For a long time, the role of jade cong tube has been extremely mythical since the relevant records in historical documents are simple and equivocal. Most archaeologists and historians often named to column-shaped jade artifacts which are round inside and square outside as cong by citing pieces of records from several kinds of classical documents of the Zhou and Haan dynasties, and generally regard them all as "ritual objects" which were used to worship the heaven and earth and to communicate with deities. In recent years, due to the increasing number of archaeologically discovered jade cong of the late Neolithic period, studies on the function, origin and distribution of cong have become the focus attracted to many scholars. Contrasting to the identical interpretation on cong's function, influenced by the theory of "Pluralistic Cultural Interaction" in the field of archaeology, the view of a multi-origin of cong has been getting popular. This compromising view of "multi-origin with uni-function" takes in the strong points of both the archaeological theory and textural records. However, arbitrarily breaking the temporal and spatial relations, citing the later records to estimate the ancient history, or recklessly applying archaeological theories as framework to interpret the archaeological data will all further obscure the historical reality. The author argues that either the artistic style or the intended cultural significance expressed in it would modify with temporal and spatial changes. The decorative style and craftsmanship of Liangzhu jade cong demonstrate a relatively complete evolution sequence. However, as its shape gets longer and design simplified in the Liangzhu period, the mystique of Lianghu jade cong is gradually replaced by the economic prestige which seems to grow. On the other hand, in contrast to the many varieties of jade cong and its relatively clear evolution pattern in the Lake Taihu region, jade cong from othe areas apppear to be dull and lower in quality. Moreover, the farther the region is away from the Lake Taihu, the shape and design of cong become deteriorate, and its original role as paraphernalia progressively vanishes. Therefore, the distribution of jade cong in the Liangzhu and other cultures, and the similarities and differences in styles and decorations on cong from different areas reflect the inheritance and modification of cultural significance originated in the Lake Taihu region.