, H 3.8 cm
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Jade Zhi Cup with Bird and Beast Pattern
Early to Middle Western Han Dynasty
- Diameter 6.7 cm, H 7.8 cm
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Jade She Thumb Ring-shaped Pendant with Dragon Pattern
Middle to Late Western Han Dynasty
- L 8.5 cm, W 7.4 cm, T 0.4 cm
Exhibition-related information
Jade Bixié
It is widely known that the Qianlong Emperor loved to collect elegant works of art,
but it is less known that his collections did not simply include items that he appreciated aesthetically
or which moved him emotionally; many items actually reflected his thoughts and opinions regarding the
march of history and the changing of the dynasties. For example, from the poetry engraved on the chest
of this Han era jade bixié, it can be determined that the Qianlong Emperor felt that the presence
of this jade bixié, traditionally used as a ward against evil, nevertheless failed to prevent the
Eastern Han Dynasty from collapsing as a result of political upheavals stemming from the usurpation of
power by unscrupulous eunuchs. Read more of the poetry and texts that the Qianlong Emperor engraved upon
jade artifacts, and one can gain a better understanding of the Emperor's mindset.
Designs Conforming with the Idiosyncrasies of Our Visual Senses
Our brains perceive the world as being three-dimensional, so we consider carvings in
the round as being natural and reasonable, and find nothing objectionable about two-dimensional objects
as well. Therefore, when we view this two-dimensional flat jade artifact, we naturally feel that the
twists and turns of the dragon-serpent patterns are all reasonable. Now, can you see the four
dragon-serpents depicted in the artifact?
Jade Zhi Cup
This spectacular jade zhi cup overcame severe challenges in its initial
design, not from the intricacy of its decorative patterns, but because the original form of this
artifact was a jade cong from the Neolithic age about 4,000 years before now. Jade cong
are hollow cylinders with a circular inner section and square exterior. About 2,000 years before now,
Han era jade craftsmen added a base to the jade cong while preserving its original structure, and
then carved and polished the square edges into fantastic decorative patterns, to create this masterful
work that we see today. How can one not be awestruck at the ingenuity displayed in this masterpiece?
Jade Belt Buckle with Four Divine Beast Pattern
Upon this jade belt buckle, a dragon, beast, bird, and tortoise have been carved in
relief, and these four divine beasts were a common motif for the cult of immortality that was popular
during the Han era. Now, can you discern each divine beast on the buckle?
Jade Bi Disc with Double Beast Pattern
On the outer circle of this jade bi disc, four divine beasts have been
engraved at regular intervals. Each divine beast has a head, and their flat bodies extend to each side
of the head in a symmetrical pattern. Upon closer examination, the workmanship can be seen to be very
basic, and quite rough in parts. The jade material is dark green in color, and contains impurities.
However, such jade bi discs were ritualistically important, and served as exclusive funerary
goods for the highest rank of nobility. Perhaps rough workmanship and lesser quality material were more
suited for such funerary objects, and when you next see jade artifacts that appear rough and
rudimentary, do not be disdainful of them.
Jade Huan Ring with Beast Pattern
The right leg and claws of this divine beast are located at the center of its torso,
in conformance with physiological principles, but its left leg and claws extend from the back of the
head in an unexpected fashion. Although such strange designs may be alien to our sense of perception,
they may actually hew more closely to the concepts of space and time as defined by modern physics. Take
a look at the Möbius strip depicted on the backboard; can you use your imagination and compare it with
this artifact?
