Object: One-tier tube (cong 琮) with masks F1916.118

Classification: Ceremonial Object

Maker(s): Artist: Liangzhu culture 良渚 (ca. 3300-ca. 2250 BCE)

Historical period(s): Late Neolithic period, ca. 3300-ca. 2250 BCE

Object Date: ca. 3300-ca. 2250 BCE

Medium: Jade (nephrite)

Dimension(s): H x W x D: 4.5 x 7.2 x 7.2 cm (1 3/4 x 2 13/16 x 2 13/16 in) Diam (hole): 5.9 cm (2 5/16 in)

Origin: China, Lake Tai region

Credit Line: Gift of Charles Lang Freer

Collection: Freer Gallery of Art Collection

Accession Number: F1916.118

: 人面紋單節琮
新石器時代晚期良渚文化（公元前3300--2250年）
中國太湖地區
軟玉
高4.5、寬7.2、厚7.2 釐米；孔徑5.9 釐米
查爾斯·蘭·佛利爾贈送
器物編號：F1916.118

Provenance: To 1916
Li Wenqing (late 19th-early 20th century), Shanghai, to 1916 [1]

From 1916 to 1919
Charles Lang Freer (1854-1919), purchased from Li Wenqing, in New York, in 1916 [2]

From 1920
Freer Gallery of Art, gift of Charles Lang Freer in 1920 [3]

Notes:

[1] See Original Miscellaneous List, S.I. 797, pg. 173, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

[2] See note 1.

[3] The original deed of Charles Lang Freer's gift was signed in 1906. The collection was received in 1920 upon the completion of the Freer Gallery.

Previous owner(s): Li Wenqing 李文卿 (C.L. Freer source) (ca. 1869-1931)
Charles Lang Freer (1854-1919)

Description: Squared, hollow cylinder of the type ts’ung [cong] 琮; narrow projecting collar at both ends; rich cream and tans; decoration: incised and in low relief, stylized masks and double bands of fine lines on corners. (Collar chipped.)

Past label text: 1. Ancient Chinese Jade, September 4, 1980–March 6, 1981; by Julia K. Murray (shown with F1917.384, F1916.499, F1968.30, F1916.410; additional cong 琮 tubes of later periods shown in same case)

A comparable ts'ung [cong] 琮 of the Liang-chu [Liangzhu] 良渚 culture was excavated at Ts'ao-hsieh-shan [Caoxieshan] 草鞋山, Wu hsien [Wu xian] 吳縣, in Kiangsu [Jiangsu] 江蘇 province. The surface of the ts'ung [cong] 琮 is highly polished.

2. Studies in Connoisseurship: 1923–1983, September 23, 1983–March 1, 1984; by Julia K. Murray (shown with F1916.499, F1917.63, F1916.410, F1918.14; additional jades organized by types shown in same case)

A few jades related to these plaques and beads by shape or by decoration have recently come to light in the excavation of sites associated with a late phase of the Liang-chu [Liangzhu] 良渚 culture, which flourished during the late Neolithic period in eastern coastal China. They include an angular plaque, of a different shape than the Freer pieces (F1916.628, F1917.382), bearing an arrangement of large oval eyes executed in low relief; such large eyes in further elaboration are seen on a plaque in the Freer collection (F1916.511). Other jades with comparable décor include a few ts'ung [cong] 琮 with demonic-mask motifs (F1916.118, F1916.499), sometimes in multiple registers. The mask motif may be ancestral to the ubiquitous t'ao-t'ieh [taotie] 饕餮 found on Shang 商 dynasty bronze vessels. The beads (F1917.378a, F1917.378b) probably were originally part of an elaborate necklace.
.
3. Ancient Chinese Art, May 9, 1993–May 18, 1998; by Jenny F. So (shown with F1917.346, F1917.79, F1917.348, F1917.65, F1917.385, F1916.410)
Ritual tube, Cong 琮
China, Liangzhu 良渚 culture
Neolithic period, ca. 3000–2500 BCE
Jade, altered by intense heat

This example is outstanding in its silky-smooth finish and fine details. The opaque ivory color was probably caused by the intense heat of a funerary pyre, which played an important part in Neolithic burial customs.

