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Man and Culture
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Analysis of the Subjects of Chinese Carved Jade from the Collection of the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences

Van Tsi

Postgraduate student, Department of Art History, St. Petersburg State Art and Industrial Academy named after A.L. Stiglitz

191187, Russia, Sankt-Peterburg avtonomnaya oblast', g. Saint Petersburg, Solyanoy per., 13.

386944349@qq.com
Other publications by this author
 

 

DOI:

10.25136/2409-8744.2022.6.39159

EDN:

OGUZOL

Received:

13-11-2022


Published:

30-12-2022


Abstract: 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.


Keywords:

Kunstkamera, Chinese jade, plot, geometric shape, carving art, religion, element, technic, artistic analysis, research

This article is automatically translated. You can find original text of the article here.

The art of jade carving has its roots in the distant past. Jade was discovered by people in ancient times: they studied the mineral, found ways to use it, made attempts to comprehend and cognize it, and then endowed it with ethical, legal and religious meaning. With the advent of the art of jade carving, this stone became a symbol of tradition, power and divinity, as well as an important component of the social culture of primitive society [3].

The art of jade carving originated in China in the Neolithic era and has passed a long way of development to the present. This kind of art developed along with culture, and also certainly met the requirements of different eras. The plots embodied on jade products are an important basis for the evaluation and attribution of works of art [1]. In the Russian-language scientific literature, jade culture is characterized precisely as material: the properties of the mineral that formed the basis of its symbolic meanings are described, museum exhibits, book illustrations are characterized, the importance of jade products in the Chinese household culture is emphasized [11]. Our article is devoted to the study of the subjects of works of Chinese jade carving art in the collection of the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (hereinafter - the Kunstkamera).

The methodology of the article is determined by the specifics of the studied material, namely: the subjects of Chinese jade carving, which were subjected to an art historical descriptive analysis, comparative analysis of various methods of design and correlation with the peculiarities of culture, as well as with the symbolism of that period. Semantics and art studies of Chinese jade products are of interest not only to Chinese scientists (Bai Feng [1], Wang Guolian [2], Cao Xiufeng [12]), but also to Russian (B.B. Vinogrodsky [4], S.A. Komissarov [7], S. I. Galanin [5], etc.). A practical problem arises: there is not enough research on the art historical analysis of jade in China, since much attention is paid to its cultural value and archaeological history. However, due to various objective reasons, studies of Chinese jade in Russia are not systematic and in-depth [14].

The purpose of this study is to study the museum expositions of the Kunstkamera, where works of art from Chinese jade are presented. The realization of this goal required solving a number of tasks. The objectives of the article are determined by the main purpose of scientific research: first of all, to investigate and analyze the plots of Chinese jade art objects presented in the expositions of the Kunstkamera. Secondly, to clarify the content of the plots made on jade and related to mythology and religion, as well as to identify the influence of jade culture of different historical periods and different social strata on artistic expression.

In the 90s of the XIX century, a turn towards the East was outlined in Russian foreign policy and diplomacy, as well as in intellectual and spiritual life. One of the trends in public thought based on the idea of the cultural and historical community of Russia and the East and the reorientation of Russian politics to Asia was the so-called "Orientalism", the main exponent of which was the confidant of Nicholas II, the editor of the St. Petersburg Vedomosti, Prince Esper Esperovich Ukhtomsky [12]. In 1901, E.E. Ukhtomsky collected a lot of jade products in the north of China, which are now included in the collection of the Kunstkamera. Most of the works are decorative, while they cover different subjects: images of characters, animals, plants, as well as religious subjects, the execution of which is distinguished by grace and a high level of skill.

The exhibition of the Kunstkamera dedicated to China presents more than 20 objects of jade carving art. These beautiful works were brought to Russia during the forties and fifties of the twentieth century. During the research, information was received from the curator of the collection (P.V. Rud) about the absence of dating on jade exhibits due to the lack of appropriate specialists. No one has conducted an art history study of the collections. This aroused scientific interest in this problem and determined the relevance of this study.

