(Note: This article is a review written by the author for the inaugural issue of “Pinjian,” the journal published by the Zhejiang Province Ornamental Stone Association, introducing “Shiqu Zhai.” The concise thousand-character essay offers fresh and unique perspectives on the art of stone appreciation and jade appreciation, both past and present, from both Chinese and foreign viewpoints.)

    “Shi Qu” also refers to “Picking Up Shells in the Stone Sea,” evoking Qin Mu’s work, “Picking Up Shells in the Artistic Sea.” The phrase “Picking Up Shells in the Artistic Sea” symbolizes the tireless pursuit and lingering appreciation of literary and artistic works—vast and boundless as mist—and the continuous enhancement of one’s own literary and artistic cultivation. Art Appreciation Just as a child, wading along the boundless seashore, eagerly collects rare seashells—this literary appreciation ability is full of childlike charm, astonishing and worthy of admiration. “Shi Hai Shi Bei” focuses on the process of “insight” and “cultivation” inherent in playing with and appreciating stones.

“Jade culture” can be regarded as the quintessence of Eastern culture and civilization, while “diamond culture” can similarly be seen as the quintessence of modern Western culture and civilization. At their core, Eastern culture emphasizes “intuitive synthesis,” whereas Western culture stresses “rational analysis.” As scientific, cultural, and philosophical phenomena, people around the world can also perceive similar contrasts between “Traditional Chinese Medicine” and “Western Medicine.” The diamond, being the simplest crystal in nature in terms of composition and structure, gained widespread recognition—and a distinctive Western-style diamond culture and commodity-marketing model—thanks to the development by Westerners of the “4C standard”: a commercial technical benchmark that combines four physical attributes—carat weight, color, clarity, and cut. In contrast, jade is a complex aggregate of rock minerals with relatively intricate composition and structure. From a commercial perspective, it has proven technically challenging to devise a comparable “4C standard”—one that is intuitive, convenient, universally applicable, and widely accepted. Yet remarkably, China’s ancient sages created for the world the “Five Virtues” theory of jade: “benevolence, righteousness, wisdom, courage, and integrity.” In modern terms, this represents a comprehensive standard that integrates science, culture, and philosophy into one unified framework.

In his "Shuowen Jiezi," Xu Shen of the Han Dynasty stated: "Jade is a stone of exquisite beauty that embodies five virtues." Mencius's theory of the "five virtues" was built upon Confucius's eleven virtues: "A stone of exquisite beauty possesses five virtues—smooth and lustrous, warm and gentle." Benevolence This is the way; by examining the exterior of the carp, one can understand what lies within. righteousness It is a method of this kind; its sound is resonant and uplifting, broad and widely renowned. Wisdom The way of it is this: It does not bend but breaks. Courage The way of it is this: sharp and upright, yet not cunning. Clean “The Way of the Jade.” The Five Virtues are, in fact, five inherent characteristics of jade summarized by our ancestors: luster, transparency, acoustic properties (sound), toughness and hardness, and cleavage. By imbuing these five physicochemical attributes with cultural and moral elements and personifying them, we arrive at the concept of the Five Virtues. Avoiding “gain” and pursuing “benefit,” the act of handling jade emphasizes “enlightenment” and “cultivation.”

Compared to the “Five Virtues,” the four-character summary for appreciation of stones—“thin, wrinkled, perforated, and translucent”—or the fifteen-character summary—“thin, wrinkled, perforated, translucent, clear, rugged, ugly, clumsy, bizarre, textured, colored, shaped, elegant, extraordinary, majestic”—places greater emphasis on refined elegance and aesthetic appeal, yet lacks a solid scientific foundation and falls short in terms of philosophical reflection on life. In comparison to “appraising jade,” the difference between these two approaches is as vast as heaven and earth—though they may share a superficial resemblance, their essence could not be more divergent.

The greatest difference between “appreciating stones” and “appreciating jade”—referring here to jade carvings—lies in the fact that the former is a dialogue between humans and nature, whereas the latter is a dialogue among people. Moreover, “appreciating stones” encompasses a much broader span of time and space, offering an immensely richer realm for contemplation: from discernment and projection to nostalgia, fascination with the exotic, sudden insights, and lingering afterthoughts. Another alluring aspect of “appreciating stones” is that it never reaches a final conclusion; there’s always a continuous process of discovery and rediscovery, making the joy itself lie entirely in the journey itself.

There are clear differences between Eastern and Western cultures in their appreciation and love of jewelry. However, there are also certain types of jewelry that both East and West share a common fondness for—such as pearls, agate, amber, and diamonds. In the field of ornamental stones, only two categories allow East and West to engage in meaningful dialogue: mineral crystals and fossils. Internationally, annual conferences dedicated to mineral crystals and fossils are highly influential and have already established complete industrial chains; collectors in this field generally possess professional expertise.

Looking back at history, both ancient and modern, both at home and abroad, Chinese stone enthusiasts should also adopt an international perspective and pursue global engagement. In tandem with China’s overall peaceful rise, they should wholeheartedly promote “jade culture” and “stone culture” to the world.