By Paul E. Desautels (auth.)
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Being symbolic of fire, it was red in color. The hu is usually represented as being in the form of a tiger. It came to symbolize metal and was required to be white. The huang is of somewhat uncertain description, too, but seemingly was semicircular and looked like half a pi. It became symbolic of water and was black. For ritual or sacrificial purposes, the pi represented reverence to Heaven, the ts'ung reverence to Earth, the kuei reverence to the East, the chang reverence to the South, the hu reverence to the West, and the huang reverence to the North.
The only hope has been a monumental effort to match the written word with the fruits of archeological digging. Masterworks of Chinese Jade in the National Palace Museum, a publication of the National Palace Museum in Taipei, states that "old writings and catalogs on jade are limited to Lu Ta-lin's K'ao-kut'u and Lung Ta-yuan's K u-yu-t'u-p'u from the Sung Dynasty, while from the Yuan Dynasty we have Chu Te-jun 's K u-yu-t'u. The objects of jade recorded in the works by Chu and Lu are, however, infinitesimally small in number, and the work by Lung, being an obvious forgery, is totally unsatis- A mottled grayish-brown and -white nephrite blade, set in a bronze handle inlaid with turquoise.
An exhibition of recent Chinese archeological finds has been presented in the West by the People's Republic of China. Among the pieces in it is the famous jade burial suit of Princess Tou Wan. The show's catalog states: Taoist ... lore included a belief that jade could prevent the decay of the corpse which therefore, from about the time of the Man 'ch 'eng tombs, was often furnished with small jade pieces intended to stop the nine orifices of the body, a cicada of jade being laid upon the tongue.
The Jade Kingdom by Paul E. Desautels (auth.)