A superbly carved celadon jade ornament Neolithic period, Hongshan culture | 新石器時代 紅山文化青白玉飾

Angus Forsyth, 'The Bei Zu Collection: Appreciation of a European Private Collection of Hongshan Jades', Art & Collection, no. 344, May 2021, pp. 165, fig. 10.

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霍璽，〈北祖藏玉：歐洲私人珍蓄紅山古玉鑑賞〉， 《典藏古美術》，第344期，2021年5月，頁165，圖10

A related larger jade ornament in the collection of the Liaoning Provincial Museum is published in Guo Dashun & Hong Dianxu, Hongshan wenhua yuqi jianshang/A Study of Hongshan Culture Jades, Beijing, 2014, part 6, pl. 3; another of more square shape, with six parallel grooves, was excavated from a tomb in the Lower Xiajiadian stratum at Dadianzi, Aohan Banner, Inner Mongolia, and is now in the Institute of Archaeology, Chinese Academy of Social Sciences, illustrated ibid., part 1, pl. 30, and again in Gu Fang, Zhongguo chutu yuqi quanji/The Complete Collection of Jades Unearthed in China, Beijing, 2005, vol. 2, pl. 78. A similar piece from the Winthrop Collection in the Harvard Art Museums is illustrated and discussed in Jenny F. So, Early Chinese Jades in the Harvard Art Museums, Cambridge, Mass., 2019, pl. 1, where it is attributed to the early to mid-2^nd millennium BC. So states that “It exemplifies the best material and workmanship from that region” and considers that it was “produced after the Hongshan communities had entered the Bronze Age”.

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比較遼寧省博物館藏玉飾，尺寸較大，圖載於郭大順、洪殿旭，《紅山文化玉器鑑賞》，北京，卷6，2014年，圖版3。另一例形狀較方，刻六道凹槽，內蒙古敖漢旗大甸子古墓夏家店下層文化地層出土，現存中國社會科學院考古研究所，前述出處，卷1，圖版30，並載於古方，《中國出土玉器全集》，北京，2005年，卷2，圖版78。另可參考哈佛美術博物館溫索浦舊藏例，圖見蘇芳淑，《Early Chinese Jades in the Harvard Art Museums》，劍橋，麻省，2019年，圖版1，作者斷代公元前二千年早期至中葉，並指出：「此乃該地區最佳玉材及工藝之佳例」，並認為該玉雕「製於紅山文化進入青銅時代之後」。