Renu (literally "people and things") is a genre of Chinese painting that includes portraits in the interior, images on historical, mythological and literary subjects, scenes of palace life, and so on [6]. Carvings of characters, as a rule, are based on traditional plots, most of which are mythological. This is due to the aesthetics, hobbies, habits of ancient people and the peculiarities of traditional folk art. The images of the characters represent extreme complexity in the art of jade carving: they cover a significant substantial layer and at the same time have a clear vital energy.

ÌÀÝ 3245-21

Fig.1. MAE 3245-21

Exhibit number MAE 3245-21 represents a sculptural image of the god of longevity, Shou-sin. The product is an image of a long-bearded old man with a bulging hyperbolized forehead, with a staff in one hand and a peach in the other. There are blessed clouds under his feet, and the image of a spotted deer is engraved on one side of his body. The elder's facial features are realistic, the expression is joyful, the patterns on the clothes are light and flowing. In general, the sculpture is distinguished by its originality of execution and vivid artistic expressiveness. This is a typical piece of jade carving art in the form of a character appearing in the image of Shou-sin (the elder of the Longevity star) in the traditional folk culture of China. This is a sculptural image of the god of longevity from Chinese mythology. Often this character appears in the same composition with deer, cranes or peaches of immortality, designed to complement the image.  

Around the third century BC, the image of Shou-sin began to appear in books, and under the Ming (1368-1644) and Qing (1644-1911), plots with this hero were often performed on jade. During these periods, the image and the technique of transmitting the Show on the products became more and more complex, which marked the era of the highest flowering of the jade culture [15].

G214

Fig.2. G214

During the Ming period, engraving techniques were rougher than under the Qing, and many details were often overlooked. As an example, we will give a jade product of the Ming Dynasty from the collection of the Forbidden City Museum – "The Jade lying Deer and the God of Longevity" (G214). The image of the character is distinguished by the simplicity and conciseness of the composition, the desire to convey the inner state (spirit). During the Qing Dynasty, following the development of the craft, stone processing became more thorough. Special attention is paid to the polishing of jade, the expression of its softness, luster, saturation. If we compare the above exhibit with the sculptural image of the god of longevity Show-sin from the collection of the Kunstkammer under the number MAE 3245-21, then we can note the great detail of the latter in terms of the transfer of beard, patterns on clothes and other elements. Careful polishing of the stone made it possible to achieve brilliance, realism and high artistic expressiveness. This corresponds to the technological characteristics of the Qing era. Thus, this jade product was made during the Qing. The most common among the plant plots on jade products is a pine tree – a symbol of longevity. Thus, ancient people turned to various subjects and expressive forms to express their own hopes and aspirations.

ÌÀÝ 3245-2

Fig.3. MAE 3245-2

ÌÀÝ 3245-5

Fig.4. MAE 3245-5

The above illustrations show a decorative ornament (MAE 3245-2) and a vase (MAE 3245) with the image of a pine tree.

If we compare the images of pine in traditional Chinese Guohua painting with the peculiarities of the transfer of this tree on jade, we can see that the carved images are more geometric and dynamic. The tall, straight trunks and branches characteristic of gohua appear curved and changeable on jade, filled with a sense of movement.

Obviously, this technique serves to enhance the spatial perspective. The needle-like leaves of the tree, numerous and thin, on jade products are often grouped into geometric shapes (oval, fan-shaped). Overlays and layering of forms enhance the three-dimensionality of two-dimensional space. Such images of pine trees on stones are laconic and voluminous, demonstrate the possibilities of their rich artistic expression, as well as the outstanding visual abilities of ancient artists.

