元 青花纏枝牡丹紋葫蘆瓶 AN IMPORTANT LARGE EARLY BLUE AND WHITE DOUBLE-GOURD VASE YUAN DYNASTY, MID-14TH CENTURY

拍品 421
AN IMPORTANT LARGE EARLY BLUE AND WHITE DOUBLE-GOURD VASE
YUAN DYNASTY, MID-14TH CENTURY
成交总额
USD 2,032,000

估价
USD 1,000,000 – USD 1,500,000

AN IMPORTANT LARGE EARLY BLUE AND WHITE DOUBLE-GOURD VASE
YUAN DYNASTY, MID-14TH CENTURY
The body and neck dramatically painted with a bold overall pattern of tree peony rising from two pierced garden rocks on opposite sides of the base, the voluptuous blossoms depicted in bud, in full bloom and as if viewed from different angles, the leaves and petals unusually combed with very dense, naturalistic veins showing through a heavily ‘heaped and piled’ underglaze blue of a deep and exceptionally vibrant color, with extensive blue flecks from excess cobalt around the design, the base unglazed within the shallow-cut, broad foot ring
20 1/8 in. (51 cm.) high

来源

The Property of a Private Collector; Christie’s, London, 13 December 1982, lot 500.
文獻及展覽
文献

Christie’s Review of the Season 1983, p. 366.
A. du Boulay, Christie’s Pictorial History of Chinese Ceramics, New Jersey, 1984, p. 114, fig. 2.

拍品专文
A Magnificent and Rare Yuan Dynasty Double-gourd Vase
Rosemary Scott, Senior Academic Consultant, Asian Art Departments
This magnificent double-gourd vase, which combines a monumental form with an unusual, freely disposed scrolling decoration painted in a deep, brilliant, cobalt blue, would have been an important and expensive commission when it was made in the mid-fourteenth century. Both its form and its decoration are very rare among Yuan dynasty blue and white porcelains. It has become clear from the material excavated at the site of the imperial kilns in recent years that certain shapes and decorative motifs became established in this period and were then carried on into later dynasties. The large double-gourd vase form and the overall split-peony scroll motif fall into this category. The current double-gourd peony vase is an exceptionally rare vessel combining both features.

It may be noted that relatively few large double-gourd vases are known from the Yuan period, and the majority of them are octagonal. Among the best known of these are the octagonal vase with insect and bird decoration in the Kikusui Kogeikan Museum, Yamagata Prefecture, Japan illustrated by Tsugio Mikami (ed.), Sekai Toji Zenshu, vol. 13, Liao, Jin, Yuan, Tokyo, 1981, pp. 78-9, fig. 61 and 62; the octagonal vase with ogival panels containing insects, reptiles and plants in the collection of the Topkapi Saray, Istanbul illustrated by J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol. 2, Yuan and Ming Dynasty Ceramics, London, 1986, no. 577; and the octagonal double-gourd vase from the same collection decorated with birds, flowers and fruit illustrated by Zhu Yuping, Yuandai qinghua ci, Shanghai, 2000, p. 139, no. 6-15. The remains of a fourth octagonal double-gourd vase can be found in the collection of porcelains from the Ardebil Shrine, now in the Iran Bastan Museum in Teheran. Although only the lower part (height 34 cm.) of the Ardebil vase has survived, it shares with the current vase a well-developed split-peony scroll, albeit confined to a single band. See John A. Pope, Chinese Porcelains from the Ardebil Shrine, London/New Jersey, 1981, p. 27.

Another broken double-gourd vase, which provides an interesting comparison with the current vase is in the Villanueva Collection in the Philippines. Like the Ardebil octagonal vase, the Villanueva piece has retained only its lower section. See Consuelo Abaya, The Villanueva Collection of Oriental Pottery, Philippines, 1974, p. 11. It is, however, interesting in two respects, firstly because it is not faceted but round in section, and secondly because its decoration comprises a single scrolling motif. In this case the scrolling motif is of gourd vines, but their disposition over the surface of the vessel has the same freely undulating quality seen on the current double-gourd vase. A much more modest, but less damaged, double gourd-vase of round section is also in a Philippine collection. See L. Gotuaco, R. C. Tan and A. I. Diem, Chinese and Vietnamese Blue and White Wares Found in the Philippines, Makarti City, 1997, no. Y28. This vase is much smaller than the current example, and has more simply painted decoration, but even among the smaller Yuan porcelains double-gourd vases are rare. Small double-gourd ewers are encountered more frequently, but these are usually simple in both potting and decoration.

