Clan Totem Statues

April 20, 2014 panhongshanjade Leave a comment

氏族图腾造像

氏族的图腾崇拜是氏族宗教的重要内容。泛红山文化时期是一个繁荣的氏族社会，泛红山文化玉群中有多种氏族图腾的造像，他们的造型是上古传说的生动写照，是《山海经》等远古经典传说的形象注释，同时也证实了很多远古的传说是有其真实的历史背景的。很多传说中的中华祖先的图腾形象在泛红山文化玉群中可以看到他们的生动造型。由此也可证实泛红山文化是中华文明的重要源头。

Clan Totem Statues

Clan totem worship was an important part of the original clan religion. It is a prosperous community during the Pan-Hongshan cultural period, there are many kinds of clan totem statues among the Pan-Hongshan cultural jade group. They are vivid portrayals of ancient legends, also they are the image annotations of the ancient classics, such as <Shan Hai Jing>, and they confirmed that many ancient legends have their true historical background. Many vivid totem images of legendary Chinese ancestors can be seen among the Pan-Hongshan cultural jade group. These totem images also confirmed that the Pan-Hongshan culture is an important source of Chinese civilization.

—

Fig 1.6

1.6 人首夔龙—雷神

高5.2cm，宽5.5cm，厚1.5cm。

青玉，鸡骨白沁色，有灰皮、蚀斑及蚀孔。

其造型为一人与带翅翼龙之融合体，人首、人足、龙身和鸟翅。整体造型是与三星他拉“ C ”形龙为基础，将其头换为人头，并且在其背部加翼，在其尾部加足。其头部形象为：一双吊梢细目突起，鼻梁挺拔直通上额，双耳贴于面颊后，小嘴呈“ 一 ”字形，尖下颌前翘，颈后有鬣，鬣端上翘。背部有下垂的翅膀，近尾端处生有一双人脚，背部中间有一对钻圆孔。这一造型像是传说中雷神的形象，他可兼控海、陆、空，既可呼风唤雨又可翻江倒海、雷霆万钧，威力无比。传说伏羲之母华胥就是因为踏到了雷神的大足印迹而怀孕，生出人首龙身的伏羲。伏羲是中华民族的共同祖先，人首龙身或人首蛇身是他的图腾形象。

1.6. Thunder God in human head and dragon body shape

High: 5.2cm, width: 5.5cm, thickness: 1.5cm.

The jade is sapphire with corrosive pits and holes and white markings on the surface.

It’s a human and a dragon integrated statue. Its shape is: human head and feet, C-shaped dragon body with wings, a long mane behind the neck. There is a perforation on its back. This statue is the Thunder God image in legend. It is a super-powerful god; it can control the land, sea and sky. There was a legend that Fuxi’s mother “Huaxu” once stepped on a large foot point of the Thunder God, and then she was pregnant and gave birth to Fuxi who has human head and dragon body. Fuxi is the common ancestor of the Chinese nation; his totemic image is in human head and dragon or snake body.

—

Fig 1.7

1.7 蛙神女娲

高6.4cm，宽2.5cm，厚2.3cm。

灰绿玉，有灰皮、蚀斑及蚀孔。背面沁色厚重，呈棕、红等色。

其造型为一跪姿女子，身体直立，面朝前，眉目清秀，吊梢眼突起，鼻梁较宽，口微张，一双大耳贴于面颊后侧；双乳高突，双手托于双乳下方；头顶一蛙，蛙之双目向两侧突起；前腿直立，后腿屈蹲，似欲跃起之状，形态生动，且蛙呈黄色，可谓巧沁。此造像是哺乳期母亲的形象，应是蛙氏族母祖之像，有祖先崇拜的寓意。自泛红山文化早期至新石器时期，蛙是相当普遍的氏族图腾。蛙与娲相通，传说中也有女娲为娲神之说，故此女子之造像实为女娲之像。传说伏羲和女娲是夫妻，他们是中华民族的共同祖先，正像是西方传说中的亚当和夏娃一样。除了人形的女娲造像外，还有蛙形的女娲图腾造像,蛙首人身的女娲氏族造像以及她的人首蛇身的图腾造像等。

1.7. The Frog Goddess Nuwa

High: 6.4cm, width: 2.5cm, thickness: 2.3cm.

The jade is in gray-green color and reddish-brown markings.

The statue is a woman in kneeling posture, facing front, her upper body is upright, and her eyes are sloping upward, mouth slightly open, ears affixed to the back of the cheek. She has a pair of high convex breasts, and put her hands at the bottom of breasts. There is a frog on her top of head, it has high convex eyes, upright front legs and squatting back legs, it is a vivid frog’s image. This woman looks like an image of nursing mother; the frog decoration means that she is ancestress of the Frog clan. Since the Pan-Hongshan cultural period to the Neolithic period, the frog was a very common clan’s totem. A historical legend said that the human ancestress Nuwa was a Frog Goddess, so this image should be the statue of the Goddess Nuw a. In addition according to the legend, Fuxi and Nuwa are husband and wife; they are the common ancestors of Chinese nation, just as is the Western legend of the Adam and Eve. Apart from Nuwa statues in human form, there are frog-shaped Nuwa totemic statues, the frog head and human body Nuwa clan totemic statues, the human head and snake body Nuwa totemic statues and so on.

—

Fig 1.8

1.8 有熊氏图腾

高7cm，宽3cm，厚3.2cm。

全器呈鸡骨白沁色，原玉质不辨。

其造型为一人、熊融合体，上半身为熊体，腰部以下为人体。他的双目圆突，鼻梁很高，尖鼻，双耳未饰出，背部隆起，双手托在胸前一对乳房下面，双腿屈蹲立于地面。背后有一对钻牛鼻穿。他应是母系社会有熊氏族的图腾造像，亦即黄帝氏族图腾造像，他表明黄帝氏族曾以狩猎为主要谋生手段，黄帝氏族又以天鼋即大海龟为图腾，表明该氏族又以海上捕鱼为生。综合上述可知黄帝氏族曾是以渔、猎为主的氏族。

1.8. Bear clan’s totem

High: 7cm, width: 3cm, thickness: 3.2cm.

The jade is covered by chicken bone colored skin.

It is a statue of a standing woman with bear head. Its shape is round convex eyes, high nose, bulgy back, and squatting legs; her hands hold her breasts. There is an ox-nostril shaped hole on the back. It is a statue of bear clan’s totem in matriarchal society. The bear clan was the predecessor of the Huangdi family, so Huangdi clan took bear as its clan’s totem, and known as ‘Youxiong’; the Huangdi clan also known as ‘Xuanyuan’ and took sea turtle for its totem. It can be known that the predecessor of Huangdi clan had been a united clan of the bear clan and the sea turtle clan, that is the coalition of a hunting clan and a fishing clan.

—

Fig 1.9

1.9 天鼋氏图腾

高6.8cm，宽2.8cm，厚2.6cm。

青玉，鸡骨白沁色。

其形为一立姿鼋首，鼋背神人。头略仰，水滴形双目突出，鼻上翘，闭口。身体两侧有双臂，背部有长圆形壳，双腿并拢微屈。从头顶至足跟有一对钻直孔。黄帝氏族是以鼋为图腾的氏族，轩辕即天鼋，是一种大海龟，这件玉饰即为黄帝氏族的图腾像。由此可知，早期的黄帝氏族的一部分曾是海上的渔民。

1.9. Turtle clan’s totem

High: 6.8cm, width: 2.8cm, thickness: 2.6cm.

The jade is sapphire and part of the surface covered by chicken-bone color.

The modeling is a totem with turtle head, turtle shell and human body. It shape is: head upward ,the drop-shaped eyes high convex, upturned nose, closed mouth, arms affixed to the sides, an oval-shaped turtle shell on the back, feet closer together. There is a straight bifacial drilling hole from the bottom to the top. The turtle is one of the totems of the Yellow Emperor’s family; a part of original Yellow Emperor clan was a family of fishermen at sea.

