本器持玉琮祭司, 通高45cm, 和田白玉雕琢係由下列五個部份黏合而成: 祭司腿部以上, 雙腳, 內角方座, 四面鳳首座, 鏤空底座.  祭司的眼睛及鳳眼神係為圓柱造型, 可能表示千里眼; 祭司的大型蝶式耳朵可能表示順風耳. 祭司的頭冠呈緇布冠造型, 服飾施游絲勾卷雲紋, 內角方座的斜刀雷紋, 鏤空底座的绹紋都是典型的戰國紋飾. 古玉跡象有擴散暈沁色,差異風化及斑晶等古玉現象.  本器為玉祭司組之一, 刀工流暢嚴謹, 玉質精美,實乃三星堆文化玉器中之極品.This is the set of four pieces. Each one is composed of five separate pieces which are the priest’s body above from the legs, the two legs, the stand with a backward angle, the phoenix headstand with four faces, and the openwork base. The exaggerate presentation of protruding eyes of the priest and the phoenix had the stick design to imply the powerful eyesight. The big butterfly wind style ears of the priest may have the implication of powerful hearing. The dress, the carving style of thin incised line with cloud motifs, the slant carving of thunder and the openwork with a rope motif all confirm the typical art genre of the Warring States.  Made of white Hetian nephrite with additive crystal, dissolved pits, differential weathering, and diffusive markings, coupled with historical significance, cultural importance, artistic implication and mastery workmanship( please be noted that the multiple contours and the detail of curvature shown in the design of the shoulder has explained the mastery workmanship which modern copy would never know. In addition, the beautiful contour surface of the phoenix on the base also explained it all), this set of jade priests is believed to be the definitive, topknot collection of the Sanxingdui Culture jade artifacts..

1929年(一說1931年)春，四川廣漢縣(今廣漢市)城西18裡太平場附近真武宮南側燕氏宅旁發現大批玉石器，其中不少種類在形制上與傳世和其他地區出土的同類器型不同，引起有關方面注意。 1930年，英籍牧師董宜篤(A.H.Donnithone)函約成都華西大學教授戴謙和(D.S.Dye)同往調查，獲得一批玉器。1932年秋，成都金石名家龔熙台稱從燕氏購得玉器4件，撰《古玉考》一文，發表於《成都東方美術專科學校校刊》創刊號(1935)，文中認為燕宅旁發現的玉器坑為蜀望帝葬所。1946年7月，華西大學博物館出版了鄭德坤教授的《四川古代文化史》，作為該館專刊之一。在這部著作裡，鄭德坤把“廣漢文化”作為一個專章加以討論研究，從調查經過、土坑遺物、文化層遺物、購買所得遺物、廣漢文化時代之推測等五個方面詳加分析，不同意葛維漢、林名均提出的墓葬之說，認為廣漢出土玉石器的土坑應為晚週祭山埋玉遺址，其年代約為公元前700～前500年.1941年，古史辨大師顧頡剛在四川發表重要論文《古代巴蜀與中原的關係說及其批判》，清理了古代文獻中有關巴蜀的多數材料，徹底否定幾千年來人們信奉不二的“巴蜀出於黃帝說”，首次提出“巴蜀文化獨立發展說”，認為巴蜀融合中原文化是戰國以來的事。