The set of ivory puzzle balls with patterns of clouds, dragons, and characters in the collections of Liaoning Provincial Museum is a complex artwork of ancient China.

On the top is a large ball, and a three-part post as support.Inside the large ball, which is 12.9 cm in diameter, are nested 21 layers of free-floating small balls, all decorated with carved designs.

There is a six-layer openwork carved ivory ball in the upper section of the post, with patterns similar to those found on the large ball at its top. As for the lower section, there is a four-footed base with scroll grass, clouds, and dragon patterns, on top of which stand carved figures together acting as a supporting pillar. The exquisite craftsmanship is breathtaking.

It can be inferred from the ivory specimens and written records that ivory micro-carvings had appeared by the Song Dynasty at the latest, when three-dimensional ivory carvings less than one cun (approximately equal to 1.311 inches) are already attested. Ivory micro-carving then became commonly seen from the Qing Dynasty.

Ivory carving was used to produce a number of different works in the Qing Dynasty, ranging from small fan ribs, incense burners, floral receptacles, and pen holders to large flower bonsais, landscape figures, giant dragon boats, and folding screens.

Ivory carving craftsmanship reached its peak in China during the reigns of Emperor Yongzheng and Emperor Qianlong.

It is worthwhile mentioning that Yu Shuo, an ivory carving master, was particularly skilled at micro-carving on fan ribs. Without making any mistakes, he could carve 30 lines of characters, nearly a thousand characters in all, on a finger-wide rib. The characters are so tiny that they can only be identified under a magnifying glass.

This set of ivory puzzle balls with patterns of clouds, dragons, and characters was painstakingly made by ivory micro-carving masters during the reigns of Emperors Yongzheng and Qianlong. The rarity of such a masterpiece renders it even more precious.