ÌÀÝ 3245-1

Fig.5. MAE 3245-1

In addition to images of mythological heroes and plants, images of animals are used as a special visual language. Many decorations depict birds, insects, reptiles, skillfully captured details skillfully convey images of animals [8]. For example, the exhibit number MAE 3245-1 is a sculptural image of a reclining buffalo. This rounded sculpture is made in the form of a buffalo with its head slightly raised, eyes wide open, mouth slightly open. The whole figure of the animal expresses serenity. The buffalo's horns are directed backwards and pressed against the head, and the tail is twisted under the animal's body. There are laconic engraved lines on the buffalo's head and tail. The master carefully worked out the four legs of the buffalo, giving them a geometric shape. The peculiarity of this sculpture is that it is a three-dimensional sculpture that can be viewed from different points of view. In the "Book of Mountains and Seas" (Shan Hai Jing), it is recorded that the Yan di Emperor had the body of a buffalo. This emperor led his tribe to fish, roam and hunt along the Yellow River, and then moved to the middle and lower reaches of the Yellow River. He tasted different herbs with his tongue, recognized grain crops with his eyes, demolished mountains and overturned seas due to the power of the buffalo, created agricultural lands, thus making a significant contribution to the development and progress of the Chinese nation [13]. That is why, among all the images of animals, the buffalo has become a symbol of stability and diligence, it has also become considered an animal capable of bringing good luck and eradicating evil.

The subjects of the art of jade carving are rich and diverse, they cover many elements, as a result of which each work is filled with a special symbolic meaning. Buddhist subjects are also characteristic of this art. Buddhism occupies a unique place in the history of Asia. No other movement, religion or historical event can compare in terms of impact with Buddhism [9]. People liked to create sculptural images of Buddha, Guanyin Bodhisattva and others out of jade, to express the essence of Buddhism through the softness, smoothness, pure colors of jade. Jade is one of the seven treasures of Buddhism, which is considered an intermediary between people, deities and Buddhas [10].

ÌÀÝ-3245-3

Fig.3. MAE 3245-3

The jade bowl numbered MAE-3245-3 is decorated with a pattern in the form of eight jewels of Buddhism, combining various religious attributes. Eight religious elements are engraved on one object: a shell, a dharma circle (wheel), a precious umbrella, a canopy, a lotus, a jade vase, a golden fish, an endless knot, in the image of which a new artistic expression is manifested. The shell embodies the voice of the Buddha; the circle of dharmas symbolizes the transmission of Buddhism from generation to generation, as well as the continuity of life; the precious umbrella means higher powers; the canopy is an ancient Indian military banner associated with the elimination of delusions and suffering, giving the opportunity to achieve enlightenment; the lotus is the embodiment of holiness and purity; the jade vase symbolizes the completion of worship and achievement of success; the golden fish, as a rule, is depicted in pairs, which means eternal life and rebirth, figuratively expresses free adherents of Buddhism, who abandoned everything mundane and went beyond time boundaries; the infinite knot originally symbolized love, and also represented wisdom and enlightenment [2]. The combination of these eight elements is closely related to Buddhism and symbolizes good luck and happiness.

In the middle of this image in the form of eight jewels is an ornament of the hieroglyphs "?" show (longevity). In Chinese science, there is an idea that "ten thousand hieroglyphs are connected in?". During the reign of the Kangxi Emperor (1661-1722) of the Qing Dynasty, the use of the hieroglyphic ornament "?" of the show reaches its peak. The images of the eight jewels originate in Tibetan Buddhism and flourish under the Ming and Qing. During the Ming Dynasty, these images were most often created on porcelain. During the Qing Dynasty, members of the imperial family professed Tibetan Buddhism, so such images were made in significant numbers on jade products. By analyzing the exhibit number MAE-3245-3, it can be seen that the plot is an important basis for the artistic analysis of the art of jade carving, and ornaments are significant symbols of the jade era.

Thus, these new jade materials testify to the close exchange between China and Russia before and after the 20th century, about the interest of Russian researchers in studying Chinese jade; about the connection with mythology and religion of the subjects that were performed on jade; about the reflection in the artistic images of jade culture of different historical periods and the representation of different social strata.

The study also revealed that the plots are associated with the development of human thinking, understanding of natural phenomena, awareness of the changing seasons, as well as the emergence of animism and totemic culture [14]. The cultural value of jade products that have been developed for several millennia, as well as their special significance and unique content, embodied through ancient traditional techniques, provided the art of jade carving and its amazing artistic styles with centuries-old transmission from generation to generation.