—

Fig 1.10

1.10 牛氏族图腾

高17.3cm，宽5.8cm，厚7.8cm。

青玉，棕、红沁色，有蚀斑、蚀孔。蚀孔中有再生晶粒镶

坎其中，表面有很多定向结晶斑，阳光或灯光下显出银色

闪光。

其造型为一牛首女人身体之神人。牛首形为双目呈水滴状

突起，半圆形大耳伸向脑后，鼻口部前噘，翻鼻孔，口未

饰出。头上有二角伸向脑后，角之尖端上翘。女人身形为

双腿呈跪式，双手置于膝上，臀部发达，向后拢起。一双

大乳垂于胸前，是典型哺乳期女体的形象。故此神像是一

位女神像。传说炎帝牛首人身，故此神像应是炎帝氏族母

祖之造像，亦即其氏族图腾像。此造像背面颈后有一对钻

牛鼻穿。

1.10. Ox clan totem

High: 17.3cm, width: 5.8cm, thickness: 7.8cm.

The jade is sapphire with reddish-brown markings and corrosive stripes and holes, and some visible regenerate crystal particles in the corrosive holes.

It is an ox head and human body goddess in kneeling position. Its shape is: high convex drop-shaped eyes, semi-circular shaped ears, muzzle protruding forward, nostrils upturned, two horns stretched to behind of the head and the horn tips bending upward, a pair of large breasts hanging on chest, and buttock uplift. According to the historical legend the image of Yandi was ox head and human body, so the statue should be the ancestress of the Yandi family that is the totem of Yandi family. There is an ox-nostril shaped hole at the back of the statue.

—

Fig 1.11 Fig 1.11

1.11 人、鹰双面饰

高12cm，宽10.5cm，厚7cm。

青绿玉，棕色沁色。

其造型为一双面雕玉饰。一面是人像，水滴状吊梢大眼，蒜头鼻，鼻孔外翻，大嘴，犬齿外露，齿尖锐利，舌外伸向上舔到鼻端，两眉直插发际。造型端庄威严，外轮廓形似苹果，上宽下窄，应是凿齿氏族祖先像。背面为一立姿雌鹰，大头，水滴状大目突起，大嘴，尖端内钩，腹部隆起，胸前有一对大乳房，双腿健壮，屈蹲状。两侧有双翅，整体造型十分健美、端庄。这件双面玉饰艺术性与工艺水平都很高。其含意应是以鹰为图腾的凿齿氏祖先像。凿齿氏是东夷太昊族的一个分支，他们的分布很广，他们对中华文明的创建有很大贡献。

1.11. Double-sided sculpture of portrait and eagle

High: 12cm, width: 10.5cm, thickness: 7cm.

The jade is in green color and brown markings.

One side of the ornament is a portrait; its shape is drop-shaped slope up eyes, garlic-shaped nose, and upturned nostrils, large mouth, sharp canines exposed, tongue stretched upward, eyebrows stretched up to hair line. The overall shape is in dignified and majestic style. This is the leader image of Zaochi clan. The other side is a standing eagle. Its shape is: big eyes, big beak with hook-shaped tip, bulged abdomen, chest with a pair of breasts, legs squatting, and wings affixed both sides. The eagle shape is beautiful and fitness. It shows that the eagle is a totem of Zaochi clan which is a branch of East Yi nationality. They had wildly distribution; and had great contribution for creating Chinese civilization. This jade sculpture is in very high artistic and technology level.

—

Fig 1.12

1.12 鸟人

高6.4厘米，最宽3.2厘米，厚1.7厘米。

翠绿玉，棕红沁色，玻璃光泽。

造型为一蹲姿鸟人，其形为：水滴状大目高凸，尖喙内钩，头顶生一前翘的羽冠。两臂贴于身体后侧，背手，鼓腹，双腿屈蹲，鸟足，爪趾内钩。此鸟人玉质极佳，造型生动，工艺高超。鸟人即“山海经。海外南经”中所说的“鹳头国”的图腾造型。如今南太平洋地区的复活节岛等地，仍尊奉鸟人。距今一万五千年左右，鹳头氏族活跃于中国的东北，他们可能是最早的文字的创造者。

1.12. Bird man

High: 6.4cm, width: 3.2cm, thickness: 1.7cm.

The jade is in green color, glass luster and brown markings.

It is a totemic statue with bird head, bird feet and human body. Its shape is: drop-shaped high convex eyes, hook-shaped beak, and a crest on head, two hands at the back, the abdomen bulged, and legs squatting. This is a vivid image and superb technique.

The Bird man is the totem of the “Stork Head State” recorded in < Shanhai jing> classics. Today some people still enshrine Bird man, such as Easter Island and other places in South Pacific area. Dating back 15000 years or so, the Stork Head clan flourished in Northeast China, they maybe the founder of the earliest writing system.

—

Fig 1.13

1.13 羽蛇神

高6.8cm，宽 3.8cm，厚 1.8cm。

熊胆青玉，棕红沁色。

这是一件人首、翼龙体女神像。人首形为双目突出，眼角上挑，直鼻，大口，双耳贴于侧后方，倒竖。长发披于背后。身体似夔龙，胸前有弯曲状前肢，龙尾内卷呈环形，背后有双翅。脑后有一对钻牛鼻穿。

此造像很像玛雅文化传说中的羽蛇神奎扎科特尔，它也与图1.6所示的雷神形状相似。

1.13. The Feathered Serpent God

High: 6.8cm, width: 3.8cm, thickness: 1.8cm.

The jade is in dark green color and reddish brown stains on the surface.

This statue is a goddess image. She has woman head and dragon body; and there are a pair of wings and a pair of feet on her body, and an ox nostril-shaped hole behind her head. This statue is much like the legendary Feathered Serpent God-Quetzalcoatl in Mayan culture，her image is similar to the thunder god showed on figure 1.6.

—

宗教人物 – Religious figures

March 22, 2014 panhongshanjade Leave a comment

宗教人物：

下面我们介绍三件与原始宗教礼仪相关的人物造型：

Religious figures:

Here we introduce three figures associated with original religious rituals:

Fig 1.3

1.3 长耳垂人

高19.5cm，宽12cm，厚9cm ，重2.1kg。

青玉，玉质温润，全沁呈棕红色。

其造型为一高大魁伟之双手合十长耳垂人，呈蹲式，双手

合十于胸前。头部造型与南宋杭州飞来峰石刻布袋弥勒相

似，环目，蒜头鼻，嘴角上弯，满面笑容，大耳垂肩，一

副欢快慈祥的面孔。整体造型生动，比例适度，对称性

好，加工洗练。泛红山文化玉器中出现类似布袋弥勒之造

型，向人们揭示了原始宗教神秘的传承性。此件玉器为研

究泛红山文化的原始宗教提供了重要的实物资料。

《山海经》中有关于“聂耳国”的记载，聂耳国人有拉长耳朵的习俗，

这一习俗曾扩散到太平洋周边的一些地区，如法属破里尼西亚群岛，

复活节岛等地。这些地区的原住民至今还保持这个习俗。顺便告诉你

一个小秘密：经常拉捏耳朵真的有利于健康。

1.3 Man with long ear lobes

High: 19.5cm, width: 12cm, thickness: 9cm, weight: 2.1kg.

The jade is in good quality, green in color with reddish brown markings.

The modeling is a tall burly man, squatting likes. He has a pair of long ear lobes, his palms facing together in front, his head shape just like the Maitreya Buddha in Buddhism, lips curved, smiling like, and large lobes drooped on shoulder, a happy face with compassion. The overall shape is vivid, moderate proportion, symmetry good and refined.

The similar image of the Maitreya Buddha occurred in the Pan-Hongshan cultural jade group revealed the mystery of the original religions inheritance. This jade statue is an important practical material for studying the primitive religion.

“Shan Hai Jing” classics has recorded the old country named Nie Er, stretching ears was a particular custom in that country, this custom had spread many parts of the Pacific rim, such as the French Polynesia, Easter Island and other regions, the indigenous people of these regions have been remaining the custom. By the way, tell you a little secret: elongating ears is rally conducive to health.