4. Liangzhu 良渚 and its Legacy, November 4, 2010–January 3, 2016; by Keith Wilson (shown with F1917.384, F1919.47, F1916.499, F1917.65, F1918.14, F1917.95, F1916.410, F1917.41, F1919.51)
Cong 琮
China, Liangzhu 良渚 culture, ca. 3300–2250 BCE, late Neolithic period
Jade (nephrite)

These jade cong 琮 tubes with a square cross-section bored with a central hole are now considered an innovation of the Liangzhu 良渚 culture. Cong 琮 come in a great variety of sizes and are frequently found in Liangzhu 良渚 tombs, sometimes arranged with other jades in a circle around the body. The original meaning and function of these ritual forms remain unknown. Many of the earliest and most carefully finished examples (the result of months of laborious shaping by hand) are comparatively compact; their rounded shapes suggest the form evolved from bracelets. On two of the cong 琮 here (F1916.118, F1917.384), the haunting mask design—with its bar-shaped mouth, raised oval eyes, sunken round pupils, and two bands that might indicate a headdress—resembles the motif seen on Liangzhu 良渚 jewelry.

Much larger cong 琮, which are frequently made of lower-quality nephrite, emphasize impressive scale over meticulous workmanship. They have flatter sides, sharply angled corners, and squared collars at top and bottom—all indications that less time and attention were paid in shaping a rectangular block of jade. Simplified mask motifs on these cong 琮 would have been easier to produce as well. Such shifts might be associated with changing attitudes towards ritual objects that were intended for burial.

The cong 琮 form continued in use long after the Liangzhu 良渚 culture flourished, but later Neolithic and Bronze Age examples (such as F1917.41, F1919.51) are typically smaller and undecorated, suggesting their diminished importance in burial rituals.

Museum founder Charles Lang Freer acquired these cong 琮 largely for their aesthetic appeal: he simply liked the way they look. Freer was attracted to their intriguing shapes, smooth surfaces, and mottled colors. A century ago, when these cong 琮 appeared on the international art market, little was known about their historical, cultural, or archaeological significance. Today these mysterious tubes, along with most of the other objects in this room, are recognized as being among the most important jades from the Liangzhu 良渚 culture now outside China.

5. (Keith Wilson, "Afterlife: Ancient Chinese Jades," Gallery 19, Freer Gallery of Art, Smithsonian Institution, Oct. 14, 2017 to Apr 15, 2018)

Cong
China, late Neolithic period and Shang dynasty, ca. 3300–1050 BCE
Liangzhu culture, ca. 3300–2250 BCE
Jade (nephrite)
Gift of Charles Lang Freer F1916.118

What Was It For?
An innovation of the Liangzhu culture, these jade cong (pronounced tsung) tubes are the result of months of laborious shaping by hand. Various sizes are found in Liangzhu tombs, sometimes arranged with other jades in a circle around the body. While their original meaning and function remain unknown, the circular shape of many early examples suggests the form evolved from bracelets. Look for a haunting mask design, with a bar-shaped mouth, raised oval eyes, and sunken round pupils.

Curatorial Remarks

1. Bought from Lee Van Ching [Li Wenqing] 李文卿, in New York. For price, see Original Miscellaneous List, p. 173. $415

2. (Undated Folder Sheet note) Original attribution: Chinese. Han 漢. See further, S.I. 797, Appendix VII.

3. (John Ellerton Lodge, 1922) Han 漢 or earlier.

4. (Archibald Gibson Wenley, 1946) Period uncertain.

5. (Thomas Lawton, 1978) Attribution changed from "Period uncertain" to "Western Chou [Zhou] 周" (cf. F1917.384, another ts'ung [cong] 琮 with similar monster masks). Both F1916.118 and F1917.384 are related to a group of Western Chou [Zhou] 周 jade objects with this type of monster mask design in relief, such as the plaque F1916.511.

6. (Julia K. Murray, 1980) From Ancient Chinese Jade exhibition label: Attribution is changed from Western Chou [Zhou] 周 to Neolithic, ca. 2000 BCE.