 

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First Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The subject of the research in the presented material is a set of attributive features of individual museum objects of Chinese carved jade from the collection of the Kunstkamera, revealing their plot content. Revealing the problem, the author refers to the opinion of the curator of the collection dedicated to China, presented at the Peter the Great Museum of Anthropology and Ethnography, about the lack of appropriate specialists for dating jade exhibits. Such an interview requires additional study of scientific sources, since it does not exclude the subjective factor of the attitude of such a "keeper" to the museum attribution of objects protected by him. In the absence of the author's references to systematic reviews of specialized literature, the fact of a shortage of specialists remains unknown. There is a possibility that the museum or art historical attribution of research objects has not been carried out for more than 100 years of museum storage for other reasons that have not been established, or has been carried out, but remains unknown to the author. In particular, as Zheng Qingyan points out (Philosophy and Culture. 2022. No. 7) the semantics of Chinese jade products are of interest not only to Chinese scientists, but also to Russian ones (V. G. Belozerova, M. M. Bogachikhin, D. A. Vladimirova, M. A. Niglinskaya, etc.). Accordingly, one of the tasks outlined by the author ("to show the activities related to the collection of Chinese jade by Russian researchers after 20the 20th century") has not been solved, one of the goals ("to show the participation and role of Russian researchers in the collections of Chinese jade") has not been achieved. Of course, the problem of museum attribution of objects of storage and display in museums around the world exists, but it is complex, multifactorial in nature: the lack of specialists is not always a decisive factor. Based on the subject of the study, it would be much more valuable to establish, by reviewing the special literature, which of the semantic elements of Chinese carved jade from the collection of the Kunstkamera have already been studied by scientists (Chinese, Russian, and others) and which have not. Moreover, in the presented material, the author successfully applies the existing experience of attribution of objects according to the specifics of the decorative work of the jade carvers Ming (1368-1644) and Qing (1644-1911), as well as elements of historical and semantic analysis of individual objects. The research methodology contains elements of historical and semantic analysis, which is the strong side of the work. The author should abandon the problematization of the museum attribution of the subject of research and focus on its art historical attribution. To do this, it is necessary: 1) to build a problem field of research (such and such semantic elements have been studied by such and such scientists on the example of such and such artifacts, which allows us to explicate the existing experience directly into the attribution of the Kunstkamera collection); 2) to establish the total number of objects in the collection and the reasons for selecting individual objects analyzed in the work from it; 3) to strengthen the art criticism attribution by such techniques as typology and classification of analyzed objects; it is advisable to select objects for detailed analysis based on their typology according to individual characteristics; this will give the work logical consistency and structural transparency; 4) adjust the purpose and objectives of the study; one goal is enough (for example, to place the subjects of Chinese carved jade from the collection of the Kunstkamera in the context of Chinese culture) and two or three tasks, the solution of which makes it possible to achieve the goal; it is for solving these tasks that the most relevant methods should be chosen (after all, there are also technical means of establishing the dating of artifacts; the value of art historical attribution lies in another – in establishing causal relationships of the logic of the historical development of artistic creativity). The relevance of the study is really high. It is conditioned by the growing influence of Chinese culture in the world and the importance of jade sculpture in Chinese everyday life and the history of traditional Chinese culture. However, the author, focusing on the problem of museum attribution of the exhibited objects, does not fully disclose the significance of the semantics of Chinese carved jade for the presentation of the culture that gave rise to it. Therefore, this part of the introduction should be finalized. Due to the weak analysis of the degree of elaboration of the problem (review of special literature), the scientific novelty of the presented work remains in doubt. The style of work is generally close to scientific, although the revision should take into account the abbreviations of years and centuries recommended by the editorial board (https://nbpublish.com/e_ca/info_106.html ). The structure of the work can be significantly strengthened by refining the introduction, it is necessary: 1) to clarify and concretize the relevance of the research; 2) to include in the work at least a small overview of the degree of study of the subjects of Chinese carved jade in Chinese, Russian and world science; 3) to transparently describe the research program (object, subject, problem, purpose, tasks, methods of their solution); 4) to deduce the final conclusion as a logical a consequence of the scientific work done (now it looks like a thesis not based on the text of the article). Numerous typos and typos are found in the content of the test. For example: a) unnecessary spaces ("The purpose of this study is: First of all ..."), b) the absence of the necessary space between the preceding word and a square or round bracket; c) inconsistency of phrases ("Plots embodied on [in] jade products ...", "... in collections of Chinese jade ..." etc.), d) typos in the words ("... has acquired an important meaning"). These errors require the author's proofreading and literary revision of the text. The presented bibliography corresponds to the problem area, but does not fully disclose it, does not take into account, including recent publications on the topic (Wang Qi, The development of the Chinese art of jade carving before the 3rd century AD // Culture and Art. 2022. No. 4; Zheng Qingyan "Jade" patterns on painted ceramics of the Neolithic era // Philosophy and Culture. 2022. No. 7, etc.). The author avoids appealing to opponents, although the references existing in the work are correct and appropriate. The interest of the readership of the journal "Man and Culture" in the submitted article can be quite high, provided that it is finalized taking into account the comments of the reviewer.