—

Fig 1.4

1.4 盘坐姿女子

高7cm，宽2.5cm，厚1.5cm。

青玉，玉质莹润，有红色沁色。

其造型为一女子，盘坐，双手合十贴于胸前，大头、大

眼，眼梢上挑，扁鼻，闭口，短发披散于耳边，颈后有一

对钻牛鼻穿。整体造型为一盘坐修练的女子，亦或是一尊

女神像。此造像证明盘坐修练姿势并非始于佛教，原始宗

教已有。《山海经》中有“交胫国》的记载，交胫即是

两小腿交叉的盘坐姿，是原始宗教中祭拜的姿势。

1.4 Woman in cross-leg sitting posture

High: 7cm, width: 2.5cm, thickness: 1.5cm.

The jade is in good quality, green in color with red markings, waxy luster.

The modeling is a cross-leg sitting woman, her palms facing together to put front of her chest. She has big head, big eyes, and flat nose. Her eyes slope upward, short hair spread by the ears. There is an ox-nostril-shaped hole back of her neck. The overall shape is a practice woman or a goddess statue. From this statue we know that this practice style not started from Buddhist, it began with primitive religion. There is a “cross-shin state” recorded in <Shan Hai Jing> classics, “cross-shin” means sitting and two shanks in cross-shaped posture, it is the practical posture in primitive religion.

—

Fig 1.5

1.5 巫师

高6cm，宽2cm，厚2cm。

熊胆青玉，有灰皮及棕红沁色。

造型为一立姿巫师，两眼望天，双手合于脑前，掌心向

外。身着长衫，腰下系一玉鹰，朝向正面。颈后有一对钻牛

鼻穿。

巫师腰下饰鹰，表示鹰是他的氏族图腾。值得注意的是在

良渚文化玉器中也有与此相似的巫师造像，这显示了原始宗教的传承。

1.5 Wizard

High: 6cm, width: 2cm, thickness: 2cm.

The jade is in dark green color, gray skin covered, and reddish brown markings.

It is a standing shaman modeling. His eyes slope upward; hands closed together and put on his chest, palms facing outward. He wore a long gown; a jade eagle was hung on his waist, back of his neck with an ox-nostril hole. The eagle he wore is his clan’s totem. It is noteworthy that there was the similar shaman statue to this one in Liangzhu cultural jade works; it shows the inheritance of the primitive religion.

关于原始宗教的传承：

从以上三件原始宗教的人物造型，我们知道现代的很多宗教礼仪源自末次冰期时期的原始宗教。由于原始氏族社会人们的一切社会活动都是与原始宗教密切相关的，原始宗教是原始氏族社会的领导核心，也是文化中心，集中地体现了当时的文化水平和文明层次，所以原始宗教对后世的传承不仅是宗教礼仪的传承，更重要的是文化的传承。末次冰期的晚期我们人类在世界上很多地区创建过文明，这些文明不幸被末次冰期结束时的巨大自然灾难所毁灭，但很多文明因素传承到新石器时期，这种传承的重要媒介即是原始宗教。

Above primitive religious heritages:

From the above three figures we know that many modern religious rituals from the Last Glacial primitive religion. Since all of the people’s social activities were closely related to the primitive religion in the original community. The original religion was the core of the leadership and the cultural center in the primitive clan society, it epitomized the then levels of the culture and civilization, so original religious heritages for future generations were not only a religious ritual tradition, more important were the cultural heritages. During the Late Last Ice Age our humans had created civilization in many places in the world, these civilized regions unfortunately were destroyed by the huge disasters in the end of the Last Ice Age, but many civilized factors had been passed to the Neolithic period, the important medium of the heritage was the original religion.

Portraits of human or gods – 人、神造像

March 2, 2014 panhongshanjade Leave a comment

人、神造像

人像或神像在考古学和艺术史上均占有极重要的地位。因为它们为我们了解古代社会提供了较其它艺术形式更强的和更直观的文化信息。

泛红山文化玉群中有大量的人、神造型，这是它较其它的考古文化最突出的特点。这些造像直接关系到当时原始宗教中的各种崇拜，如祖先崇拜、图腾崇拜、神灵崇拜等。因为泛红山文化时期是母系社会，故母祖的造像很多。以下两件即是泛红山文化玉群中最为普遍的母祖造型。与图腾崇拜和神灵崇拜相关的各种造像我们将会陆续发表。

Portraits of human or gods

The portraits of human or gods are all in a very important position in archaeology and art history. Because of they provide stronger and more intuitive cultural information for us to understand ancient society than other art forms.

There are a large number of the statues of human and gods, in the Pan-Hongshan cultural jade group which is the most prominent feature than other archaeological cultures. These statues were directly related to the various worships in the original religion, such as ancestor worship, worship of totem and worship of the gods. Because the Pan-Hongshan cultural period was in a matriarchal society, so there were many statues of ancestress. The following two pieces were the most common ancestress modeling in the Pan-Hongshan cultural jade group. And variety of statues related to the totem worship and gods worship we will continue to publish.

—

图1.1

1.1 母祖

高8cm，宽3.2cm，厚2.5cm。

灰玉，玉质温润，蜡状光泽，表面大部分有黑色沁色，像

是黑漆皮，俗称水银沁黑漆古。

其造型为一仰卧姿孕妇，双腿并拢，微屈，脚尖朝上，双

臂上举，贴于头部两侧，双手交叉于头顶；其面部只简略

地用打洼法饰出了双目与口，着重突现了丰满的双乳与隆

起的腹部与臀部；头顶上方两手交叉处有一对钻圆孔。这

件母祖是泛红山玉群中母祖的普遍造型。它与在法国、意

大利等国家发现的最后一次冰期的母祖石雕造像有异曲同

工之妙，都是突显了孕妇的生育部位。

1.1. Ancestress

High: 8 cm, width: 3.2 cm, thickness: 2.5 cm.

Jade is in good quality; waxy luster; most of the surface is black, commonly known as mercury penetrated or ancient black lacquer.

The shape is a pregnant woman in lying position. Her legs close together and flexed, toes upward, arms lift to the head, hands folded on top of head. Only eyes and mouth were showed on the face, but focus on highlighting the plump breasts and the bulged abdomen and buttocks. There is a bifacial drilling hole on the top of the head. This statue is the common form of the ancestress in the Pan-Hongshan jade group. It has the same characteristics with the simultaneous ancestress images which discovered from France, Italy, etc, all of the statues are highlighted of the female reproductive parts.

—

图1.2

1.2 母祖

高4.8 cm。

全沁呈棕红色，有灰皮，配带数月后，灰皮退去，身体后

部呈鲜红及棕红色彩，蜡状光泽，面部、乳房及膝部变为

半透明黄绿色，十分美丽。

人物造型为一哺乳母亲形象，呈屈蹲状，双手揹于脑后，

五官皆以压地隐起法饰出。造型端庄清秀，眼角略上挑，

颧骨较高，鼻直，鼻翼较小，小口略前噘。耳未饰出，一

缕长发披于脑后，脑后有一对钻牛鼻穿。

泛红山文化玉群中这种造型为母亲形象很多，应该是当时

受到人们尊重的母祖造型。

1.2. Ancestress

High: 4.8cm.

Most of surface is in reddish brown color, waxy luster. The face, breasts and knees are translucent and in yellow-green color. The whole body is in beautiful multicolor.

The modeling is an image of nursing mother, squatting likes, hands on the back of head, beautiful face. The facial features were decorated in bas-relief. Her long hair hung at the back. An ox-nostril shaped hole was perforated behind her head.

There are many ancestress images similar to this female image in the Pan-Hongshan jade group, this ancestress image should be the common worship of ancestress idol at that time.

