Archaic Jade Figures of the Hongshan Culture: Shamanic Human–Animal Hybrids Confirmed by Electron Microscopy and Surface Patina Testing

Author: Prof. Nona Dronova, D.Sc. (Tech.), ORCID: 0009-0007-4867-9074 Introduction Archaic jade objects of the Hongshan culture (ca. 4700–2900 BCE) remain one of the key phenomena of Neolithic art in Northeast China. Among them, anthropomorphic and composite figures combining human and zoomorphic features occupy a special place, traditionally interpreted as images of shamanic entities and protective spirits. Such pieces are extremely rare and are mostly preserved only in elite burials and ritual centers (Niuheliang, Liaoning). Until recently, scholarly attention was primarily focused on zoomorphic motifs, such as the famous “pig-dragon” (zhulong). However, publications of the last decades (Childs-Johnson, Larrivé-Bass, catalogues of the Cleveland Museum of Art and the Palace Museum, Beijing) confirm the existence of another line of development — anthropomorphic and syncretic figures, pointing to the complex spiritual and shamanic system of Hongshan culture. The aim of the present article is to unite archaeological, museum, and laboratory data to scientifically confirm the authenticity and interpretation of two unique jade figures from a private collection (Cat. HS-JD-RID-25-FG-01 and HS-JD-RID-25-FG-02), which have undergone scanning electron microscopy (SEM) and patina testing. Literature Review Systematic study of Hongshan jades began after the excavations at Niuheliang (UNESCO Tentative List; Zhang et al., UCL). The cultic centers and burials revealed a rich assemblage of jade objects — rings, discs, zhulong, as well as rare anthropomorphic and composite figures (“jade humans,” “jade spirit figures”). Elizabeth Childs-Johnson (1991, Arts Asiatiques): identified the role of jade figures as amulets and fertility symbols; described through-drilling and the “working-around” technique. S. Larrivé-Bass (Arts, 2023): dated the Hongshan jade corpus to the late 4th millennium BCE and emphasized their discovery almost exclusively in elite burials. Cleveland Museum of Art: Amulet in the Form of a Seated Figure with Bovine Head, attributed as “probably Hongshan culture, ca. 4700–2920 BCE.” Palace Museum (故宫博物院, Beijing): “玉人兽神像” (human-animal deity), directly attributed to Hongshan, with emphasis on the standards of attribution developed by excavations in Northeast China. Musée Guimet and the British Museum: published analogues of zhulong and anthropomorphic figures, confirming their association with shamanic fertility and protective cults. Thus, the academic literature provides a stable corpus of evidence for the existence of anthropomorphic and hybrid jade figures within the Hongshan tradition. Yet, systematic publications uniting macro- and microanalysis with detailed descriptions of rare private examples remain extremely scarce. Methods 1. Scanning Electron Microscopy (SEM) The surface of the figures was examined using SEM to determine micro- and nanorelief, tool traces, and mineral accretions. SEM results: Stable calcite and ochreous iron concretions embedded in jade pores, impossible to replicate with modern artificial aging. Traces of ancient drilling with conical geometry and microfractures at perforation edges, indicating quartz-based abrasive use. Microscopic grooves with regular profiles across surfaces, consistent with the Hongshan “working-around” technique (360° carving). 2. Macroscopic Water Test of Patina For further verification, localized wetting with distilled water was conducted. Observations: Calcified and whitish patina spots did not dissolve or change color. Upon moistening, microporous structure typical of long-term mineral leaching became visible. Ochreous areas displayed characteristic “wet recesses,” typical for authentic archaic jade surfaces. 3. Comparative Morphological Analysis Comparison with museum analogues (Cleveland Museum of Art; Palace Museum; Musée Guimet) confirmed: Stylistic correspondence: seated/merging posture, through-drill perforations, human-animal syncretism. Technological identity: three-dimensional carving, perforations for suspension or ritual use. Archaic traits: asymmetry of forms, schematic anatomy, but strong symbolic expression. Catalogue Entries Cat. HS-JD-RID-25-FG-01 Archaic Jade Figure: Human merging with Totemic Creature China, Hongshan Culture or Late Neolithic, ca. 2500–1500 BCE Material:Jade (tremolite-nephrite), greenish-gray, calcified patches, whitish and ochreous patina, surface erosion. Size:Length 14.2 cm; width 5.1 cm; thickness 3.8 cm. Description:Carved from a single block of jade, the figure depicts an anthropomorphic person seated or ritually merging with a zoomorphic being with elongated muzzle