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Amalissa Hall

The history of jewellery in China is long and well documented, with pieces dating back as much as 3,000 years to the Shang dynasty that enmesh class, wealth, spirituality and superstition.
While jewellery was originally designed with opulence in mind – for emperors, queens and governors to denote high status – the concept has evolved as it did elsewhere to provide accessible adornments for the masses too.

“People want to wear something meaningful on their body,” said Noelle Chin, marketing lead at Meilan Jewelry and Arts. “They wear jewellery because it’s an extension of themselves and they want to reconnect to their heritage.”
Iconic materials in ancient Chinese jewellery include jadeite and gold, which were favoured for their beauty, rarity and – in the case of the former especially – because it “acted as a vessel” for the wearer to be closer to the gods, according to Yve Chan, founder of jewellery collective Dawn Atelier & Academy.
While still favoured today, the folklore associated with these materials “is fading”, explained Austy Lee of the eponymous art jewellery label, so houses today are now communicating this cultural significance through modern craftsmanship to educate Chinese and international audiences alike.

Other precious materials like silver, rubies and emeralds have grown in popularity over the last few decades of China’s economic boom that has spurred an interest in global culture and affected the landscape of jewellery purchasing like it has so much else.
“Jade is a broad term that can be separated into nephrite and jadeite,” Chan said. “Pieces in museums and auction houses over 1,000 years old are nephrite – they’re softer, paler and mined in northern parts of China.”

Most jadeite originates from Myanmar and comes in many colours, including white, green, blue-green, lavender, red, yellow and black, all produced by trace elements seeping into the stone.
Meilan showcases these shades in its earrings and pendants, celebrating the quality of Type A jadeite. Verified by Hong Kong Gems Laboratory, the jadeite pieces dispel the misconception that quality is based entirely on colour and origin. They’ve also experimented with matt polish with “surprising” success. Chin said, “Jadeite gets more transparent over time – it absorbs natural oils when you wear it close to the body. This adds a character to each piece, making it an intriguing accessory that will evolve in its beauty over the years.”

Creating a singular piece out of a block of jadeite takes hours of carving and polishing. Rounded shapes best reveal their shine, and can also signify luck and peace. Circular pi and trapezoid wu shi pai pendants, as well as rings and bangles are the most worn, with a famous belief stating those who accidentally break the latter accessory have avoided evil spirits.
“We [Chinese] have many idioms expressing how a person should be like jade,” Chan said, offering: “You have to polish yourself with time and effort to be a good person, which takes patience – similar to that of working with jade.”
Lee feels that many young people in Hong Kong see jade as “an old ornament”, which is why he creates designs that incorporate multiple precious materials, including sapphires, abalone shells and gold in his Jade Dynasty collection.
“Delicate gold craftsmanship displays power,” said Chan of ancient Chinese techniques, demonstrating the skill of artisans to transform the metal into mythical creatures or depict natural scenes.
A modern equivalent could be the gifting of intricately engraved yellow gold bangles at Chinese weddings, presented by families to bestow blessings and wealth on newlyweds. Chan adds, “Wedding rings are one of our important business sectors. What kind of ring you choose can reflect personal value, and I believe our process of craftsmanship can convey cultural stories too.”

While Lee uses gold conventionally, he has also incorporated Meiji period Japanese hairpins into custom jewellery. “This gold is worked into lacquer, and various polishing [techniques] give it different patterns. These pieces are treasures – people have forgotten these techniques, and some say they’re old fashioned but I think they’re interesting.”
Gold remains the metal of choice in China and across Asia, and Meilan combines it with jadeite in genderless styles to create minimalistic pendant necklaces that make precious materials accessible for everyday wear.
In the Tang and Song dynasties [first and second centuries AD], silver played a greater role in currency and artefacts than jewellery, although there are examples of it being fashioned into hairpins during the Qing dynasty [17th to 20th century].

“Silver is a cultural reflection of British society – Canton exported silver to the UK [during the 18th century in exchange for opium], which they used for silverware,” Chan explained. This follows the chinoiserie trend of the period, admired across Europe, and coining the term “export silver” for wares created by Asian silversmiths that catered to foreign tastes.
Those tastes continue to influence jewellery making today. “Sterling silver is more malleable and easier to manipulate than gold or platinum. That’s one reason people like making jewellery with it,” said Chin.
Chan concurs, “Silver is a good, clean material. It’s affordable, and yet we can still express a lot of these traditional techniques in our projects.”
Lee’s interest in jewellery history – which he has taught at Hong Kong Baptist University – has shaped his design ethos and explains his use of gemstones such as rubies and emeralds. They were previously used to crown headwear worn by emperors, and only in the recent past has there been more interest from the public.

Chan has observed similar trends: “In the last decade, Chinese customers have craved foreign materials, widening their perspective of jewellery through the tradition of Western gems.”
“Around 50 years ago, people with new money collected stones from Thailand, but the carats were much smaller,” Lee said. “Some 30 years ago, they looked to brands like Cartier for art and design inspiration. In the last 10 and 20 years, people went to auction houses to invest in stones, but today, there’s more interest in having personal pieces created.
“As a Chinese designer in a globalised world, I think it’s important that buyers understand their heritage through design.”


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Special Reports

Of emperors and dynasties – see how ancient jade and gold, dragons and cranes are used in eye-catching, new ways


Of emperors and dynasties – see how ancient jade and gold, dragons and cranes are used in eye-catching, new ways.


Jewellery inspired by traditional Chinese designs: Austy Lee, Meilan and Dawn Atelier combine ancient forms with modern lines

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Of emperors and dynasties – see how ancient jade and gold, dragons and cranes are used in eye-catching, new ways

Of emperors and dynasties – see how ancient jade and gold, dragons and cranes are used in eye-catching, new ways