Second Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

In the magazine "Man and Culture" the author presented his article "Analysis of the subjects of Chinese carved jade from the collection of the Kunstkamera Museum", which conducted a study of the artistic and socio-cultural characteristics of jade exhibits presented in the Kunstkamera. The author proceeds in studying this issue from the fact that the jade materials on display indicate a close cultural exchange between China and Russia and reflect the interest of Russian researchers in the subjects of Chinese creativity. The plots that were performed on jade are related to mythology and religion. The artistic expression reflects the jade culture of different historical periods and the representations of different social strata. The cultural value of jade products that have passed through several millennia of development, as well as their special significance and unique content, embodied through ancient traditional techniques, has ensured the centuries-old transmission of the art of jade carving and its amazing artistic styles from generation to generation. The relevance and scientific novelty of the research is determined by the fact that the exposition of the Peter the Great Museum of Anthropology and Ethnography, dedicated to China, presents more than 20 objects of jade carving art brought to Russia in the period from the beginning to the forties and fifties of the twentieth century. During the research, the author received information from the curator of the collection that there is currently a shortage of relevant specialists, as a result of which the jade exhibits have not been studied and have no dating. An art historical study of the samples was also not carried out. The methodological basis of the study was a comprehensive approach containing comparative, historical, socio-cultural and artistic analysis. The theoretical basis of the research is the works of such Russian and Chinese art historians as Bai Feng, Wang Guolian, B.B. Vinogrodsky, S.I. Galanin, etc. The empirical basis of the study was the works of Chinese jade carving art from the collection of the Peter the Great Museum of Anthropology and Ethnography of the Russian Academy of Sciences. Accordingly, the purpose of this study is to study the museum expositions of the Kunstkamera, where works of Chinese jade carving art with plot and cultural value are presented. The realization of this goal required the author to set and solve a number of tasks: to explore and analyze the art plots of Chinese jade art objects presented in the expositions of the Kunstkammer Museum; to study the plots made on jade and their connection with ancient Chinese mythology and religion; to determine the influence of jade culture of different historical periods and different social strata on artistic expression. Having studied the degree of scientific elaboration of the problem, the author concludes that the semantics and artistic significance of Chinese jade products are of interest not only to Chinese, but also to Russian scientists. However, the author notes the problem of a small number of studies on the art historical analysis of jade products, more attention is paid to its cultural value and archaeological history. In addition, the available research, according to the author, is not systematic and in-depth. To achieve the purpose of the study, the author conducted a detailed analysis of six exhibits made in the genre of renu ("people and things"), a genre of Chinese painting that includes portraits in the interior, images of historical, mythological and literary subjects, scenes of palace life. Carvings of characters are usually based on traditional plots, most of which are mythological. This is due to the aesthetics, hobbies, habits of ancient people and the peculiarities of traditional folk art. As the author notes, the images of the characters are extremely difficult in the art of jade carving: they cover a significant substantial layer and at the same time have a clear vital energy. The author describes and illustrates in detail each exhibit, its compositional component, technological complexity, symbolic and semantic load. In addition, the author notes the signs by which the exhibit can be attributed to a certain historical epoch. After conducting the research, the author presents the conclusions on the studied materials. It seems that the author in his material touched upon relevant and interesting issues for modern socio-humanitarian knowledge, choosing a topic for analysis, consideration of which in scientific research discourse will entail certain changes in the established approaches and directions of analysis of the problem addressed in the presented article. The results obtained allow us to assert that the study of the unique culture of a certain people, its material and spiritual cultural heritage is of undoubted theoretical and practical cultural interest and can serve as a source of further research. The material presented in the work has a clear, logically structured structure that contributes to a more complete assimilation of the material. An adequate choice of methodological base also contributes to this. The bibliographic list of the study consists of 15 sources, which seems sufficient for the generalization and analysis of scientific discourse on the subject under study. The author fulfilled his goal, received certain scientific results that allowed him to summarize the material. It should be noted that the article may be of interest to readers and deserves to be published in a reputable scientific publication. However, the text of the article needs to be corrected, since the structure of some sentences is inconsistent and makes it difficult to understand the content of the study.

