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The Case of Han Dynasty Jade

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The Case of Han Dynasty Jade School of Design and Built Environment An Investigation of the Referential Significance of Tradition in Contemporary Jewellery —— the Case of Han Dynasty Jade Bingrui Tian This thesis is presented for the Degree of Doctor of Philosophy of Curtin University August 2020 DECLARATION To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Bingrui Tian August 13, 2020 ABSTRACT The lack of originality has become the main problem in the development of contemporary jade carving. Blindly copying the traditions in contemporary jade carving is not acceptable. This study aims to learn from the Han Chinese jade traditions and to design contemporary jade carvings with Chinese traditional characteristics. The research is divided into two parts: theoretical investigation and creative production. In the theoretical investigation, comprehensive literature research on jade carving design in the Han dynasty focused on social philosophy and design approaches. An interdisciplinary study of the mainstream philosophies of the Han dynasty was carried out to clarify a wide range of ideas and background cultural knowledge about the generation and development of Han jade carving. Three major social philosophy systems were found to have influenced Han jade carving in many aspects: (1) Huang Lao thought advocated the principles of non-interference and simplification, and had a broad influence on the design and theme determination of jade carving in the Han dynasty. (2) Confucianism formed a cultural system in the society and Confucian doctrine was applied to art design forms and styles. (3) Superstition had a secular influence on the functions of jade. By drawing from the varied philosophical systems, Han jade consequently shows diverse characteristics. These three rich philosophical systems constitute the basic cultural frame of Han dynasty jade carving, and serve as the theoretical framework for the design principles and rules for contemporary jade carving. In the creative production, basic design principles were proposed and combined with modern design aesthetics. The production process included creating design themes with reference to the philosophical background, using auspicious meaning, emphasising both the form and spirit, adhering to the precept of simplicity design, and utilising multiple materials. A range of new jade carvings that show the combination of traditional Chinese culture, form, symbolic meaning, and contemporary aesthetics is presented using contemporary jade carving techniques. Overall, the inheritance of traditional culture plays an active role in contemporary 3 jade design. Meanwhile, traditions are reinterpreted in the contemporary context, which provides an opportunity for the rebirth of contemporary jade carving design. Key words: Han dynasty jade carving, contemporary jade carving, Chinese traditions, jade culture, Chinese philosophies. 4 ACKNOWLEDGEMENTS Firstly, I would like to express my sincere gratitude to my supervisors Dr Qassim Saad and Dr Jackie Raphael, for their supervision, academic guidance, encouragement, understanding, and support throughout my PhD study. Special thanks to Dr Qassim Saad for his expert advice and guidance. I also would like to thank Prof. Christopher Crouch and Prof. David Hawkins for their expert advice and guidance, which provided valuable advice for the thesis. My great gratitude goes to Dr Dean Chan for the professional editing of my thesis. My thanks also to my friends during my PhD study, including Chenglong Gu, Kai Mou, Liangjian Li, Dr Bifei Cao, Lishan Wang and Junxin Li, for their kind help and friendship. Last but not the least, I would like to express my deepest appreciation to my family including my husband Dr Shaohua Zhang for their love, understanding, encouragement, and strong support throughout the PhD journey and my life. I would like to thank myself for my courage and persistence. 5 TABLE OF CONTENTS DECLARATION.......................................................................................................... 2 ABSTRACT..................................................................................................................3 ACKNOWLEDGEMENTS..........................................................................................5 Chapter 1 Introduction................................................................................................ 14 ................................................................................................15 1.1 Research topics .........................................................................................16 1.2 Research objecti.v..e..s..........................................................................................17 1.3 Thesis structure ..................................18 1.4 Tradition as an inspira..t..i.o..n...f.o..r...c..o..n..t.e..m....p..o..r..a..r.y...d..e..s..i.g..n....................................18 1.4.1 Value of tradition ..........................21 1.4.2 Design elements, techniques and mat..e..r.i..a..l.s..s..e..l.e..c..t.i.o..n........................... 24 1.5 Introduction to Han dynasty jade..c..a..r..v..i.n..g......................................................25 1.5.1 Han jade history and culture ................................................. 26 1.5.2 Han jade carving aesthetics..a.n...d...d..e..s..i.g..n...................................................27 1.5.3 Han jad..e...c.a..r..v..i.n..g...t..e..c.h..n...i.q..u..e.......................................................................28 Ch1a.p6teCro2nRcleusseiaornch Methods...................................................................................... 30 ...........................................................................................30 2.1 Research methods .................................................................................. 31 2.1.1 Literature research.................................................................................. 33 2.22C.1r.e2aFtiiveeldpwroodrukcrtieosne.a..r..c..h....................................................................................51 2.2.1 Design direction decision..........................................................................51 2.2.2 Summary and creative production scope................................................... 52 Chapter 3 Taoism, Confucianism and Han jade........................................................ 55 6 ..........................................................................................................55 3.1 Overvie.w.............................................................................................................55 3.2 Taoism ........................................................ 56 3.2..1.3HuYain-gYLaanogTaanoditshme FthivoeugEhletmonenjtasd..e..........................................................61 ............................................................ 62 3.2.2 Impact of.T...a..o..i.s..m....o..n...j.a..d..e...d..e..s..i.g..n.............................................................. 66 3.3 Confucianism ....................................................................................68 3.3.1 Confucian thought ..............................................................71 3.3.2 Impact..o..f..C..o..n..f..u..c.i..a..n..i.s..m....o..n...j.a..d..e................................................................73 Ch3a.p4teCro4nScluupseiorsntition and jade carving design..........................................................75 ..........................................................................................................75 4.1 Overview ...................................................75 4.2 Chen-Wei theology design for im.m...o..r..t.a..l.i.t..y....................................................78 4.3 Fang Shu design for good.w...i..s.h...e.s.....................................................................79 4.3.1 Design for divination................................................................................. 80 4.3.2 Design..f.o..r...e..x.o...r.c..i.s..m....................................................................................83 Ch4a.p4teDri5scSuisgsniiofnicance of Han jade to contemporary jade development....................85 ........... 86 5.1 Impact of traditional Chinese culture on contemporary art desig.n.............86 5.2 Combination of trad.i.t.i..o..n..a..l..c..u..l.t.u..r..e...a..n..d...m...o...d..e..r.n....a..e.s..t..h..e..t.i.c...i.n...j.a..d..e................87 5.2.1 Theme creation.......................................................................................... 89 5.2.2 Aesthetic form ....................................................................................... 91 5.2.3 Elements .d..e..s..i.g..n.........................................................................................94 5.2.4 Semiotics 7 .................................................94 5.3 Inspirations for co..n..t.e..m...p...o..r.a..r..y...j.a..d..e...c..a..r.v..i..n..g.................................................. 94 5.3.1 Colour choice .................................................................................98 5.3.2 Using new materials ......................................... 101 5.4 Contemporary jade carv.i.n..g...d..e..s..i.g..n...a..p..p..r..o..a..c..h..e..s.........................................
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