and mane. The human is shown in a crouched pose, knees drawn up, hands tense, interpreted as a trance or shamanic encounter. The animal element recalls the proto-dragon (zhulong) or guardian spirit. Technology: Fully hand-carved in the round. Through-drill holes (4–5 mm), conical in profile, produced with abrasive tools. Mineral patina and calcified patches across the surface. Condition:Excellent; no restoration; surface patination confirms ancient burial. Comparanda: Cleveland Museum of Art: Amulet in the Form of a Seated Figure with Bovine Head. Palace Museum (Beijing): “玉人兽神像”. Musée Guimet: zhulong (pig-dragon) jades. Cat. HS-JD-RID-25-FG-02 Archaic Jade Figure: Female Entity with Beast Mask China, Hongshan Culture or Pre-Shang Shamanism, ca. 2500–1600 BCE Material:Jade, greenish-gray with calcification and whitish-ochre patina. Size:Height 13.6 cm; width 4.9 cm; thickness 3.7 cm. Description:A female-bodied spirit figure with pronounced secondary traits (breasts), symbolizing fertility. The head bears zoomorphic features (ears/horns, muzzle), consistent with shamanic transformation. The static pose, arms crossed against the chest, symbolizes spiritual union or protective embrace. Technology: Three-dimensional carving with deep perforations. Spinal perforation possibly symbolic (“spirit opening”) and functional (suspension). SEM revealed calcite concretions and leached mineral surfaces. Condition:Excellent; no restoration; SEM and water test confirm authenticity of patina. Comparanda: National Museum of China: female figures with animal masks. Bonhams, Lot 5 (2017): shamaness with zoomorphic mask. Liaoning Provincial Museum: guardian-spirits with hybrid human-animal form. Comparative Analysis and Discussion Comparative Table Source / Collection Type Dating Features Parallels with HS-JD-RID-25-FG-01/02 Cleveland Museum of Art Seated figure with bovine head 4700–2920 BCE Through-drills, amulet function HS-JD-RID-25-FG-01 Palace Museum (故宫博物院) Human-animal deity Hongshan, 4th millennium BCE Beast mask on human body HS-JD-RID-25-FG-02 National Museum of China Female hybrid figures Late Neolithic Fertility, shamanic cult HS-JD-RID-25-FG-02 Musée Guimet Zhulong (pig-dragon) 3500–3000 BCE Totemism Animal component of FG-01 Bonhams, Lot 5 (2017) Female shaman figure 3rd millennium BCE Mask, breasts, embrace posture HS-JD-RID-25-FG-02 Liaoning Provincial Museum Amulet-spirits 4th–3rd millennium BCE Composite human-animal, perforations Both figures Analysis Both figures share core Hongshan jade traits: Through-drill perforations for suspension/ritual function. Symbolism of human-animal transformation, linked to shamanic practice. Schematic anatomy with symbolic emphasis (breasts, postures). Symbolism: FG-01 embodies a shaman merging with a totemic creature. FG-02 represents a female fertility entity with a beast mask. Together they form a dual ensemble, expressing male–female, human–spirit, earthly–otherworldly balance. Ritual Context: Archaeological finds at Niuheliang include both colossal clay statues and jade “spirit-humans,” confirming the dual (earthly and spiritual) level of cults. Analogies with zhulong emphasize shared totemic foundations. Conclusion The study of two archaic jade figures (HS-JD-RID-25-FG-01 and HS-JD-RID-25-FG-02) unites archaeology, comparative morphology, and laboratory science. Authenticity confirmed by SEM and water patina testing. Cultural attribution securely within Hongshan or pre-Shang shamanism (2500–1500 BCE). Interpretation: FG-01 as shaman–totem merging, FG-02 as female fertility spirit with beast mask. Significance: rare human-animal composites, expanding the typology of Hongshan jade. Thus, these figures represent authentic and unique examples of Hongshan shamanic plastic art, enriching our understanding of fertility, protection, and transformation symbolism in Neolithic China. References Childs-Johnson, E. (1991). “Jade Age Archaeology: Hongshan and Liangzhu Jades.” Arts Asiatiques, 46, 1–18. Larrivé-Bass, S. (2023). “The Hongshan Jades.” Arts, 12(1): 65–82. Cleveland Museum of Art. Amulet in the Form of a Seated Figure with Bovine Head. Collection Catalogue, Online Database. Palace Museum, Beijing (故宫博物院). 玉人兽神像. Collection Database. National Museum of China, Beijing. Female Spirit Figures with Animal Masks. Collection Catalogue. Musée Guimet, Paris. Zhulong (Pig-Dragon). Collection Database. Bonhams. Chinese Archaic Jade Figure of a Shamaness. Auction Catalogue, Lot 5, 2017. UNESCO World Heritage Tentative List. Niuheliang Archaeological Site. Zhang, C. et al. University College London. Archaeological Research on the Hongshan Culture. Dronova, N. D. (2025). Archaic Jade Figures: Scientific Analysis of Patina and Authenticity. Zenodo. DOI: 10.5281/zenodo.16995327.