Academic literature on the topic 'Jade carving'

History of development of Chinese jade carving art is dating back some 8000 years into Neolithic period The development of the ideas of Chinese jade carving, the change of their external forms, reflects the close relationships between reality (the objective world) and the inner world of man. The difference between contemporary and traditional jade carvings lies in the artist’s conscious desire to convey and disseminate his own worldview in society. The purpose of contemporary jade carving does not stop at the description of the traditional image and form by the artist, but also, through embodiment in form, tries to reveal an individual aesthetic perception. Jade carved works, possessing symbolic meaning, have a significant impact on the complex interaction between material and spiritual world of the artist; having a deep, symbolic meaning, these works affect the feelings and spirit of people as well. Tsiu Tsitsing (born in 1979) is the most famous and influential jade sculptor in contemporary China from the end of the 20th century and at the start of the 21st century, his jade articles have a distinct personal style, are original and modern. His works not only contain the thoughts and concepts of Buddhism (Zen-Buddhism), Taoism (Lao-Zhuang philosophy), and Confucianism (literary view) in traditional Chinese culture, but also integrate the concepts and formal language of Western modern art. As the most representative type of his (Tsiu Tsitsing) extensive oeuvre of sculptures, the series of jade carvings of " faceless Buddha" contain profound cultural information. The creative subject by inventing new system of symbolic language creates a new world of jade carving. At the same time, the creative subject re-examines the possibility of the current integration of Chinese traditional culture and Western modern art with the help of this symbol system.

In the enduring tapestry of China’s rich and ancient civilization, the jade culture has unfolded hand in hand with the progression of Chinese society, with the art of jade carving representing its very essence. Through millennia of refinement, jade carving has reached a pinnacle of artistic expression. In today’s era characterized by the rapid advancement of artificial intelligence, the strategic utilization of AI technology and comprehensive data analysis has become pivotal in creating jade sculptures that resonate more deeply with contemporary tastes. In the present age, excessively traditional jade carving designs no longer fully meet the aesthetic demands of contemporary individuals, thus hampering the advancement of the jade carving industry. In order to effectively disseminate Chinese jade culture on a broader scale and foster the growth of the jade industry, it necessitates designers harnessing artificial intelligence technology and utilizing methodologies of big data analysis to create products infused with innovative cultural symbols and contemporary imprints. ade carving products embody distinctive traditional cultural attributes of China, where the key to modern jade carving creative design lies in seamlessly blending traditional cultural artistry with contemporary aesthetic values. Artificial intelligence technology offers excellent facilitative conditions for the innovation and advancement of jade carving. Only by striving for breakthroughs to meet the psychological consumption demands of the new era can we more effectively foster development. His paper, within the realm of artificial intelligence and based on the perspective of big data analysis, conducts a thorough examination and analysis of the existing cultural and creative products developed by the Henan Museum, utilizing elements from its collection of cultural relics. It summarizes the current status and challenges present in the design of cultural and creative jade carving products at the Henan Museum. Finally, it puts forth relevant opinions and recommendations addressing these issues. Furthermore, it aims to provide insights for the development and innovation of cultural and creative products in other museums, offering valuable experiences in this regard.

In a variety of cultural contexts, primitive ideas invariably corresponded to the socio-cultural background of the era, as a result of which many legends and religious rituals associated with jade were formed. The subjects of the Chinese art of jade carving are the fruit of centuries–old cultural and historical experience. They are an expression of the spirit of national culture in the form. Thus, the subject of this study is the Chinese carved jade from the collection of the Museum of Anthropology and Ethnography Peter the Great (Kunstkamera) of the Russian Academy of Sciences (hereinafter - the Kunstkamera). The subject of the study are objects of Chinese jade carving art, which are in the collection of the Kunstkamera. The main conclusion of this study is that the subjects made in jade carving were associated with mythology and religion, and their artistic expression reflected the jade culture of different historical periods and representations of different social strata. The novelty of the research lies in the fact that the article focuses on determining the age of jade products by analyzing their plots, and also confirms that ancient artists, through geometric shapes and dynamism of the pine tree image as one of the central images of plant plots, enhanced the transmission of spatial perspective in the art of jade carving. This may be of interest to researchers in related scientific fields.

The article discusses the technology and basic principles of three-dimensional jade carving in China, the historical development of the technology of processing the "national stone" of Celestial Empire. The main properties of jade that determine the technology of its processing and the nomenclature of stone-cutting products, as well as the advantages associated with this mineral in Confucian philosophy, are considered. It is shown that the properties of stone raw materials largely determine the master's idea and the subsequent design of the product. It is shown that studies of the features of the processed surface of carved jade products help to date their manufacture, and traceological studies clarify the features and techniques of the ancient technology of processing this mineral.

In machines working under the effect of alternating stresses, the fatigue bending deflection occured occasionally. On the basis of the Fuzzy Reliability Theory and with full consideration of the fuzzy factors during mechanical process, the paper studied the fuzzy reliability optimal design for the hollow spindle of multi-functional jade carving machine and improved the design quality of the jade carving machine spindle by probing into the combined model constructed by the random variables and fuzzy variables. The design was approved to be advanced, reliable and practical in service and provided a new way for the design of multifunctional jade carving machine spindle and other mechanical products.

Innovative exploration of the inheritance and dissemination of intangible cultural heritage can make it play an important role in national development and international social exchange. By taking the inheritance and development of Xiuyan jade carving craft as the background, in this study, the design principle, technology platform, process flow, and technology integration of virtual display technology applied to jade carving technology are elaborated, and the realization of adopting virtual reality technology to assist inheritance of Xiuyan jade carving technology is summarized, so as to form the inheritance system mode, which is suitable for the modern lifestyle. Finally, VR technology is used to explore the development of visualization platform for Xiuyan craft, which further explores the way of intangible cultural heritage protection of traditional manual technology.

