Jadeology Episode 16: Cong – The Signature Jade of Liangzhu

No other Neolithic culture produced as many jade pieces as Liangzhu—and no jade form represents Liangzhu more than the cong (琮). It is the core, the signature, the soul of Liangzhu jade art.

What Is a Cong?

A cong is a jade tube—square on the outside, round on the inside, with both ends open. In ancient Chinese cosmology, the square represented the earth, and the circle represented heaven. Therefore, the cong’s form embodied the connection between heaven and earth. Its square exterior symbolized the groundedness of the world, while the round interior represented the flow of celestial qi.

Cong made up the majority of Liangzhu jade artifacts. No other culture before or after created so many cong—both in terms of quantity and craftsmanship. The cong flourished in Liangzhu and then declined abruptly when the culture itself vanished.

But what was the cong truly for?

A Ritual Object, A Spiritual Conduit

According to Hayashi Minao, the ancient pronunciation of "cong" was zhu (主)—meaning “main” or “master.” In ancient texts, the characters cong (琮) and zhu (主) were often used interchangeably. The cong stood at the center of ritual ceremonies, placed on the central altar (社). In ceremonial practice, stalks of rice or bird feathers were inserted into the cong, and wine was poured from the top using a jade spoon—offered symbolically to the ancestors, as if they were drinking it themselves.

Evidence of this ritual use even appears in pictorial form on Hemudu pottery.

The cong was believed to invite the ancestor’s soul to enter and dwell within it, offering spiritual protection to the living. The spirit could descend from the sky or rise from the earth—hence both ends of the cong were left open, and its interior was meticulously polished to allow the smooth flow of energy.

While originally made of jade or stone, the cong was later simplified into forms made of clay, pottery, metal, and even wood. In the Han dynasty, it was transformed into tree-shaped figures—symbolizing its continuing ritual value.

In Liangzhu belief, the jade material embodied earthly energy, and the ritual practice infused the cong with heavenly qi. People even wore cong-shaped pendants as spiritual protection. In death, the cong became an essential burial object, believed to preserve the soul’s energy and prevent decay, helping the spirit continue its role as protector of descendants.

Misunderstandings and Development

Modern misinterpretations often dismiss the cong as meaningless or speculate it was worn as a bracelet. But its size, form, and spiritual role clearly indicate otherwise.

A rough developmental timeline can be outlined:

• Early cong were short and wide, with small central holes. These likely came from a time when jade was abundant, and people believed that the more jade used, the greater its earth-power. These early examples often carry the full set of sacred motifs: deity, cow, and bird—Liangzhu’s symbolic trinity.

• Later cong became taller and thinner, often composed of multiple stacked sections. The decoration was greatly simplified—sometimes just incised circles for eyes. One such example is housed in the Taiwan Plaza Museum.

The most monumental piece, known as the “King of Cong”, is displayed at the Liangzhu Museum. Massive in both scale and spiritual weight, it represents the pinnacle of the cong tradition.

More Than Stone

The sheer number of cong produced invites the question: Why so many?

The cong was not a practical container. It had no functional utility in daily life. Its purpose was entirely spiritual—used in ritual to express Liangzhu’s belief system, to communicate with divine forces, and to accompany the dead into the afterlife.

Yet some modern scholars in China criticize the Liangzhu people for "wasting" too much labor and precious jade on these non-functional forms, even suggesting that such extravagance led to the culture’s collapse.

But this view misunderstands the profound spiritual unity of Liangzhu.

For those without belief, religion seems like a waste. But for those with faith, religion is the unifying force of civilization.

Though Liangzhu included many tribes and regional groups, their jade artifacts reveal a shared spiritual identity. While stylistic variations existed across regions and materials, the sacred symbols remained consistent. The deity, cow, and bird motifs were not just decorative—they were totems of belief.

That was their religion.

 That was their culture.

That was Liangzhu.