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Nephrite jade in New Zealand is known as pounamu in the Māori language (often called "greenstone" in New Zealand English), and plays an important role in Māori culture. It is considered a taonga, or treasure, and therefore protected under the Treaty of Waitangi, and the exploitation of it is restricted and closely monitored. It is found only in the South Island of New Zealand, known as Te Wai Pounamu in Māori—"The [land of] Greenstone Water", or Te Wahi Pounamu—"The Place of Greenstone". Jade may be enhanced (sometimes called "stabilized"). Some merchants will refer to these as grades, but degree of enhancement is different from colour and texture quality. In other words, Type A jadeite is not enhanced but can have poor colour and texture. There are three main methods of enhancement, sometimes referred to as the ABC Treatment System: [30] The name Nephrite derives from the Greek word meaning "kidney". This is because in ancient times it was believed that wearing this kind of jade around the waist could cure kidney disease. [28] Lan, Shanshan (2012). Diaspora and class consciousness: Chinese immigrant workers in multiracial Chicago. New York: Routledge. ISBN 978-0-415-89036-6. OCLC 698324613. Wang M.Y., Shi G.H. (2020) Characteristics of modern Chinese jade carvings: The nephrite jade works that won the Tiangong Awards from 2003 to 2014. Arts of Asia, Vol. 50, No. 3, pp. 88–102.

a b c Lewandowski, Elizabeth J. (2011). The complete costume dictionary. Dan Lewandowski. Lanham, Maryland. p.319. ISBN 978-0-8108-4004-1. OCLC 694238143. {{ cite book}}: CS1 maint: location missing publisher ( link) It is currently used as a form of fashion accessory used by hanfu enthusiasts. [11] Press lapels [ edit ] A lady wearing shibazi-style yajin to press down the lapel of her ao, 1861–1864 Bronze Rotary Machines (circa 2070–circa sixth century BCE). Although they emerged in the Neolithic period, inlays in the Xia, Shang, and Xizhou Dynasties outnumber those before the Xia Dynasty and display outstanding intricacy. These inlays were mainly combinations of bronze and turquoise, jade and turquoise, or bronze and jade. Jade vessels emerged in this period, with a corresponding rise in skilled hollowing (Xu, 2011). a b c d e f Sheng, Angela (1995). "The Disappearance of Silk Weaves with Weft Effects in Early China". Chinese Science (12): 41–76. ISSN 0361-9001. JSTOR 43290485.Guozhen, Wang (2019). Collection of Ancient Chinese Cultural Relics. Volume 1. Adelaide. pp.49–54, 154–156, 158. ISBN 978-1-925371-29-1. OCLC 1175916450. {{ cite book}}: CS1 maint: location missing publisher ( link) Lu J.F., Ou-yang M.Y. (2014) General History of Chinese Jade (the Zhanguo Period). Haitian Press, Shenzhen, 358 pp. In Qing dynasty, Han Chinese women wore a single earring at each ears which contrasted from the Manchu women who had to wear three earrings at each ear. [16] From the middle of the eighteenth century, Manchu women adopted the Han Chinese single earring despite breaking the Manchu dress code and the laws which prevented them from wearing Han Chinese women clothing; this frustrated the Qing emperors. [16] [17]

In the process of fashioning stone tools, human ancestors gradually mastered the method of distinguishing jade from other “non-jade” stones. The emergence of the rotary machine (circa 3500 BCE), in which jade was held against a grinding tool being rotated by the other hand or another person, indicated that jade carving had completely separated from general stone craft to become an independent category (Yang, 2004, 2006). The innovation of the rotary tool is the most important factor in the development of Chinese jade carving. As the key component of the jade carving craft, the tool displays different characteristics in different development stages. Yang (2006) divided Chinese rotary machines into five generations, and Xu (2011) divided the evolution of the jade carving craft into five periods. The present authors combined the results from these studies and offer the following five generations of jade carving rotary tools in Chinese history. Earrings in China originated in the Neolithic period; however, they were first used as decorations or amulets. [12] A form of popular earring which pierced the earlobe was the er dang ( Chinese: 耳珰) which became popular during the Warring States Period and the Qin dynasty. [13] Ancient er dang were made out gold, jade, silver, ivory, marble, glass and crystal. [13] Glass er dang became popular from the Han dynasty to the Southern and Northern dynasties due to its bright colours and due to its glittering characteristics and translucence. [13] A jade’s texture, also referred to as its “grain,” should be fine and smooth, with no visible inclusions or imperfections. A high-quality piece of jade will have a uniform, compact structure that contributes to its overall beauty and durability. Size and weight Hung, H. C.; Iizuka, Y.; Bellwood, P.; Nguyen, K. D.; Bellina, B.; Silapanth, P.; and Manton, J. H. (2007). "Ancient jades map 3,000 years of prehistoric exchange in Southeast Asia". Proceedings of the National Academy of Sciences, 104(50), 19745–19750.Jade was a rare and valued material in pre-Columbian Mesoamerica. The only source from which the various indigenous cultures, such as the Olmec and Maya, could obtain jade was located in the Motagua River valley in Guatemala. [21] Jade was largely an elite good, and was usually carved in various ways, whether serving as a medium upon which hieroglyphs were inscribed, or shaped into symbolic figurines. Generally, the material was highly symbolic, and it was often employed in the performance of ideological practices and rituals. Cosmetics have a very long history in China but their origins are unclear. [57] The cosmetic industry in China may have potentially originated in the Spring and Autumn period. [57] According to the Shiwu jiyuan ( lit.'The Origins of Things') by the Gao Cheng of the Song dynasty, around the year 1100 BC during the reign of King Wen, women started to use powder and in the court of Qin Shihuang around the 3rd century BC, all imperial consorts and ladies-in-waiting were already using rouge as cosmetics and were drawing their eyebrows. [58] :24 Chen, Buyun (2019). Empire of style: silk and fashion in Tang China. Seattle. p.84. ISBN 978-0-295-74531-2. OCLC 1101879641. {{ cite book}}: CS1 maint: location missing publisher ( link)