A jade standing man, Han dynasty | 漢　玉人

Splendor Jade Collection of the Han Dynasty, Taipei, 2025, no. 46.

Carved in the round from a yellowish-celadon stone with white calcification, this standing figure exemplifies the heightened naturalism of Han dynasty lapidary arts. The figure stands with hands concealed within the voluminous sleeves of a long robe tied at the waist. The artisan masterfully utilized relief carving and varying depths of incised lines to convey the heavy drape of the fabric, imparting a sense of natural movement. The figure is further distinguished by its highly detailed face, featuring a protruding nose, incised eyebrows, and drooping eyelids, and hair neatly gathered into a distinctive bun at the back.

The exceptional naturalism closely relates this figure to the celebrated carvings excavated from the tomb of Liu Sheng, Prince of Zhongshan (d. 113 BCE), in Mancheng, Hebei. Compare the famous jade bearded man from this tomb, illustrated in Gu Fang, ed., The Complete Collection of Jades Unearthed in China, vol. 1, Beijing, 2005, pl. 186; and a kneeling stone figure discussed in Wu Hung, ‘The Prince of Jade Revisited: The Material Symbolism of Jade as Observed in Mancheng Tombs’, Colloquies on Art & Archaeology in Asia, no. 18, London, 1998, p. 157, pl. 6.

出版

《漢家琳琅》，台北，2025年，編號46

本品青黃玉質，局部白化，圓雕佇立人像，展現了漢代玉雕高超的寫實造詣。玉人著深衣，雙手合於袖內。匠人巧妙藉由浮雕與不同曲度的陰刻線紋表現衣褶特徵與垂墜感，使造像於靜態中流露自然動態。本品面部刻劃尤為細膩，高鼻小嘴，平眉具毛流感，長髮環束腦後成髻，別具一格。

本品精準的寫實風格，與河北滿城中山靖王劉勝（卒於西元前113年）墓出土的著名圓雕造像極為接近。比較劉勝墓出土之玉雕長鬚漢，錄於古方編，《中國出土玉器全集》，卷1，北京，2005年，圖版186；另比對同墓出土之一件石雕跪人，見巫鴻，〈The Prince of Jade Revisited: The Material Symbolism of Jade as Observed in Mancheng Tombs〉，《Colloquies on Art & Archaeology in Asia, no. 18》，倫敦，1998年，頁157，圖版6。