Designed and carved according to the original color, shape and texture of jade materials, delightful golden ginkgo leaves dancing in the breeze are revived on the jade ornaments. The leftover materials used to make bracelets have been cleverly transformed into arch bridges.

"These are my most cherished hometown memories. Jade carving has great potential to vividly convey lines and blocks, as well as artistic impressions; the key lies in realizing it," he says.

On another piece, some irregular white blemishes are perceived to depict an elderly hermit riding a donkey on his way back to his mountain cabin during a snowy night followed by a young disciple. This is a classical literary theme that praises solitude, resilience and remaining aloof from the crowd.

In jade carving, it's always worthwhile to take on the challenge of transforming worthless materials into more valuable pieces of art, says Yang.

Industry insiders in Suzhou have reached a consensus that the craftsmanship has to keep up with contemporary aesthetics and concerns, while drawing nourishment from other sectors of arts and crafts, says Ma.

To better master the trick of making teapots and utensils, Yu says he has been to the city of Yixing in Jiangsu to learn its celebrated purple clay teaware techniques — balancing the design of the spout, handle and pot, drawing more practical sketches, and how to appropriate the various shapes into his jade pieces.

For a practitioner with four decades in the field, Yang says he is no longer bothered by technical challenges but focuses on breaking away from existing themes and expressions and not repeating his previous creations.

Works of both Yang and Yu have made their way to the British Museum's permanent collection, representing contemporary Chinese jade carving craftsmanship of the 21st century.