The character shape and pattern in jade developed to the peak of the Ming and Qing Dynasties. Although there is not much information unearthed through science, the palace’s old collections and folk handed down products are magnificent. The number of statues produced during this period is much larger than in the past. At the same time, with the development of science and technology, the skills are becoming more and more sophisticated, and the process is getting more and more refined. In the shaping of the characters, it is closely combined with the social style that prevailed at that time, "the map must be intentional, and the meaning must be auspicious." Fu Lu Shou Samsung came into being, and some jade Buddha elephants, jade Guanyin, and jade arhats also appeared constantly, but more are still innocent and lively children's images. In the Ming Dynasty, the boy was born obese, wearing only a flower apron and composing his legs. Holding a lotus stem in both hands, the large flower leaf on the upper end of the stem is placed on the back, which makes the shape look like a natural one. In addition, the boy’s head is more vivid, and the symmetrical eyes, round face and small eyebrows, small eyes, small mouth, protruding garlic nose and the childish smile are not only popular, but also It also reveals a natural blessing. This is the beautiful meaning of the "living child" hidden in the works. The works of the Qing Dynasty continue to follow this kind of auspicious image and art.
Some people think that the arts and crafts of the Ming and Qing Dynasties were cumbersome and complicated, and the style was low, flowing in tackyness and craftsmanship, lacking a high aesthetic realm, and not allowing people to enjoy the beauty of the Tao. In fact, this so-called tackyness and craftsmanship must not be generalized. It also represents the aesthetics of some people, and it can be said that it directly shows some simple and natural aesthetic tastes in folk crafts. Moreover, it is precisely because of the participation and influence of this aesthetic consciousness that this creative method of boldly blending folk customs into the art of jade carving has made the precious jade that has always been advocated by the rulers monopolized, freed from the traditional constraints and broke through. The old frame has moved to a wider world, and has been loved and recognized by the general public, which has promoted the development of the jade industry in the Ming and Qing Dynasties. Even the production of the palace jade has to absorb the smell of earthy aroma to rejuvenate the youthful vitality of jade carving art, thus forming a true, delicate, vulgar and colorful era style.
In short, the character shape and pattern in jade, because of its small material, is not easy to express, so it is not as thick and powerful as other sculptures of texture, but it often wins with small and exquisite. If we pay attention to accumulating all kinds of relevant materials and carefully analyze and compare them, we can not only let us know more about the customs and habits of each period, but also explore the characteristics of the characters in each period according to the order of the times, find out the rules, and identify them. Very meaningful.
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