It was not until the Ching dynasty beginning in the 17^th century that the art of jade carving reached its age of development and this was disputably the golden age of jade carving. 

During this period mass quantity of nephrite of the newly conquered region of Xin Jaing and Jadeite of upper Burma were discovered and imported to China proper. 

Until this point the rare green jadeite from Burma had never been seen before in China the Chinese call it Fei Cui, soon it was used for making exquisite jade trinket and gadget for empress and imperial concubines.  

A famous example the jadeite cabbage rendered in varied white and green jade was the dowry of one of emperor's Kang Xi concubine. The pro white hue represents chastity and the green grasshopper represents the blessing of many offspring and descendents. 

Ching jade carving reached the peek of its development in the 18^th century displaying an unequal mastery of artistic expression and technical excellence. Jade masterpieces of this period proliferated all over this world and are know in the west as Chan-long-jade, named after the most dynamic and most accomplished of the 18 century emperor. 

As in the song dynasty Ching artistry emphasized the art of imitating ancient master works yet with a difference from song artifacts. A jade carving that closely resembles ancient bronze vessels in both form motifs undoubtedly dates from the Song period. 

Ching jade articles imitate only the shapes of ancient vessels without the motif and design. Instead it preserved its own distinctive flavor, design and meticulous attention to detail. 

A true masterpiece of Ching carving of palace museum I the yellow jade seals. Three solitary seals are linked together by three delicate translucent chains and a large notch ring, all of which are sculpted from the same original piece of jade. None of the jade sediments have neither chipped nor glued an amazing accomplishment considering the temporary carving tools were clumsily stone implements. 

Another palace museum treasure is the pair of identical jade flowers one white the other gray carved with an inverted bowl with overlapping petal and leaf motif. 

Fresh flowers used to be placed under the bowl to set the room much like a western potpourri. 

Few jade articles in the long history of jade bare inscriptions, almost all examples of lapidary jade art were inscribed by Ching emperor Gan Long an avid jade connoisseur and an accomplished poet. The most treasured jade artifact in the imperial collection was all personally trademarked with his personal poetry and insignia. Most of them can be view at the national palace museum. 

The emperor was apparently such a jade buff that once when he found out that his favorite antique tumbler with serpentine dragon design was faked dyed to resemble jade antiques he fiercely gave a heavy sentence to the artisan. However as the artisan began explain the intricacy and merits of the art of dyeing the emperor not only acquitted him but was instantly won to the new technique. 

Exemplifying of the fascinating art of dying as well as the finer sculptured is he meat shaped stone carved as a chunk ok fatty pork the stone has been dyed to achieved the glassing skin the hairs and the blubbery meat. 

Aside from developments in new techniques and style of perfecting ancient ones, Ching jade sculpture also absorbed foreign elements from outer regents from its empire. In the 18^th century mass quantities of jade articles known as Hindu style of jade were imported into china from the Muslim region of Xin Jiang.  And with Hindu style of jade came a new form of jade carving. 

During the Ching dynasty Hindustan referred to northern India a strong hold of the Muslim religion and the term Hindustan referred jade was used to refer specifically to jade article from Muslim regions. Most of the Hindustan jade articles from the 1800 hundredth to the early 1900 hundredths were produced in Persia and northern India. Although few jade utensils were actually made in Xin Jiang.

CHINESE

The Xin Jian City of Ye-Er-Qiang became the trading hub of Hindustan jade of Asia. In the later half of the century after Xin Jiang was incorporated into the Chinese, imperial tributes of pricey jade carving were regularly presented to the imperial court by regional rulers and imperial consoles. Like Gan Long after him emperor Gao Zong had his Hindu style collection inscribed with his favorite selection of verses and poems. 

Originating form central Asian countries like Persia Hindustan jade absorbed European and western style influence. 

Huddle utensils are exquisitely carved of a bursting bloom or a freshly sliced melon that is a distinguished feature of Hindustan jade. 

The basics of the utensils were usually designed with a plate in the shape of a blossom in full bloom. The handle distinguishing features of these utensils were innately carved in the shape of a twining leave and steams or sometimes a carved goat head the only animal motif in Hindustan jade. 

Most of these hood articles were sculpted from light colored stone usually of a single hue capturing a serenity and tranquility unique to Hindustan jade. To heighten artistic effect the utensils were inlayed with pattern with gold silver and with an entire spectrum of colorful gems and glass. 

The most common design was that of the lotus and vine usually gracing the base and the handle. 

Another distinguishing feature is its indescribable finesse, refined to the point of achieving paper-thin thickness and translucently. Hindustan jade has been compared to metaphor like cicada wings and artistic creations of immortals. Even from inside the bowl one can see the flower motif carved on the outside. 

Under imperial patronage Chinese Jade artisans began to adopt and imitate these Hindustan styles and techniques. An excellent example is the palace museum masterwork. A water vessel shaped like a melon seed with an ornate goat head handle. 

Although evidently influenced by Hindustan carving and motif finesse the Chinese artisans were able to modify these elements into an authentically Chinese composition for the making of Chinese utensils for example the lids for teacups and brush washers and water containers. 

Evidently the later half of the 18^th century was the golden ages of jade carving a unique period of cultural enter flow and exchange. Chinese artisans adopted foreign styles and techniques stimulating the revival of jade carving yet retained a uniquely Chinese art form. 

New styles motif and techniques became incorporated into the Chinese art and indeed into Chinese culture as a whole. 

The high art of jade carving began to wave after the 18^th century never the less this era has left us with a proud and indelible heritage of jade masterpieces. 

The long history of Chinese jade has witnessed many changes and turns each stage of development has its own story to tell. Together they recount not only the history of Chinese jade but also the saga of a people with a tremendously rich culture that dates back thousands of years.