Chinese Jade Culture and Chinese civilization

February 11, 2014 panhongshanjade Leave a comment

中华玉文化与中华文明

一，中华玉器是延续万年的文化载体是中华文明探源的重要物证。

任何一件文物都会提供给我们一些文化信息，我们称之为文化载体。历史文物是我们追寻祖先的足迹，探索与发现他们曾经创造的辉煌重要物证。在没有文字记载的远古时期，文物更显现出重要性。在人类发展的不同历史阶段都有相关的文物记述了其时代的特征。如陶器记录了新石器时期的文化特征；铜器记录了青铜时代的文化特征，它们都是人类发展某一阶段的重要文化载体。在中国有一种文物，它是自一万年前的旧石器时期至今延续不断的文化载体，它就是中华玉器。它展示了万年前人类曾经有过的辉煌，在新石器时期，玉文化再现了新石器时期的辉煌，在青铜时代玉器与青铜器相映争辉。中国的青铜时代即夏商周三代，这三代期间也是中华玉文化的繁荣期,且三代的礼器多为玉制。汉代以后，青铜文化逐渐衰落，但玉文化却走向高峰，且延续至今从未衰落。中华玉器记录了中华各历史阶段的文化特征，形成了一部自万年前至今延续不断的玉制的中华文明史。崇玉、爱玉的思想理念深入人心，成为了中华民族特有的文化基因。

中华玉文化自其一开始便是与原始宗教紧密相关的。人们将玉视作人、神之间沟通的媒介。各种大型的礼仪、祭祀都要有玉制的礼器与祭器；重要人物的葬礼也要以玉随葬。制玉者也是以最虔诚的心态，最好的艺术表现技能倾注于其玉作之中。大多数古玉器都是集思想理念与艺术表现于一身的创作。许多古玉器与同时期的石器、陶器相比无不远胜一筹，甚至今人观之也叹为观止。

最早的母系氏族社会时期，玉器常与原始宗教中的各种原始崇拜相关联；如自然崇拜、祖先崇拜、图腾崇拜、生殖崇拜、性崇拜，以及对各种神灵和鬼魂的崇拜等。氏族社会过渡到王权时期，出现了很多代表王权的玉器，如斧、钺、刀、圭、璋、权杖等，此时宗教的礼仪器和祭器仍占相当的比重。春秋时孔子提出玉有九德，将玉与人们的道德品质，真善美联系到一起，他的说法也即是当时人们对玉器看法的归纳。这种评价也体现在汉字中，有上百个与玉字组合的汉字都是正面的，真善美的字义。在中国以儒、道、佛为主体文化的封建社会时期，玉文化始终占有重要的地位。尽管玉文化在各个不同的历史时期各有其不同的特点和艺术表现形式，但很多原始观念一直延续至今，如以玉通灵，以玉护身，以玉为美等观念。很多原始崇拜，如祖先崇拜、图腾崇拜等观念也延续至今，如龙凤文化在历代玉器上表现得都很突出。现在我们也常讲：我们是黄帝子孙，是龙的传人，这即是祖先崇拜与图腾崇拜的沿袭。这不是一般的文化传承，而是维系国家统一，民族团结，历史延续不衰的重要因素。中华玉文化自其一开始就属于精神文明的范畴，它是与宗教信仰、礼仪、道德、权力、文化、艺术等人们的思想理念、宗教理念、艺术创作直接相关的，所以中华玉文化是中华文明的重要标志。它在中华文明史上始终是一支历久不衰的绚丽的奇葩。

综合上述，中华玉文化有三大特点：其一是中华玉器的数量多，提供的信息量大；其二是其文化层次高，它属于精神文明的范畴；其三是其连续性，它是自万年前至今延续不断的文化载体。这三个特点就决定了它在中华文明史上的无可取代的地位和作用。特别是在没有完整的文字体系的史前时期，玉文化更显现出其重要性，它是中华文明探源乃至人类文明探源的重要依据。

二，泛红山文化—- 末次冰期的辉煌。

下面给出一个通过中华玉器探索中华文明的实例，即泛红山文化的发现。泛红山文化的发现是建立在大量的红山型文化玉器的实物基础上的科研成果。红山文化是中国北方有代表性的高水平的考古文化。它以大型的坛、庙、冢综和的人文景观和高水平的玉器群为其显著的文化特征。一个高水平的考古文化必有其前期的文化背景，而对中华古玉器的研究则是探索其文化背景的重要途径。多年来，在国内外的博物馆及民间有大量的红山型文化玉器留存。所谓红山型文化玉器是指这些玉器与红山文化玉器有相似的造型与工艺，但不知其确切的出土地点，故称为红山型。因为其数量大，题材广泛，涉及到自然界与人类社会的诸多方面，所以为我们提供了众多的文化信息，从而发现了这个失落了的非常重要的史前文明。它即是‘泛红山文化’，与之相应的玉器群称为‘泛红山文化玉群’。‘泛’字的含义为，该文化的时空范围涵盖了红山文化。其时间大约是距今三万年至一万年，即末次冰期的晚期。其地域范围很广，自东北亚跨越北太平洋，至北美的西北部，其中心地区是东北亚地区，特别是中国的东北地区。红山文化以及中国北方的红山诸文化是该文化的直接继承与延续，它们是新时期时期的泛红山文化。末次冰期与新石器时期之间，距今一万年左右，出现了巨大的自然灾难，造成了严重的文化断层。人类文明经历了毁灭与再生的过程。泛红山文化是高水平的史前文化，可称之为史前超文明。它是中华文明乃至环太平洋地区文明的源头，同时也是玉文化的源头。泛红山文化概念的提出是人类文明史上的一个突破，它将人类文明上溯到末次冰期。它告诉人们人类文明的始端不是新石器时期，而是新石器时期之前的末次冰期，即地质年表上的晚更新世晚期。新石器时期是人类承前启后再创文明的时期。

迄今为止，人们已经在陆地与海洋发现了很多人类创造的万年以前的文明的遗迹和遗存，但多数是零星的，文化信息量少，不足以使人们了解万年前人类发展的概貌。而泛红山文化玉群则不同于一般的文化遗存，它是史前高水平的玉器群，是世界人类文化宝库的重要遗存。它在广阔的时空范围内提供给我们当时自然界和人类社会的诸多文化信息，它使我们了解到我们现代的人类的祖先在末次冰期的晚期曾经创建过一次文明，他们在当时的历史大舞台上曾上演过辉煌的一幕。

下面我们列举几项泛红山文化玉器群所展示的文化信息：

1，首先从玉群中的多种人物造型可知，当时该地区的人类并不单一，是现代人类与尚有猿人特征的原始智人人种混居的状态。据考古发现，现代人创建文明的遗迹始见于距今3–4万年左右，在欧洲以克拉玛农人为代表。而泛红山文化玉群中的现代人形象则多为蒙古人种，他们的面部特征是面部较宽，高颧骨，吊梢眼。是他们创建了末次冰期晚期的文明。其他的智人人种必然会在生存竞争中被自然淘汰，并在末次冰期的巨大自然灾难中彻底消亡了。由此我们可以推断泛红山文化的时间约为距今三万年至一万年。如果将新石器时期中国北方的红山诸文化算在内，那么他的时间范畴将是距今三万年至四千年。( 参看‘万古奇珍—泛红山文化玉群’图片1.7，1.21，1.26，1.71，1.9，1.34，)

2，从玉群中的多种母祖的造像和多种具有女性特征的图腾造像，可知当时是母系氏族社会。在世界范围内人类的氏族社会大约出现于距今十万年左右，泛红山文化期间已进入母系氏族社会的繁荣期，多种图腾的造像也表明泛红山文化区是多氏族的聚居区。（参看同书图片1.1，1.3，1.4，1.5，1.38，1.82，1.89，1.87，1.90，1.110，1.111，5.11）

