Named for the red and green plumage of the kingfisher, feicui is a pyroxene jade of vitreous lustre from the Uru basin of northern Myanmar. It entered China by the Yunnan–Burma roads in the seventeenth century and rose to the summit of courtly taste in the late Qing. Its connoisseurship rests on four pillars — texture, water, colour and craft — set out here in order, with the reckoning of Types A, B and C appended.
"Zhong" names the fineness of the fabric, "water" the depth of translucency; together they rank the stone from glass grade down to bean.
Fully transparent, fluorescing like still water; grain invisible — the crown of all feicui.
Limpid as river ice with faint cotton wisps; a cool inner light — the body of fine jadeite.
Semi-translucent like glutinous rice broth; mellow and substantial — the mainstay of the market.
Granular as split beans, faintly translucent to opaque; proverbially the commonest of green stones.
Green rules the palette, judged by four words — deep, bright, true, even. Lavender is called "spring"; red and yellow fei take the secondary hues of the skin; omphacite black reads green against the light. Colours lacking an openly licensed exemplar are shown for now with a reference swatch.

Deep, regal green with a whisper of blue — the sovereign hue of jadeite, the colour of record-setting lots.

Bright and lively as new leaves — the very meaning of "yang", vivacity itself.

Pale violet like first wisteria — "spring" in the trade's idiom; pinkish, aubergine and bluish casts each with their charm.

Russet-red from the oxidised skin — the very "fei" of feicui's name.

Tan to orange-yellow from beneath the skin; the richest tone is praised as "chicken-fat yellow".
Coloured by omphacite: ink-black in hand, glowing green against the light — "the lover's shadow".
Cut and polished only, untouched by chemical treatment; colour and structure wholly natural. Only Type A holds collectable value, and national standards require treated jadeite to be labelled as such.
Acid-bleached and resin-impregnated; the fabric is destroyed and the lustre degrades with time. No collectable standing.
Artificially dyed, the colour lodging in fissures; readily unmasked under magnification and spectroscopy.