This work is devoted to the study of the development and evolution of ancient Chinese jade art up to the 3rd century A.D. In ancient Chinese society, jade served not just as a decorative element, it performed the function of personal identification and communication. This study analyzes the origin and technical characteristics of jade art, as well as the artistic characteristics of different themes in different periods (From a technical point of view, the most popular in the manufacturing of jade products was the deep engraving of yinke, used to create decorative elements of products, carving or relief), the development of jade art is evidence of the historical development of China, it is closely related to it is connected with the theocratic political regime of the ancient state. The main conclusion of this study is that the author confirmed that the Chinese jade culture has a profound influence on the artistic style of jade, analyzing the characteristics of jade in different periods, and ideology is one of the important factors influencing the development of jade. The novelty of the research lies in the article that the author emphasizes the culture of "funerary jade" in the development of Chinese jade art, and "funerary art" in Chinese jade culture. At the same time, author emphasizes the importance attached to "people", which may be of interest to specialists engaged in the relevant research areas.

Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.

Natural kinds are widely understood to be the real classifications of things that actually exist in the world. Natural kinds are the categories we tend to aim for when we seek to understand the world, as it really is. Discovering what these real classifications are is often considered to be the project of scientific research in many fields from astronomy and agronomy to zoology and zymurgy. When we discover something unfamiliar to us and we want to know what sort of thing it is, we might ask: ‘what kind is that?’ For instance, in a physics class, we might ask: ‘what kind of quark is that?’, where the answer might be: ‘that is a charm quark’. In biology, we might ask: ‘what kind of plant is that?’, with the answer being: ‘it is a Venus flytrap (Dionaea muscipula)’. Or, in chemistry, we might ask: ‘what element is that?’, with the answer being: ‘lithium’. Knowing that the thing we asked about is a member of that particular kind tells us a lot about it if it is a natural kind. Membership in a natural kind tells us that the thing in question shares many important characteristics with other things that are in the same natural kind category. For example, consider the category of Venus flytraps. All plants that belong to that category share many important characteristics; among these include: perennial flowering, carnivorous eating habits, capable of thigmonastic responses (closing their ‘trap’ when prey alight on their trichomes), ability to photosynthesise, belonging to the family Droseraceae and the kingdom Plantae. Some of these important characteristics and properties have been referred to as ‘essential’ by philosophers because they are the properties that are thought to be necessary for the thing to be a member of that natural kind. That means that if the thing does not have those necessary properties, then it cannot be a member of that natural kind. When we ask the question: ‘what kind is that?’, we do not always discover natural kinds. Sometimes when we ask: ‘what kind of thing is that?’, we find out, for instance, that this thing that we are asking about is green. This means we find out that it belongs to the category of green things. The category of green things is a kind category, but it is not a natural kind. The category of all green things includes the Venus flytrap but also green traffic lights, green tea, guacamole, collards, and dark jade-painted 1978 Ford Mustang sportscars. What all of these things have in common is that they are all green. However, they do not share any other properties or characteristics apart from being green. Green kinds of things are not natural kinds like those mentioned earlier. The kinds that are picked out by the classifications of charm quark, Venus flytrap, and lithium are considered to be very different from the classification of green things. Whilst all charm quarks, all Venus flytraps, and all samples of lithium are each considered to be classifications of natural kinds, the category of green things is not. The philosophical question that arises is: ‘what makes classifications like that of the natural kind that includes all charm quarks natural and classifications like that of all green things not natural?’ Put a different way: ‘what makes something a natural kind and how can we tell the difference between natural kinds and what we might call “artificial kinds”, like the grouping of green things?’ A popular answer to this question is that natural kinds pick out natural groupings whose existence in the world is not dependent upon human interests or activities, whereas artificial kinds pick out groupings whose existence in the world is dependent upon human interests or activities. However, others have provided substantial evidence challenging this claim, arguing that there are at least some natural kinds that are dependent upon human activities and practices for their existence. In addition to questions concerning what qualifies as naturalness in natural kinds and what is the distinction between natural and artificial kinds, philosophical discussion also focuses on the metaphysics of natural kinds and the epistemic value of natural kinds. A perennial question widely debated is whether the classifications used in scientific disciplines – physics, chemistry, biology, neuroscience, geology, linguistics, anthropology, and more –really do map on to a natural classification that really exists in the world. That is, are the ways we partition elements in chemistry, organisms in biology, or quarks in physics, the same partitionings that naturally exist? A lot of the literature on natural kinds relies on using examples that are thought to be quintessential natural kinds, like biological species and chemical elements. But others argue that there is clear evidence that many, if not most, biological species and chemical elements are not natural kinds, especially if membership within a natural kind requires possession of an essential property. Within the discussion of natural kinds, there are also questions with regard to the conditions of membership that challenge the view that natural kinds membership is determined by the possession of a particular essence. Instead of the possession of a particular essence, some argue that membership in a natural kind may instead be determined by the possession of a cluster of properties, a relationship, or something else. In many of these discussions, Plato’s metaphor of carving nature at its joints is used to describe the mapping of natural classifications onto natural kinds by the implied comparison to the butchering of an animal along its natural divisions (knuckles, limbs, etc.) rather than partitioning it in a way that does not coincide with the animal’s body structure. Whilst the metaphor helps explain the nature of natural kinds, it does so by assuming nature is that which is pre-partitioned.