Hubei Turquoise Carving

Hubei Turquoise Carving

　　Origin: Hubei, China.

History: As early as 4,000 years ago, jewelry worn by women in China included pendants and earrings made of turquoise. In the patterns on bronze and lacquerware from the Shang Dynasty, turquoise inlays have been discovered. Currently, the Hubei Provincial Museum houses two cultural relics — a bronze dou (food vessel) and a spoon (both ritual objects) — unearthed from the ancient territory of the Chu Kingdom 2,414 years ago. These artifacts are inlaid with turquoise and still retain their unique, crystal-clear luster. During the Tang Dynasty, Princess Wencheng also brought a large number of turquoise ornaments with her when she traveled to Tibet, using them to decorate the famous Jokhang Temple in Lhasa.

Features: Leveraging the lively form, varying hardness, and vibrant colors of turquoise, artisans have designed and created numerous iconic figures and masterpieces. The pieces are crafted with full, complete structures that are vivid and innovative. In terms of carving techniques, they incorporate the styles of jade carving from across China — with clean, concise cuts, clear lines, and delicate craftsmanship. The new work “Song of Chu Heaven” by the renowned turquoise carving artist Yuan Jiaqi was carved from an original stone weighing 14.7 kilograms. The entire piece features fine texture, pure surface, and a bright, eye-catching emerald green color, making it an extremely rare treasure since turquoise mining began in Hubei Province. Based on ancient folk legends and taking advantage of the translucent beauty of turquoise carving, the artist boldly employed jade carving techniques such as openwork and pierced carving, along with the realistic style of traditional Hubei school court lady figures. On this polygonal piece of turquoise, he meticulously carved a perfect three-dimensional scene. On the immortal mountain and ethereal pavilion, white clouds drift, cranes fly, and the sky is clear. The young crane boy holds writing brushes, ink, paper, and inkstones, as well as paintings, while the crane fairy is depicted as dignified and graceful, elegant and unrestrained, with splendid and radiant attire. In her leisurely and contented expression, there is a deep longing for someone far away. The entire work adopts a summarized approach, with smooth and refined lines, skillfully conveying a sense of space and three-dimensionality.