7. (Julia K. Murray, 1982) The ts'ung [cong] 琮 found at Ts'ao-hsieh-shan [Caoxieshan] 草鞋山 is reproduced in Nanking po-wu-yuan [Nanjing bowuyuan] 南京博物院, "Kiangsu Wu hsien Ts'ao-hsieh-shan i-chih [Jiangsu Wu xian Caoxieshan yizhi] 江蘇吳縣草鞋山遺址," Wen-wu tzu-liao ts'ung-k'an [Wenwu ziliao congkan] 文物資料叢刊 3 (1980), pl. 3:1. Although the mask motif straddling each of the corners is very similar in type to that on Freer Gallery of Art ts'ung [cong] 琮 F1916.118, its execution on the excavated piece appears somewhat cruder and less detailed. An angular plaque with a similar design of large oval eyes came from another site belonging to the late phase of the Liang-chu [Liangzhu] 良渚 culture of the East Coast Neolithic period (see Nanking po-wu-yuan [Nanjing bowuyuan] 南京博物院, "Kiangsu Wu-chin Ssu-tun i-chih ti shih-chueh [Jiangsu Wujin Sidun yizhi de shijue] 江蘇武進寺墩遺址的試掘," K'ao-ku [Kaogu] 考古 1981.3, p. 197, fig. 7), helping to confirm the motif as belonging to the Liang-chu [Liangzhu] 良渚 cultural context. However, in his article (Hayashi Minao 林巳奈夫, "Ryōsho bunka no gyokki jakkano megutte 良渚文化の玉器若干をめぐって = Jade of the Liang-chu Culture," Museum 360 [1981], pp. 22--23), Hayashi Minao expresses some doubt that the Freer ts'ung [cong] 琮 F1916.118 is as early as other pieces bearing the mask motif. He feels that the highly sophisticated workmanship evident in the Freer ts'ung [cong] 琮 was not attained even during the Warring States period (480--221 BCE), implying ever so obliquely that the ts'ung [cong] 琮 might be archaistic (see p. 26).

The mask motif seen in all these examples seems to be the basis for the more abstract band and incised line (and sometimes circle) decor found on many ts'ung [cong] 琮, both small and large. Understanding this abstract pattern as the simplification of a face-mask provides a clue for answering the question of which end of the ts'ung [cong] 琮 is top and which is bottom. On ts'ung [cong] 琮 wider at one end than the other, the pattern is always correctly oriented when the piece rests on its smaller end; however, it is unstable and likely to topple over when so positioned. It is possible that the design was intended to be seen from above, and if so, then the ts'ung [cong] 琮 would rest on its wider end. Until the function of the ts'ung [cong] 琮 is clarified, no definitive conclusions may be reached.

8. (Julia K. Murray, September 1983) Exhibition Studies in Connoisseurship: 1923--1983 label text; moved to label field.

9. (Jeffrey Smith per Keith Wilson, January 21, 2008) Late Neolithic period, Lake Tai 太湖 region, Liangzhu 良渚 culture.

10. (Stephen Allee per Keith Wilson, February 4, 2008) On this date entered: Date (3300--2250 BCE), Title, Object name; plus Dimensions per Christine Lee, from Jade Project Database.

11. (Jeffrey Smith, May 29, 2008) Added designation "nephrite" to Medium as per Elisabeth West Fitzhugh, October 1957, as determined by x-ray diffraction.

12. (Jeffrey Smith per Keith Wilson, July 17, 2008) Ceremonial Object added as secondary classification.

13. (Susan Kitsoulis per Keith Wilson, April 20, 2010) Title changed from "Short tube (cong 琮)" to "Tube (cong 琮) with masks."

Unpublished Research: Draft catalogue entry for F1916.118; by Jenny F. So (2003)

Cong 琮-bracelet
Late Neolithic period, 3000--2500 BCE
Liangzhu 良渚 culture, Lake Tai 太湖 region
Nephrite, opaque pale honey-colored with damage at the top collar
Height 4.32--4.51 cm; dimensions at top 7.19 × 7.19 cm; at bottom 7.16 ×7.16 cm; diameter of collar 7.16--7.56 cm; of opening 5.64--5.90 cm
Purchased from Lee Van Ching [Li Wenqing] 李文卿, Shanghai 上海, in New York
F1916.118

This example shows the classic shape of a cong 琮--a central cylinder with projections that form four distinct corners, the cylinder rising above the corners as a low collar. Its walls taper almost imperceptibly from top to bottom. The corners project as a single triangular unit, overlaid onto the curved walls of the cylinder and meeting at an obtuse angle to give its cross-section a slightly swollen appearance. Each unit shows the same animal-face design with oval eyes, bridge, and nose in low relief. Double circles, drilled with a hollow tool and bracketed by Y-shaped corners form the pupils. Above the eyes, hairline thin incised parallel lines fill two horizontal bands, suggesting some kind of headdress. The warm golden hue that covers its entire surface is probably the result of prolonged handling.

