A simple incised line follows the contour of the dragon’s body, while more numerous on the highly stylised tail and feet they heighten the dynamics of the design, forming a strong contrast with the even layout of the dots in the shape of “germinating seed” adorning the body. A suspension hole is placed at the top of the reversed “U”-shaped curve.
Jade works in the days of the Warring States (Eastern Zhou, 471-221 BC) are the result of developments over several thousand years, jade being attested in Late Neolithic tombs, with Liangzhu culture (3300-2200 BC) as a major production centre. A social marker, symbol of longevity and wealth, as well as the expression of virtues, this material with its extremely sophisticated forms was highly regarded by ancient societies in China.
During the 5th century BC shapes inspired by older models appeared (this is called archaising style) for decorating jade discs, swords, seals, or clothing. The dragon- or tiger-shaped plates, often in relief or open sculpture, in a position of repose or climbing, were particularly popular. According to the legends of this period those animals were able to fly up to the heavens, this being why clouds layer the background of these “S”- or “U”-shaped plaques.
The ringed décor, known as “silk worm”, then “germinating seed”, as is the case with this piece, may instead have originated in the Chu State, in the south of present-day China, along the Blue River, just like, apparently, this particular dragon motif, several exemplars of which come from tombs of the Anhui and Hubei provinces.