Third Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The article touches upon the problems of ethnonational specifics of cultural development and, in fact, raises the question of the need to preserve traditions and values that make up the uniqueness of a particular culture. From this point of view, it seems that both the theoretical aspect and the more practical one for solving the tasks set will bring the author closer to obtaining the final heuristically significant research results. Meanwhile, the article is devoted to Chinese carved jade and the analysis of the plots available in this art form. The locus of research is also clearly defined – the Kunstkammer Museum. These points determine the specifics of the objectification of the results, since we see that the author concretizes the key aspects of his work. The scientific problem is somewhat not obvious – the analysis of something in itself is only a way (one of many) to obtain meaningful information, but what to do with this information next is much more important than the level of reflection on this matter. My conviction is that analysis as such cannot become the subject of consideration in an article, a scientific problem must be posed and solved in it, and analysis only allows us to get closer to such a solution. On the other hand, the author takes as a basis a rather curious kind of art that has its roots in archaic times – from this point of view, I admit that the probability of self-sufficiency of the analysis of this type of art itself or its subjects increases, although slightly, but still can be regarded as a more or less consistent experience of a scientific approach. In the content of the article, the author provides a number of interesting historical facts related to the development of the art of jade carving, and evaluates the research experience of both Chinese and domestic scientists. It is noted that practically no attention is paid to the art criticism analysis of this type of art, which, of course, can be regarded as an existing problem, but rather of a particular methodological nature. The author's difficulty in formulating the key problem leads to an incorrect formulation of the purpose of the work; it needs to focus not on the study of museum expositions (moreover, it is not clear in what key this study is to be carried out), but on identifying the artistic and stylistic (and possibly ideological and artistic) originality of subjects in the art of carving jade. But let's take into account the fact that the author still generally follows the logic of scientific research, so we will attribute the incorrectness of the formulation of the goal to the haste of the research itself. Along the way, we note that historical and cultural analysis in the case of the presented work would be quite appropriate, especially since the author applies elements of this analysis in the work and draws some noteworthy conclusions. For example, some data is provided on historical events in the 90s of the nineteenth century related to foreign policy and diplomacy, etc. In the end, such excursions into history not only do not make the text of the work heavier, but make it more informative and capacious in meaning. As for the direct perspective of evaluating the plots, as stated in the title of the article, here we see that the author refers to 20 works of jade art – the illustrative material is quite appropriate and allows you to form clear ideas about the originality of the objects of art, but also to verify the correctness of the author's generalizations. I believe that the very interpretation of the plot in the article looks confident – the author, indeed, is following the path of identifying the features of the plots, but in addition, describes in detail the objects of art themselves, etc. I believe that with all the disadvantages of the article, the available advantages outweigh them completely, and therefore the article can be recommended for publication.