The jade artifacts of Liangzhu Culture have three significant elements worth considerations. The first element is the impact on the motifs of jade artifacts of the later periods. For example, the god’s face motif constitutes the major motifs of the Spring and Autumn Period. The curling claws shown under the God’s face constituting the claws of the dragon for the Shang and Western Zhou dynasties. Second, many Liangzhu Culture jade artifacts with smooth cut marks on the surface of the jades of which the reasons behind that are still unknown. Third, many Liangzhu Culture jades are carved with the shape not in proportion to the boundary of raw material. This is the practice called carving under the limitation of the size of the material. This is the practice that let the carving object bigger with an imperfect proportion of artwork rather than carving smaller object with perfect proportion of artwork.
Artisans from the Hongshan Culture emphasized the shape of an object rather than details of lines or motifs. In addition to single entity designs, many Hongshan Culture jades have complex design from different entity. For example, there are jade knifes with dragon and phoenix handle, jade knife with horse head handle. Dual holes called holes of bugle shape on the same side of the artifacts are usually seen but its implication still remains unknown. The dragon and phoenix motifs of Hongshan Culture are believed the origins of those motifs for later periods in the Chinese jade artifact’s history. Also read Jades of the Hongshan culture – Elizabeth Childs-Johnson