3，上古氏族社会也可称是图腾社会，就像今天的姓氏一样，各氏族有其本氏族的图腾。玉群中多种图腾的造型，为我们提供了大量的文化信息。氏族图腾是与其氏族生活紧密相关的，如狩猎的氏族常以凶猛的禽兽熊、虎、象、野猪、鹰、鸮等为其氏族的图腾；农业氏族常以太阳、牛、羊、蛙、蜜蜂、蚕等为其氏族的图腾，而渔业氏族则常以鱼虾类、龟类等为其氏族图腾。而上述所有这些图腾造型均出现于玉群中，这表明当时泛红山文化区已是农、牧、副、渔、狩猎等兼有的繁荣的氏族社会。已进入文明的社会阶段。玉群中还有很多不同种类动物图腾的组合与融合造型。这里所谓‘融合’是指不同种的动物合为一体，如鸟首兽身，兽首鱼身等。这些造型反映了当时的氏族不是孤立的群体，他们之间有氏族间的联合、联姻、吞并等。古史传说中的氏族故事，多是当时强大氏族的故事，如伏羲氏、女娲氏、轩辕氏、有熊氏、神农氏、夸父氏、凿齿氏等。而在玉群中这些氏族的图腾的数量大，出现频率高也证明了他们分布地域广，延续时间久，影响力大。如黄帝族的前身是有熊氏和轩辕氏，有熊氏是狩猎的氏族，他们以熊为图腾；轩辕氏以海龟为图腾，他们是海上的渔民，黄帝族是二者的联合，可见其地域广阔，事实上，当时黄帝族的分布是从现在的西伯利亚和中国的东北跨越白令海峡直至北美的西北部。现在加利福尼亚的州旗上的熊就是黄帝族的标志。再如，鹰是伏羲氏的图腾，他的影响更为广泛，西起西伯利亚的贝加尔湖东至美洲大陆。现在贝加尔湖的原著民仍崇拜鹰，北美的很多印地安部族也以鹰为图腾。所以玉群中的多种图腾造型也反映出泛红山文化区的地域广阔。而玉群中的图腾造像多与中华古史传说的人物与图腾相合，故知其中心地区应是东北亚地区，特别是中国的东北。玉群中还出现了南美洲的图腾，如羽蛇神，以及埃及的图腾，如母祖哈索尔、赫鲁斯鹰等。这表明泛红山文化先民与当时世界上的其它地区有广泛交流；由此可以推知末次冰期的晚期世界上很多地区已进入文明社会。另外，从新石器时期的氏族图腾造型可知，他们多是其前期，即末次冰期氏族的延续，他们再创了新石器时期新一轮的文明。（参看同书图片1.38，1.82，1.106，1.86，1.89，1.87，1.90，1.104，1.94，1.95，1.66，1.103，1.96，2.70，4.29，4.23）

4，玉群中有庞大的动物群。有飞禽类、走兽类、鱼类、两栖类、昆虫类等，这表明当时该地区有较好的自然环境和生态环境。当时正处于末次冰期。且在距今约2.4 万年至1.4 万年期间，还出现了一次冰期的高峰期，海水蒸发，凝聚成巨大的冰川，北美大陆大部分被冰川覆盖，海洋的面积缩小，在距今1.8 万年时，海洋的面积只有今日海洋面积的一半。可是因为受到北太平洋黑潮暖流的影响，在北太平洋的沿岸地区却没有冰川，且气候温湿。正因为如此，人类得以在该地区生存与发展。另外，庞大的动物群，也表明泛红山文化区的地域广阔。（参看同书图片3.1 ，3.13，3.18，3.41，3.53，4.1，4.2，4.3 ，4.8，4.12，4.15，4.16，4.19，4.21，4.25，5.2，5.10，5.11，5.13，5.15，5.22，5.25，6.1，6.5，6.7，6.8，6.10，6.11，6.12，6.17，6.32，6.34）

5，玉群中有许多生殖文化与性文化的造型，这表明当时人类自身的繁衍和增殖是当时社会的头等要事。那时是现代人的新生期，人类的数量很少，加之处在冰期，生存条件相对比较艰难。要求得发展，必须增加人口，所以人类自身的增长十分重要。玉群中有关生殖崇拜与性崇拜的造型很多，它们多有原始宗教的含义，其中有与母祖崇拜相关的造型，有的是男女生殖器和性爱的直接表现形式，有与图腾崇拜相关的表现形式等，这些作品多是艺术造型与工艺水平很高的作品。（参看同书图片7.1，7.2，7.4，7.6，7.11，7.13，7.14，7.27，9.9）

6，泛红山文化玉群中有许多器物的造型，其品类之多，制作之精，造型之美在世界考古文化中首屈一指。新石器时期的玉器类型以及夏商周时期很多器物的类型均可在泛红山文化玉群中找到它们的原形。器物大致可分为三类，即礼仪器、实用器和佩饰器。这些器物反映了当时人们的思想理念、宗教理念、生产、生活与科技水平和人们的艺术鉴赏能力等，向人们展示了一个真实的远古文明社会。另外，从玉群中的璧、琮、斧、钺、圭、璋、权杖等礼仪器可知当时的社会风貌已是崇尚礼仪，相对集权，和有等级的社会，已是氏族社会的高级阶段。（参看同书图片9.1，9.5，9.14，9.16，9.18，9.19，9.20，9.22，9.25，9.30，9.33，9.36，9.40，9.42，9.44，9.47，9.48，9.50，9.59，9.61，9.62，9.69，9.74，9.75，9.80）

7，在中国有一种贯彻古今的文化，即龙凤文化。在泛红山文化玉群中有多种龙的造型，龙是一种想象的超自然的图腾，后来成了华夏族的主图腾，鸟类多是东夷族的图腾，在泛红山文化玉群中，鸟类的造型很多，也有不少龙与鸟的组合佩饰，它是龙氏族与鸟氏族的联合氏族的图腾造型，这即是中华龙凤文化的原始。（参看同书图片2.58，2.60，2.61，2.68，3.20）

8，在泛红山文化玉群中，令人十分惊异的是其中占相当比例的一部分外星生命体的造型。它们形态各异，有的似人，有的似兽类、鸟类，有的似昆虫，以及不同物种的组合与融合形式，也有外星生命与器物的组合形式。它们的出现更使得泛红山文化玉群在史前文化中独具特色，它也是世界范围内的考古文化中的一大奇观。外星生命的研究是现代人们普遍关注的话题。人们自然会想，万年前还是现代人类的幼年期，那时的人们创建了文明社会，是否会有外星科技的介入呢？玉群中的大量外星生命造型为此项研究提供了极具价值的实物资料。（参看同书图片8.1，8.6，8.8，8.10，8.14，8.16，8.19，8.24，8.26，8.30，8.35，8.39，8.40，8.43，8.45，8.52，8.54，8.57，8.61，8.66，8.67，8.75）

当然，泛红山文化玉群所提供的文化信息不只于此，它所提供的文化信息足以证明在末次冰期晚期人类曾创建过文明，东北亚地区的泛红山文化是中华玉文化的源头，也是中华文明以及环太平洋地区文明的重要源头。泛红山文化玉群进一步确立了中华玉文化在中华文明史以致人类文明史上的地位和作用。

注：本文的第二段列出了很多图片，所有这些图片都是《万古奇珍—泛红山文化玉群》一书上的。因为量大，我将陆续给出其中的一些图片和适当的说明。我的部落格开端有23幅图片，阅读本文也可参考。为了方便，我将相应于每一小段的图片列在下面。每张图片给出它的行列序号，第一个序号代表行，第二个序号代表列。如第一行第二图，它的行列序号是1/2. 本文第二段的8小段相应的图片分别为：

2/5, 4/4, 4/5;
4/3, 1/2;
2/3, 2/4,2/6, 3/1, 3/5, 3/6, 4/1, 4/2, 3/3,3/4;
与3相同（因为动物与图腾难于区分）；
1/6, 2/1;
1/1, 1/2, 1/5;
1/4, 3/6;
1/3, 1/4, 2/2, 3/2.

– 杨天佑

**Rough English translation, please excuse the grammar**

Chinese jade culture and Chinese civilization

A. Chinese jade works are the continuation of over ten thousand years’ cultural carriers and the important evidences of the Chinese civilization.

