Although Dongfang Shuo is depicted in the quintessential act of stealing a peach of longevity, the present carving is notable for the inclusion of a singular oversized fruit. Most other carvings of Dongfang Shuo depict the immortal carrying a branch of peaches and a double gourd. 

Compare a celadon jade figure of Dongfang Shuo, attributed to the 18th-19th century, in the collection of the Victoria & Albert Museum, London, acc. no. 1633&A-1882. Another, attributed to the late Ming/early Qing period, is illustrated in Chinese Jades from Han to Ching, Asia Society, New York, 1980, pl. 101. See also a white jade figure attributed to the late Ming period illustrated in Jades from China, The Museum of East Asian Art, Bath, 1994, cat. no. 101. For a late Qing example, see one in the collection of the Asian Art Museum, San Francisco, included in Michael Knight, He Li, and Terese Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century, San Francisco, 2007, pl. 324.

東方朔形像多為手持桃實一串連桃枝及葫蘆，表現其偷桃以求長壽之傳説，本像東方朔僅携一桃而非成串桃實，甚爲鮮見。比較一青玉雕東方朔像，斷代十八至十九世紀，現存於維多利亞與艾爾伯特博物館，倫敦，藏品編號1633&A-1882。另一例斷代明末或清初，圖載於《Chinese Jades from Han to Ching》，亞洲協會，紐約，1980年，圖版101。另比一白玉例，斷代明末，載於《Jades from China》，東亞藝術博物館，巴斯，1994年，編號101。再比一例，斷代晚清，現藏於舊金山亞洲藝術博物館，載於 Michael Knight、賀利及謝瑞華，《Later Chinese Jades: Ming Dynasty to Early Twentieth Century》，舊金山，2007年，圖版324。