本器白玉雕琢, 玉鵝昂首直立, 雙眼呈圓形, 頭頂飾弓形冠, 背上有一圓形蓋, 肚子中空可盛酒, 雙翼鑲銅, 雙腳及趾以銅為之, 全身飾商代風格之陽紋如意雲紋, 本器為商代大型玉器之典範. (台灣如是齋藏品陳明杰鑑賞撰文)Carved with white jade, the object has a form of goose standing on the ground with an upright head posture with an arched decoration. On the back, there is a round lid, the hollow body can store wine. Decorated with protruding auspicious cloud motif of the Shang style, the wings, and the legs with detail webbed toes are made of bronze. This is a classic example of the Shang Dynasty gigantic jade carving.
This Western Han Dynasty Jade Horse set may be related to the memory of National Hero Huo Qubing.Throughout China’s long history, the horse has played a significant role in the expansion and consolidation of the empire, as well as a means by which to maintain contact and control across such a vast and diverse terrain. The Han dynasty was repeatedly threatened with attempts by the Xiongnu, the
multi-ethnic nomadic group inhabiting the Eurasian Steppe, to raid the northern and eastern boundaries of China’s territories. This led to a search for horses that were superior to China’s own domestic breeds, and better suited to the challenging topographies of the regions.
1986年鳳翔縣秦公一號墓之所出，為春秋時期，長5.3公分，玉色灰黑，刀工簡練，頸下作小孔(玉雕马头：长5.3厘米，高5.3厘米，厚1.3厘米。墨玉质，马头长方，棱角分明，口微张，双耳残断，双目为单阴线雕刻，颈部后端呈榫头状，其上钻有小孔，以便嵌入固定，风格写实。陕西历史博物馆藏(The existence of jade horse heads and necks (without bodies) is confirmed by an earlier example excavated in 1986 from the circa 537 BC Spring and Autumn Period tomb of Duke Qin, Fenxiang, Shaanxi Province, today housed in the Shaanxi History Museum, Xi’an. Measuring just 5.3 cm in length and minimally carved from a polished black jade, it is drilled through a tab running along the lower neck with apertures for attachment)
本文所搜集到的天界之門(本文所界定的名詞)計有戰國虎座飛鳥(鳳飛九天), 春秋玉璧(有可能是和氏璧), 光武御製款銅壺及漢代鏤空避邪獸薄雕. 及明代玉牌, 天界之門圖騰所在位置多數在神面圖騰附近, 意味神居住於天界, 人間靈魂必須穿越天界之門才能到達天界與天神共處. 春秋玉璧之描述更為具象, 人的靈魂必須穿越表示地界與天界的藩籬繩索紋, 才能到達天界之門. Over the years, I have found several Chinese antique art objects containing the motif I define as gate to heaven. They are the pheonix tiger woodstand of the Warring States, the Spring Autumn period jade bi( possibly the legendary Ho’s bi), the bronze container of the Easter Han Dynasty , the thin openwork carving of pixie plaque, and the Ming Dynasty jade plaque. Except the pheonix tiger woodstand of the Warring States of which the gate to heaven motif is located on the neck of phoenix, all the others located near the God’s face, the gate to heaven on the Spring Autumn period jade bi even more elaborately dipicted outside the rope which is supposedly served as the boundary between the earth and the heaven.