Any relic will provide us with some cultural information, so it was called cultural carrier. The historical relics are the important evidences of tracing our ancestor’s foot printings to explore and discover that they had created brilliant culture. During the no written records of ancient times, the historical relics played more important roles. In different historical stage of human development, its related cultural relics described the cultural characteristics of that era. Such as the potteries recorded the Neolithic cultural identity; the bronze recorded the cultural identity of the Bronze Age, they are important cultural carriers of human development at some stage. In China, there is one kind of cultural carrier which had continued over ten thousand years, throughout every Chinese historic period, it is jade. It shows that the human beings had had a brilliant civilization in the Last Ice Age and the civilization in the Neolithic period; during the Bronze Age (i.e. Xia, Shang and Zhou three dynasties), both of bronze and jade had a big leap development. The Bronze Age is also the prosperous period of jade in China, and most of ritual vessels were made of jade in the three dynasties. After Han Dynasty, the bronze culture was gradually declined, but the jade culture was toward to the peak, and has been continuing up to nowadays never stop. China jade has recorded the cultural characteristics of each historical period of China; it has formed a jade historical book of Chinese civilization which recorded the China’s history from the Last Ice Age up to now. The ideas of respecting jade, appreciating jade have deeply rooted in people, and the jade culture has become the Chinese nation’s unique cultural genes.

From the beginning of the Chinese jade culture was closely related to the primitive religion. People believed that the jade is the medium of communication between the people and the God. Any variety of large-scale ritual and worship should have jade ritual objects and ceremonial vessels; important figures in the funeral should be buried with jade. The jade makers always worked with pious mind and the best artistic expression skills to their jade works. The most of the ancient jade creations were combined with the philosophical idea and the artistic expression in one. By contrast, we know that the ancient jade works are much better than the same period stone tools and the potteries; even by modern point of view, they are also amazing. During the matriarchal society, the jade culture often associated with primitive worships, such as nature worship, ancestor worship, totem worship, reproduction worship, sexual worship and various aliens worship. After the transition from the clan society to the royal period, many kind of jade of representing royal power appeared, such as ax, Yue, Gui, Zhang, scepter and so on; while the religion ritual jade and ceremonial vessels still occupied a considerable proportion. In the Spring and Autumn Period, the Confucius proposed that the jade has nine nice virtues, that is to link jade and human virtues together, this is also a summary of when people’s view about jade. This evaluation is also reflected in Chinese characters, there are hundreds of Chinese characters were composited with the jade word, and all of their meanings are positive, such as truth, goodness or beautiful etc. During the feudal society in China, the major cultures were Confucianism, Taoism and Buddhism, and the jade culture had always occupied an important position. Although the jade culture in different historical periods have their own cultural characteristics and artistic expressions, but many of original concepts about jade have been extended up to now, such as using jade as the psychic object, using jade for protecting body and using jade for beautiful and so on. Some of primitive worships, such as ancestor worship, totem worship, have been continuing up to now. Especially, the Dragon-phoenix culture is prominent in every Chinese historical period. Chinese people often said that we are the descendent of the Yellow Emperor, and we are the heirs of dragon. This is the continuation of the ancestor worship and the totem worship. This is not only a general heritage, but also a very important cultural factor for maintaining national unity and ethnic solidarity. Since the beginning of the jade culture, it was belonged to the category of spiritual civilization, which is directly related with people’s ideological philosophy and religious beliefs, such as rituals, ethics, culture, artistic creation, philosophy, political power etc., so the Chinese jade cultural is the important symbol of Chinese civilization, it has always been an enduring brilliant wonderful cultural flower in the history of Chinese civilization.

Overall, the Chinese jade culture has three characteristics: the first is that because of its large quantities of jade works, so that large amount of cultural information provided; the second is its high cultural level, it belongs to the category of spiritual civilization; the third is that it is the continuous and enduring cultural records from the Last Ice Age up to now. These three characteristics have determined its status and role in the history of Chinese civilization. Especially in the prehistoric time in which the complete text system not appeared, the jade culture plays more important role. It is an important base for the exploration of the original source of Chinese civilization and even the human civilization.

B. The Pan-Hongshan Culture—- the glory of the Last Glacial

Here is a practical example of exploring Chinese civilization in terms of studying the Chinese ancient jade, that is the discovery of the Pan=Hongshan culture. The discovery of the Pan-Hongshan culture was a result of scientific research based on the large amount of Hongshan stylistic cultural jade works. Hongshan culture was a high level and representative archaeological culture in north China, in Neolithic period. Its significant cultural features are the large altar, temple and mount cemetery integrated cultural landscape and high level of jade group. A high level archaeological cultural must have its pre-cultural background, to study of Chinese ancient jade is an important way to explore its cultural background. Over the years, there are many Hongshan type cultural jade remains in museums and folk at home and abroad. The so called “Hongshan type cultural jade” refers to both of the jade shape and its process is similar to the Hongshan cultural jade, but the exact excavated site is unknown. Because of large number of Hongshan type jade and their board range of topics which related to many aspects of nature and human society, and so provided us with a large number of cultural information, thereby the lost very important pre-historic civilization was discovered; it is the Pan-Hongshan culture, the corresponding jade group known as “Pan-Hongshan cultural jade group”. The meaning of the word “Pan-Hongshan culture” is that the spatial and temporal spans of this culture covered the Hongshan culture. Its temporal span is about 30,000 to 10,000 years ago, in the late last glacial period. Its geographical range is very broad, from Northeast Asia cross North Pacific to the Northwest America, its center area was in Northeast Asia, especially Northeast China. During the Neolithic period, Hongshan culture and the other archaeological cultures in Northeast China were the direct successor and continuation of the Pan-Hongshan culture. Between the Last Ice Age and Neolithic period, about 10,000 years ago, a huge natural disaster resulted in a serious cultural fault; the human civilization has gone through the process of destruction and regeneration. Pan-Hongshan culture is a high level pre-historic culture; it can be called the pre-historic super-civilization. It is the source of civilization of China as well as the Pacific Rim, and also the source of the jade culture. The proposition of the Pan-Hongshan culture is a breakthrough in history of human civilization; it traced the human civilization back to the Last Glacial period, i.e. the Late Pleistocene on geological chronology. The Neolithic period is the period in which people inherited the former civilization and opened up a new round of civilization.

So far, it has been found in land and sea the ruins and relics of human civilization, which were created ten thousand years ago. But the majority is sporadic and less cultural information, not enough to make people getting an overview of human development at that time. The Pan-Hongshan cultural jade group is different from the general cultural relics; it is a group of pre-historic high level of jade, which is an important group of relic in the world cultural treasure house, it has provided us a lot of cultural information about when the nature and human society in a wide spatial and temporal span, it enables us to understand that our modern human ancestors had created a civilization in the Last Glacial Period, they had performed a brilliant scene in the world historical stage.