A virtually identical example has been excavated from Tomb 7 at Yuhang 餘杭 Yaoshan 瑤山, Zhejiang 浙江 province, a grave that contained a rich assortment of elaborately decorated jade ornaments.[1] The Yaoshan 瑤山 example was made from a fine-grained, opaque ivory-white material that might represent the original color of the Freer example before extensive handling caused it to discolor. Unlike cong 琮 F1917.384, where the handling also wore down much of the fine surface design, this bracelet has retained the original quality of the superbly refined workmanship that marks the best of Liangzhu 良渚 jades.

Among excavated examples, singled-tiered cong 琮 bracelets are significantly fewer in number than multi-tiered ones. A small number are cylindrical or near cylindrical with oval-eyed animal faces (see also F1917.384). [2] Most others show human faces with circular eyes, often depicted wearing some sort of ornamental headband (see F1919.47).[3] On two-tiered versions, the round-eyed human face often superposed the oval-eyed animal face, so that there is a clear distinction in identity between the two images, implying different roles or meaning.

Published: Alfred Salmony, Carved Jade of Ancient China (Berkeley, CA: Gillick Press, 1938), pl. 28:1; Umehara Sueji 梅原末治, Shina kogyoku zuroku 支那古玉圖錄 (Kyoto: Kuwana bunseidō, 1955), pl. 52; Thomas Lawton, "China's Artistic Legacy," Apollo 118 (1983), p. 135; Julia K. Murray, "Neolithic Chinese Jades in the Freer Gallery of Art," Orientations 14 (1983), p. 19.

[1] Zhejiang sheng wenwu kaogu yanjiusuo 浙江省文物考古研究所, Shanghai shi wenwu guanli weiyuanhui 上海市文物管理委员会, and Nanjing bowuyuan 南京博物院, Liangzhu wenhua yuqi 良渚文化玉器 (Beijing: Wenwu chubanshe, and Hong Kong: Liangmu chubanshe, 1989), no. 17; full report of the find in Zhejiang sheng wenwu kaogu yanjiusuo 浙江省文物考古研究所, "Yuhang Yaoshan Liangzhu wenhua jitan yizhi fajue jianbao 餘杭瑤山良渚文化祭壇遺址發掘簡報," Wenwu 文物 1988.1, pp. 32--51.

[2] Zhejiang sheng wenwu kaogu yanjiusuo 浙江省文物考古研究所, Shanghai shi wenwu guanli weiyuanhui 上海市文物管理委员会, and Nanjing bowuyuan 南京博物院, Liangzhu wenhua yuqi 良渚文化玉器 (Beijing: Wenwu chubanshe, and Hong Kong: Liangmu chubanshe, 1989), nos. 12--14.

[3] Ibid., nos. 23, 33, 39; nos. 37, 38, 40--42 are larger and often of coarser material like F1917.65.

Published References

Alfred Salmony. Carved Jade of Ancient China. Berkeley, 1938. pl. 28, no. 1.
Umehara Sueji. "支那古玉圖錄." Shina kogyoku zuroku [Selected Specimens of Chinese Archaic Jade]. Kyoto, 1955. pl. 52.
J. Keith Wilson, Jingmin Zhang. Jades for Life and Death. .
Minao Hayashi. Sen In shiki no gyokki bunka [Patterns on Pre Yin Jades]. no. 334, 1979. p. 11, fig. 19.
Julia Murray. Neolithic Chinese Jades in the Freer Gallery of Art. vol. 14, no. 11 Hong Kong, November 1983. p. 19.
James CS Lin, Xiuzhen Li. China's First Emperor and the Terracotta Warriors. Exh. cat. Liverpool, England. p. 22, fig. 8.
Elizabeth Childs-Johnson, Fang Gu. Yuqi shidai: Meiguo bowuguan cang Zhongguo zaoqi yuqi [The Jade Age: Early Chinese Jades in American Museums]. Beijing, 2009. pp. 98-99.
Thomas Lawton. China's Artistic Legacy. vol. 118, no. 258 London, August 1983. p. 135.
Thomas Lawton, Linda Merrill. Freer: A Legacy of Art. Washington and New York, 1993. p. 205, fig. 140.

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One-tier tube (cong 琮) with masks

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