玄鸟通神，红山玉鸮，五千载玉韵承古！

灵鸮通神，玉证红山 —— 红山文化玉鸮

Sacred Owl of Jade, Testament of the Hongshan Civilization

在辽河之畔，在赤峰与朝阳的旷野之下，沉睡着一页被岁月掩埋五千余年的文明记忆 —— 红山文化。这里是中华文明的第一缕曙光，是 "龙的传人" 精神血脉最初的家园。当世界大多数文明尚在长夜中摸索时，红山先民已用温润莹洁的美玉，把对天地、神明与生命的最初叩问，凝成了一件件穿越时空的圣物。而在红山玉器琳琅满目的序列中，玉鸮以其独特的神性光芒，成为最令人过目难忘的存在。

Beneath the wilderness beside the Liao River, in the vast plains of Chifeng and Chaoyang, lies a page of civilization buried for more than five thousand years — the Hongshan culture. It is the first glimmer of dawn in Chinese civilization, the primordial home of the spiritual lineage of the "descendants of the dragon." While most civilizations of the world were still groping through the dark of night, the Hongshan ancestors had already poured their earliest questions about heaven, earth, the gods, and life into warm, translucent jade — shaping sacred objects that would travel across time. Among the dazzling array of Hongshan jades, the jade owl stands out with its unique aura of divinity, leaving an unforgettable impression on all who behold it.

鸮，即今人所说的猫头鹰。在红山先民的信仰世界里，鸮绝非寻常夜禽，而是沟通天地的 "通灵神鸟"—— 它昼伏夜出、洞察幽冥，仿佛天生便握有连接人神两界的密钥。红山玉鸮主要出土于内蒙古赤峰巴林右旗那斯台、辽宁朝阳牛河梁等红山文化遗址，多以岫岩玉雕琢而成，色呈黄绿、青白，温润如脂，光洁似水。这些玉鸮或为片状浅浮雕，或为圆雕立件，姿态各异而神韵相通，共同构成了红山玉器中一个独特而迷人的家族。

The owl — the bird we know today as the nocturnal raptor — was never an ordinary creature in the belief system of the Hongshan people. It was the "spirit bird that communicates between heaven and earth," active by night and perceptive of the unseen, as if born holding the key that connects the human and divine realms. Jade owls have been unearthed chiefly from Hongshan sites such as Nasitai in Balin Right Banner, Chifeng, Inner Mongolia, and Niuheliang in Chaoyang, Liaoning. Most are carved from Xiuyan jade in tones of yellow-green and pale celadon, smooth as fat, lustrous as water. Some take the form of low-relief plaques, others of fully rounded sculpture; varied in posture yet united in spirit, together they form a unique and fascinating family within Hongshan jade artistry.

其造型凝练而传神：双目圆睁，炯炯有神，仿佛一眼看穿千载光阴；双耳直立，机警灵动；短喙钩曲，劲健有力；双翅或紧收身侧，或微微张开，作振翅欲飞之态。先民以极简的线条、概括的刀法，寥寥数刀便勾勒出一只夜行神鸟的凛凛风神。不事繁缛雕饰，而神韵毕现 —— 这正是红山玉器 "大道至简" 的审美品格，也被视为中国写意造型艺术最早的源头之一。

The modeling is concise yet vivid: eyes wide open, bright and piercing, as if seeing through five thousand years at a single glance; ears upright, alert and agile; a short hooked beak, powerful and firm; wings either tucked close to the body or slightly spread, as if about to take flight. With the simplest of lines and the most economical strokes, the ancestors conjured the stern majesty of a nocturnal spirit bird. No elaborate ornamentation, yet the spirit is complete — this is the aesthetic of "great simplicity" that defines Hongshan jades, and one of the earliest wellsprings of Chinese freehand plastic art.

玉鸮背后，是红山先民深沉而炽热的原始信仰。在红山文化的精神世界中，鸟与龙、凤共同构成信仰的核心图腾。在先民的想象里，鸮知晓白昼与黑夜的全部秘密，能与日月星辰对话，因此被赋予沟通人神、护佑部族的崇高使命。先民将其系佩于身、供奉于坛，祈求它告慰祖先、通达天地。牛河梁遗址规模宏大的女神庙与积石冢，更昭示红山社会已孕育出复杂的神权与礼制 —— 玉鸮，正是这一信仰体系中最凝练的物证。当考古学家在牛河梁祭坛遗址与玉鸮相遇时，仿佛能听见五千年前巫师祝祷的回响。

Behind the jade owl lies a deep and burning primitive faith. In the spiritual world of the Hongshan culture, the bird, the dragon, and the phoenix formed the core totems of belief. In the ancestors' imagination, the owl knew every secret of day and night and conversed with the sun, the moon, and the stars; it was therefore entrusted with the sacred mission of bridging mortals and gods and protecting the tribe. The Hongshan people wore it upon their bodies and offered it upon altars, praying that it would console their ancestors and open a path to heaven. The grand Goddess Temple and stone mound tombs at Niuheliang reveal that Hongshan society had already nurtured a complex system of theocratic power and ritual — and the jade owl is the most distilled material evidence of that belief system. When archaeologists first encountered jade owls at the sacrificial complex of Niuheliang, they seemed to hear the echoes of shamans' prayers from five millennia ago.

