The present article follows the completion of the author's "Blade-Edged Jades with Deity-Ancestor and Related Images" and a trip to T'ai-yuan and Hsi-an, which presented first-hand observation of jade ch'i-axes excavated from the site of Li-ch'eng in Shansi and jade knives (too) from Lu-shan-mao in Shensi. These observations provide the inspiration for the author's fUrther research and the results found in the present article. Over the past 20 years, many scholarly essays have been published on a type of jade object carved with eagle, tiger, and deity-ancestor images (often referred to as animal-mask or human-mask designs). This jade can be generally divided into two major types. One has a blade, as represented by the kuei tablet, ch'i, and too, while the other is an inlaid or decorative piece. Originally, scholars considered it to be from the Lung-shan Culture, based on excavation findings of jade kuei from the towns ofJih and Chao in Shantung. Referring to the content of legends and historical texts, the totemic reverence for birds among the ancient Eastern Yi tribe was used to hypothesize that this jade type served as a ritual object. In recent years, jade-inlaid and decorative pieces have been recovered among the excavated relics of the Shih-chia-ho Culture in the Hupeh-Hunan region. Forcing scholars to change their views, they hypothesize that these jades are mostly relics from the Shih-chia-ho Culture. To explain the great distance between Shantung and the Hupeh-Hunan region and the similarity in the style of the jades excavated there, scholars think that the Ch'ih-yu branch of the Eastern Yi tribe, after losing in a major battle in Chuo-lu, migrated to the southwest. In recent years, related materials have been added to the growing amount of evidence. The author, in addition to studying reliable jades from collections, also has traced these excavation materials, such as the Li-ch'eng ch 'i and Lu-shan-mao tao. Altogether, 28 objects with blade-edges (including 20 kuei, 3 yiieh, and 5 too) have been assembled for study. A close comparison of their mineralogical features and shapes as well as the combinations, developments, and changes in designs (assisted by historical materials and legends) offer evidence for further study. The author's initial hypothesis is that this type of jade was made from 2600 to 1500 BC, which correlates from the Lung-shan to the Erh-li-t'ou Culture and includes the Hsia Dynasty. The area in which they were carved was wide-ranging, extending from the provinces of Shansi, Shensi, and Kansu to the Kiangnan and Hupeh-Hunan regions, which all have yielded jades bearing Eastern Yi type decoration. This phenomenon suggests the growth of Eastern Yi power as it expanded its area of influence into other regions. Generally, deity-ancestor images can be divided into three types. The first is human-like with facial features, including a countenance, hair, earrings, and crown. The second is an abstracted image dividable into four types, the basic features of which are as follows; circling line designs represent the eyes, the head is decorated with "ox-horn decor," and the head has a "crown-shape." Further analysis leads the author to believe that this represents an abstracted ox design. The third is a development on the second and is often composed of straight short lines for a decorative effect. These designs on blades often appear as opposing forms and are mostly composed of 1) eagle and deity-ancestor, 2) style-one deity-ancestor and style-two deity-ancestor, and 3) tiger and style-one deity-ancestor designs to create for three types of opposing relationships. Although the first and second type of deity-ancestor image design are different, a combination of the two appears on some blade-edged jades. By the time inlaid objects were made in the Shih-chia-ho Culture, it became a concrete expression of the style-one deity-ancestor image with the "ox-horn decor" and "crownshape." Through stylistic analysis, we are thus certain that eight of the objects represent typical relics of the Lung-shan Culture from Shantung. The opposing form relationship of the eagles and oxen in their decoration perhaps are images of Shao-hao and Ch'ih-yu from the Eastern Yi tribe. The others represent complex period and regional characteristics. The existence of jades with early and late as well as eastern and western styles provides scholars with a new lines of approach. In ancient texts are many records of tributary groups related to the Eastern Yi tribe, such as the Li group, the Ying-ch'in, and the Shao-hao-chih, which are recorded as moving west and south. This coincides more or less with the changes and transmission apparent from the analysis of these objects. Although the movements and changes among ancient cultures represents a complex issue, the author presents in this article some evidence for the study of the relationship between cultures in the formation of Chinese civilization and the systems of jade ritual objects.