In the flowing, we list several cultural information provided by the Pan-Hongshan cultural jade group:

First of all, from variety of figure modeling in the jade group shows that there was not only one kind of human, but in mixed state of the modern people and the original Homo sapiens which still have the characteristics of ape. According to archaeological discoveries, the sites of the civilization which created by modern people first appeared in France dating back 40,000 to 30,000 years ago or so. In Europe the modern people was known as Cro-magnon during that time; the most the modern people images showed in the Pan-Hongshan cultural jade group looks like Mongolian, they have Mongolian facial feature, such as facial wide, high cheekbones and hanging tip eyes. They were the creators of the civilization in the late Last Glacial period. According to the rule of natural selection, the other race of Homo sapiens must be eliminated in the struggle of existence, and complete eliminated in the huge natural disaster at the end of Last Glacial. Thus, we can infer the time span of the Pan-Hongshan culture is about dating back 30,000 to 10,000 years. (Refer to the book “The Earliest Miraculous Treasure—Pan-Hongshan Cultural Jade Group”, Fig 1.7, 1.9 1,21,1.26, 1.34, 1.71).
From large number of various ancestress images and a variety of totemic statue which has the female characteristics, we know that then the society was the matriarchal society. The clan society of human beings in the world appeared about 100,000 years ago or so. The Pan-Hongshan cultural period had entered the prosperity period of the matriarchal society, the various totem statues represented the prosperity of the society as well as indicated that the area of the Pan-Hongshan culture was a multi-clan neighborhood. (Refer to the same book, Fig 1.4, 1.5, 1.38, 1.82, 1.87, 1.89, 1.90, 1.110, 1.111, 5.11).
The ancient clan society is also known as totem society, like today’s last name, each clan had its own totem. The large numbers of totem modeling in the Pan-Hongshan jade group provide us with a lot of cultural information. clan totem is closely related to their clan’s life, for example, the hunting clan often choose the ferocious beasts as their clan’s totem, such as bear, tiger, elephant, wild boar, eagle, owl etc.; the agricultural clan often choose the sun, cattle, sheep, frog, bee, silkworm, etc. as their totem; the fisheries clan often choose fish, shrimp, turtle etc. as their clan totem. All of these totems mentioned above appeared in the Pan-Hongshan jade group, it shows that there had been a diversified prosperous clan society, and had entered the stage of a civilized society in the Pan-Hongshan cultural area. There are much kind of types of combination and integration of the different animal totems in the Pan-Hongshan cultural jade group. Here the so called “integration” refers to mix different animal body parts in one body, such as the shape of the totem with beast body and bird head, or with beast’s head and fish body etc. these totemic shapes reflect that the clan was not isolated group, there were joining, inter-clan marriage, annexation etc. between the clans. The most of stories of the ancient legends of the clans were the stories of the powerful clans, such as the stories about the Fu Xi’s, Nv Wa’s, Xuanyuan’s, Youxiong’s, Shennong’s, kuafu’s, Zaochi’s and so on. There is lot of their clan’s totemic modeling in the Pan-Hongshan jade group; it proved that these clans had a wide geographic distribution, long duration and high-impact. Especially the Huangdi clan has the most far-reaching impact in Chinese history. The predecessors of the Huangdi clan were the Youxiong clan and Xuanyuan clan, Youxiong was a hunting clan, the bear was its clan’s totem; and Xuanyuan clan was a fisheries clan, the sea turtle was its clan’s totem. Huangdi clan is the union of the two, so the area of Huangdi clan’s was vast, in fact, Huangdi clan was distributed from Siberia and China’s northeast across the Bering Strait to the northwest America. Now the bear image on the California state flag is a symbol of Huangdi clan. In addition, the eagle was the Fu Xi clan’s totem; its influence was more extensive, from the Lake Baikal, Siberia of west, to the America continent of east. Now the aboriginal still worship the eagle in the Lake Baikal region, and many North American Indians still take the eagle for their tribe’s totem. So the various totemic modeling in the Pan-Hongshan jade group also reflects that the area of the Pan-Hongshan cultural region was vast. The most of images of human figures and totem statues were coincided with the images in Chinese ancient legends, so we know that the center area of the Pan-Hongshan cultural region is Northeast Asia, especially the Northeast China. In addition, the South American totems, such as the feathered serpent god, and the Egyptian totems, such as the ancestress Hathor and the Horus Eagle etc. were appeared in the Pan-Hongshan jade group, this suggests that there were extensive cultural exchanges between the Pan-Hongshan cultural region and the other part of the world at that time. Here should also be mentioned that according to the archaeological discoveries, most of the Neolithic clan’s totems were same as the late Paleolithic clan’s totems, it shows that the clans in the Neolithic period were continuation of the clans in the Last Glacial, they recreated a new round civilization in Neolithic period. (Refer to the same book, Fig 1.38, 1.66, 1.82, 1.86, 1.87, 1.89, 1.90, 1.94, 1.95, 1.103, 2.70, 4.23, and 4.29).
There are many kind of animal modeling in the Pan-hongshan jade group. Such as flying birds, walking animals, fishes, amphibians, and insects etc. It suggesting that there were better natural environment and ecological environment at Last Glacial period in this region. Dating back 24,000 to 14,000 years ago was during the glacial peek period, due to the sea water evaporation and condensed into a huge glacier, most of North America continent was covered by glaciers, the ocean was reduced the area. Dating back 18,000 years, the area of the ocean was only half of the area of the present ocean. But affected by the Kuroshio Current, in the North Pacific coast area was no glaciers and the climate was worm and humid. Therefore the human beings were possible to survive and develop in this region. In addition, the large fauna also shows that the Pan-Hongshan culture was distributed in a vast area. (Refer to the same book, Fig 3.1, 3.13, 3.18, 3.41, 3.53, 4.1, 4.2, 4.3, 4.8, 4.12, 4.15, 4.16, 4.19, 4.21, 4.25, 5.2, 5.10, 5.11, 5.13, 5.15, 5.22, 5.25, 6.1, 6.5, 6.7, 6.8, 6.10, 6.11, 6.12, 6.`7, 6.32, 6.34).
There are many artistic modeling related to the reproductive culture and sexual culture in the Pan-Hongshan jade group, it suggesting that the human reproduction and proliferation was the top priority at that time. The last glacial is the neonatal period of the modern people, which only a small number, and then the living conditions were relatively difficult. The development of the society depended on the increasing population, so the human growth was very important. Many jade works related to reproduction and sexual have the meaning of the primitive religion. Among them, there are the ancestress modeling, direct manifestation of the male and female genitals, and modeling of sexual intercourse, and the modeling related to totem worship and so on. These jade works have high level of art and technology. (Refer to the same book, Fig 7.1, 7.2, 7.4, 7.6, 7.11, 7.13, 7.14, 7.27, and 9.9).
There are many modeling of objects in the Pan-Hongshan jade group, their categories, fine producing and beautiful appearance is second to none in the world archaeological culture. All of jade object type in the Neolithic or the Xia,Shang,Zhou Three Dynasties can be found their prototypes in the Pan-Hongshan jade group. The objects can be divided into three categories, namely, etiquette, practical and accessories devices. These objects reflected the people’s idea, religious concepts, production, life and the level of science and technology, and people’s art appreciation, etc., which showed us a real ancient civilized society. In addition, from the objects: Bi disk, Cong, Gui, Chang, axe, Yue and mace, etc., in the jade group we know that the prevailing social outlook was advocating etiquette, relatively centralized and hierarchical society, it was the advanced stage of clan society. (Refer to the same book, Fig 9.1, 9.5, 9.14, 9.16, 9.18, 9.19, 9.20, 9.22, 9.25, , 9,30, 9.33, 9.36, 9.40, 9.42, 9.44, 9.47, 9,48, 9.50, 9.59, 9.61, 9.62, 9.69, 9.74, 9.75, 9.80).
In China, there is a culture which has been continuing for all of the Chinese historical period, which is the Dragon-Phoenix culture. There is a variety shape of dragon in the Pan-Hongshan jade group, dragon is an imaginary supernatural totem, and it was the main totem of the Huaxia nation. There are also many shapes of bird and the combination of dragon and bird in the jade group; most of birds were the totems of the East Ye ethnics, and the combination of the dragon and bird was the joint clan’s totem. So the original moral of the dragon, bird and their combination is totem, but in feudal society period the meanings were changed to royal power, national prosperity, peace, happiness, happy marriage and so on, and the phoenix is the representative of auspicious or queen. (Refer to the same book, Fig 2.58, 2.60, 2.61, 2.68, and 3.20).
An astonishing subject is that there is a considerable proportion shape of the extraterrestrial life in the Pan-Hongshan jade group. They are in various shapes, some of them like human, and some like beasts, birds and some like insects, and the combinative and integrative forms of the extraterrestrial life with different species or with implements. It makes the Pan-Hongshan culture unique in pre-historic cultures, and it is also a great cultural wonders in the worldwide archaeological cultures. The study of extraterrestrial life is a topic of common concern to modern people. People would naturally thought about that the late last glacial period was still the infancy of the modern human, and when they had created a civilized society, whether there would be the intervention of the alien technology? The large number of extraterrestrial life modeling in the jade group provides a valuable kind of information for us to study.(See the pictures of the same book: 8.1, 8.6, 8.8, 8.10, 8.14, 8.16, 8.19, 8.24, 8.26, 8.30, 8.35, 8.39, 8.40, 8.43, 8.45, 8.52, 8.54, 8.57, 8.61, 8.66, 8.67, 8.75).