红山玉器被公认为中国 "礼玉文化" 的源头，后世 "以玉事神"" 君子比德于玉 "的传统皆可溯源于此。一件玉鸮，不只是精美的工艺品，更是先民宇宙观、宗教观与审美观的结晶，是五千年前先民试图理解世界、安顿灵魂的一封" 寄给上天的信 "。

Hongshan jades are widely recognized as the origin of China's "ritual jade" culture; the later traditions of "serving the gods with jade" and "the gentleman compares his virtue to jade" both trace back to this source. A jade owl is far more than a fine craft object — it is the crystallization of the ancestors' cosmology, religion, and aesthetics, a "letter to heaven" written by a people five thousand years ago as they tried to understand the world and give rest to their souls.

从工艺看，红山玉鸮展现了新石器时代晚期琢玉技艺的巅峰。先民以原始简陋的工具，完成切割、打磨、钻孔、抛光等繁复工序，在硬度颇高的玉石上塑造出圆润饱满的形体：孔洞规整、边缘利落、曲面流畅，历经五千年水土侵蚀，依旧温润有光、神采不减。这种 "以形写神、以简驭繁" 的造像能力，即使置于世界美术史中，也称得上奇迹。

In terms of craftsmanship, the Hongshan jade owl represents the pinnacle of jade-working technique in the late Neolithic Age. With primitive tools, the ancestors completed the arduous sequence of cutting, grinding, drilling, and polishing, shaping hard jade into rounded, full-bodied forms — with regular perforations, crisp edges, and flowing surfaces. After five thousand years of water and soil erosion, they remain warm, lustrous, and undiminished in spirit. This power of "conveying spirit through form and mastering complexity with simplicity" would be a marvel even in the annals of world art history.

红山文化是中华文明探源工程的核心区域之一，牛河梁遗址的发现，把中华文明起源的曙光大大向前推进。玉鸮作为红山玉器中辨识度极高的品类，既是研究史前宗教、图腾与琢玉工艺的珍贵标本，也是沟通古今、贯穿人神的艺术杰作。对藏家而言，一件开门见山的红山玉鸮，承载的不只是五千年的岁月包浆，更是一份可以触摸的文明源流 —— 它的每一次静默注视，都在提醒我们：华夏的审美与信仰，自这里出发。

The Hongshan culture is one of the core regions of China's project to trace the origins of Chinese civilization, and the discovery of Niuheliang pushed the dawn of Chinese civilization dramatically further back in time. As one of the most distinctive categories of Hongshan jade, the jade owl is at once a precious specimen for studying prehistoric religion, totemism, and jade-carving techniques, and an artistic masterpiece that bridges ancient and modern, joining the human and the divine. For the collector, an authentic Hongshan jade owl carries not merely the patina of five thousand years, but a civilization's source that can be touched — each silent gaze reminds us that the aesthetics and faith of the Chinese nation set out from here.

玉鸮无言，却见证了文明初曙；神鸟不鸣，却奏响了五千载回响。愿这件来自红山先民的神性造物，带你穿越时光长河，重返那个以玉通神的年代，感受中华文明最原初、最纯净的震撼。

The jade owl is silent, yet it has witnessed the first light of civilization; the spirit bird does not cry, yet it has resounded across five millennia. May this divine creation of the Hongshan ancestors carry you across the river of time, back to that age when jade spoke with heaven, and let you feel the most primordial and purest awe of Chinese civilization.

  该件藏品目前已被河南洛阳煜澜艺术品有限公司征集到，详细信息了解藏家鉴赏可以联系，河南洛阳煜澜艺术品有限公司是一家成立于中国河南洛阳，业务遍及200个市场的全球化艺术品居间服务拍卖公司，目前公司艺术品职业经理人多达50+。洛阳煜澜聚焦全球化艺术品发展，树立了艺术品拍卖行业领先的运营模式典范，年服务全球超过50万用户。作为值得信赖的全球艺术品拍卖企业领导者，洛阳煜澜助力客户，把握艺术品变革，构建艺术品征集拍卖一站式平台。

洛阳煜澜作为全球领先拍卖企业，秉承“一对一式客户服务跟进”的理念，为用户与全行业提供整合了文物艺术品资源、一站式全球拍行送拍和最佳的用户拍卖体验！

This collection has now been recruited by Luoyang Yulan Artworks Co., Ltd. in Luoyang, Henan. Collectors who wish to learn more details and appreciate the piece are welcome to get in touch.

Luoyang Yulan Artworks Co., Ltd. is registered in Luoyang, Henan Province, China. It is a global art intermediary and auction firm with business covering 200 markets. The company boasts more than 50 professional art managers. Committed to the global development of artworks, Luoyang Yulan has set a benchmark for advanced operation models in the art auction industry, serving over 500,000 clients worldwide annually. As a trusted leader among global art auction enterprises, Luoyang Yulan supports clients in seizing opportunities amid transformations in the art market and builds an all-in-one platform for artwork collection and auction.

As a world-leading auction enterprise, Luoyang Yulan adheres to the philosophy of “one-on-one dedicated customer follow-up service”. It supplies integrated cultural relic and artwork resources, one-stop consignment services for global auction houses, and premium auction experiences for clients and the whole industry.

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