Of course, the cultural information provided by the Pan-Hongshan jade group not only mentioned above, it has provided sufficient cultural information to prove that human had created civilized society in the late last glacial, the Pan-Hongshan culture is the original source of Chinese jade culture as well as the important source of Chinese civilization and the civilization of the Pacific rim. The Pan-Hongshan cultural jade group further established the status and the role of Chinese jade culture in the history of Chinese civilization and the history of human civilization.

Please Note: Many picture numbers were listed in the second paragraph of the article, all of these pictures are in my book <The Earliest Miraculous treasure—Pan—Hongshan Cultural Jade Group>, because of the large quantity, I will continue to give some of them and give appropriate instructions. Now you can refer the pictures on the beginning of my blog, there are 23 images there. For convenience, I list the pictures which corresponding each small paragraph bellow, and give the ordered number for each picture. The ordered number like this A/B, A represents the line it’s in, B represents column it’s in. For example, the picture on the first line and second column, its ordered number is 1/2.

2/5, 4/4, 4/5;
4/3,1/2;
2/3, 2/4, 2/6, 3/1,3/5, 3/6, 4/1,4/2, 3/3,3/4;
The same as the paragraph C, because it is difficult to distinguish the animals and totems;
1/6, 2/1;
1/1,1/2, 1/5;
1/4, 3/6;
1/3,1/4, 2/2, 3/2.

Introduction of the book “The Earliest Miraculous Treasure–Pan–Hongshan Cultural Jade Group”

February 5, 2014 panhongshanjade Leave a comment

Here is an introduction which is also an excerpt from my book on Pan Hong Shan Jade Culture. It is written in Chinese and roughly translated to English. Please email me or comment below if you would like to discuss on this topic. Also if you are interested in the book, you may contact me as well.

《万古奇珍—泛红山文化玉群》简介

本书系通过一大批远古红山文化型玉器的研究，发现了一个被遗落的远古文明时代。该文明与新石器时期中国北方的红山文化直接相关，其时空范围涵盖了红山文化，作者以“泛红山文化”命名之，与之相应的玉器群称为“泛红山文化玉群”。泛红山文化始自末次冰期，是高水平的史前文化。是中华文明以及患太平洋地区文明的源头。

本书属文物考古范畴，是一部重要的史前考古文献，也是一部精美的远古雕塑艺术大典籍。

本书的概论题为“穿越时空的探索—论泛红山文化玉群”，该论文通过对泛红山文化玉群的研究，论证了自末次冰期晚期直至新石器时期悠长的时间范围内，及自东北亚横跨北太平洋直至美洲西北部的广阔范围内曾经有过以 “泛红山文化”为代表的时期人类文明，并且对楷文化的性质做了具体的分析和研究。其内容涉及：

原始氏族社会的各类原始崇拜，如自然崇拜、祖先崇拜、生殖崇拜、性崇拜、图腾崇拜等，以及原始宗教的地位和作用；
在史前文化中独具特色的外星生命体崇拜，以及外星科技介入人类文明的可能性；
泛红山文化的时空范畴以及它与红山文化的关系；
泛红山文化向环太平洋地区扩散；
泛红山文化与当是世界上不同地区的文化交流以及当是存在世界性整体文明的可能性；
对玉群中大量融合体造型的分析；
基因改造产生现代人的可能性；
泛红山文化玉器的特点等。

著名历史学家何光岳先生为本书作序，他对于本书的观点予以肯定，并给予本书很高的评价。

书中工选用泛红山文化玉器530件。分为九大系列（即书中的九章），系统地，图文并茂地展现了泛红山文化的神奇风貌。其九大系列分别是：

第一章．人、神系列；

第二章．龙系列；

第三章．飞禽系列；

第四章．走兽、家畜系列；

第五章．昆虫系列；

第六章．水族系列；

第七章．生殖文化和性文化系列；

第八章．外星生命体系列；

第九章．器物系列。

《万古奇珍—泛红山文化玉群》是一部重要的史前考古文献，也是一部精美的远古雕塑艺术大典籍。它是史前文明研究和古玉器研究不可多得的经典之作。作者对泛红山文化玉群进行了理论研究，同时还展示了500余件泛红山文化玉器的精美图片。该书同时具备了文献和图典的双重性质，收藏价值很高。下面是书中各章的图片选。

Translated:

A lost prehistoric civilization was discovered by means of studying a large number of Hongshan type jade. This civilization directly related to the Hongshan culture in North China during the Neolithic period. Its spatial and temporal span covered the Hongshan culture, so the author called it “Pan-Hongshan culture”. Its corresponding jade group was called “Pan-Hongshan cultural jade group”. The Pan-Hongshan culture began in the Last Ice Age. It’s a high level prehistoric culture. It’s an important source of civilization of China and the area of Pacific Rim.

This book belongs to the category of the archaeology of the cultural relics. It’s an important prehistoric archaeological document and an elegant prehistoric sculpture art book too.

There is an article: “The exploration of crossing the time and space —-On Pan-Hingshan cultural jade group” on the beginning of this book. Going through the study of the Pan-Hongshan cultural jade group, the author proved that there was a prehistoric civilization represented by Pan-Hongshan culture during the late of the Last Ice Age, its area was from Northeast Asia across North Pacific Ocean to North America. The author has made a concrete analysis and research on its cultural characteristics. A number of academic problems were dealing with in the book, such as:

The different kinds of original worship in the clan society, such as worshipping the nature, worshipping the ancestor, worshipping the reproduction, worshipping the sex, totemism etc, and the social position and function of the original religion.
Worshipping the fantastic living bodies of the outer space in the prehistoric culture period and the possibility that the alien and its space science and technology participated in the development process of human civilization.
The spatial and temporal span of the Pan-Hongshan culture and the relationship between the Hongshan culture and the Pan-Hongshan culture.
The Pan-Hongshan culture spread to the area of Pacific Rim.
The cultural exchanges among the Pan-Hongshan culture and other cultures in different areas of the world and different races in the world, and the possibility of existence of an integrity civilization of the world at that time.
The analysis of all kinds of the integrated art objects in the Pan-Hongonshan cultural jade group.
The possibility of producing modern human beings by means of gene reforming.
The distinguishing features of Pan-Hongshan cultural jade works.

Mr.He Guang Yue the famous historian prefaced this book with an introduction. He affirmed the viewpoints proposed by the author, and gave a high evaluation on this book.

There’re 528 photos of Pan-Hongshan cultural jade pieces in the book. They were divided into nine series (nine chapters).They are:

Chapter 1 The series of human and deity

Chapter 2 The series of dragon

Chapter 3 The series of bird

Chapter 4 The series of beast and livestock

Chapter 5 The series of insect

Chapter 6 The series of aquatic animal

Chapter 7 The series of reproductive culture and sex culture

Chapter 8 The series of living body of the outer space

Chapter 9 The series of utensil and ornament

This book is an important archaeological document as well as a classical archaic jade picture album; it’s a useful reference book for the scholars who study the archaic jade or the prehistoric civilization. It has high collection value.

Pan Hong Shan Chinese Jade Culture

January 11, 2014 panhongshanjade Leave a comment

Books I’ve written and published:

http://www.cbi.gov.cn:8080/wiseroot/pages/CBIen/booklist.page?bstype=Author&bskey=Yang+Tianyou

I will try to post regularly regarding Pan Hong Shan and other Neolithic Chinese Jade Culture topics and will include pictures from my collection for discussion.

Pan Hong Shan Jade (泛红山文化)