The only directly comparable vase to the current piece is in the Topkapi Saray collection, illustrated by Ayers and Krahl, op. cit., p. 406 (col. pl.), p. 500, pl. 580. This Topkapi vase shares with the current vase its size, form and decoration. In the 19th century, the Ottoman owners of the Topkapi vase had it mounted with a very elaborate, finely wrought, silver neck rim and domed cover. This may be seen as an expression of their great admiration for the vase. Even the Topkapi vessel, however, does not share the extravagant use of fine cobalt seen on the current vase. It is worth bearing in mind that all the cobalt used at the Jingdezhen kilns in the Yuan period was imported and exceedingly expensive. Its use was strictly controlled and one of the suggested reasons for the abandonment of decoration reserved in white against a blue ground in the mature Yuan style was related to the cost of the cobalt. The extremely generous use of high-quality cobalt on the current vase, which accounts for the jewel-like quality of its decoration, would have made this a very precious vessel even when it was first produced. The decorator’s brush was so laden with cobalt that tiny specks of blue have fallen on some of the upper surfaces of the vase. This is a phenomenon which does occasionally occur on fine Yuan dynasty porcelains, as can be seen, for example, on the fragment of a large, very handsome, dish excavated from the Hutian kiln site. See Jingdezhen Institute of Ceramic Archaeology and Fung Ping Shan Museum, Ceramic Finds from Jingdezhen Kilns, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1992, no. 136.

The decoration on the current double-gourd vase is particularly well adapted to this form, but is rare on Yuan porcelains. Most Yuan blue and white wares have bands of decoration. Thus the use of a single motif in the form of a freely disposed, undulating peony scroll, both on this vase and the similar piece in the Topkapi Saray Museum, is particularly rare. Such treatment of vertical forms is not without precedent, however. There is a group of pear-shaped vases (yuhuchun) from the fourteenth century, which are also decorated with a single scrolling motif. One such vase in the Philippines is covered with a well-painted lotus scroll, see L. Gotuaco, R. C. Tan and A. I. Diem, op. cit., no. Y16; another in the Nelson Atkins Museum in Kansas City, Missouri, which has a white peony scroll reserved against a background of painted blue waves, is illustrated by Tsugio Mikami, op. cit., no. 209; while a third vase is decorated with a scrolling melon vine is illustrated, no. 210. A further pear-shaped vase, which was excavated in Southeast Asia, has been decorated, like the Kansas City example, with a peony scroll reserved in white against a ground of underglaze blue formal waves composed of concentric arcs. See Zhu Yuping, Yuandai qinghua ci, op. cit., p. 274, no. 10-8. Two late Yuan or early Ming blue and white pear-shaped vases have been published which are completely decorated with chrysanthemum scrolls. One of these in the Art Institute of Chicago is illustrated in Masterpieces of Chinese Arts from the Art Institute of Chicago, Museum of Oriental Ceramics, Osaka, 1989, p. 96, no. 84, and the other in the collection of the British Museum is illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 72, no. 1:27.

A few other forms are occasionally decorated all over without minor bands and with a single theme, such as the guan jar in the Fitzwilliam Museum, Cambridge decorated with ducks on a lotus pond illustrated ibid. no. 192, or the flattened flask in the Ardebil collection with phoenixes and baize amid peony scrolls (see John A. Pope, op. cit., plate 29, no. 29.475). Apart from the current vase, the Topkapi double-gourd vase, and the lower section of a double-gourd vase with scrolling gourd designs in the Villanueva collection, no other Yuan dynasty blue and white double-gourd vases with non-banded, single theme decoration appear to have been published.

The peony scroll on the current vase is of special interest for several reasons. The peonies are depicted growing from rocks painted at the lower edge of the vase. These rocks are interesting because they provide additional information regarding the date of the vase. The majority of ornamental rocks on Yuan dynasty blue and white wares appear on large dishes dating to the second quarter of the fourteenth century. These rocks, like that on the large dish in the Burrell Collection, Glasgow, illustrated by R. Marks, R. Scott, B. Gasson, J.K. Thomson and P. Vainker, The Burrell Collection, London/Glasgow, 1984, p. 52, p. 16, are generally somewhat rounded in profile and without perforating holes. The few rocks which appear on Yuan blue and white porcelains of the mature period in the middle of the century are of a different style. These have sharply angled profiles and are perforated with holes. It is this latter type of ornamental rock which appears on the double-gourd peony vase, and suggests a mid-fourteenth century date for the current vase. Such rocks are the predecessors of the type seen on both underglaze blue and underglaze red-decorated ewers of the early Ming Hongwu reign. An underglaze blue example excavated from the site of the imperial kilns at Zhushan, Jingdezhen is illustrated in Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Chang Foundation, Taiwan, 1996, no. 2, while an underglaze red example from the Matsuoka Museum of Art, Tokyo, is illustrated by Ryoichi Fujioka and Gakuji Hasebe in Sekai Toji Zenshu, vol. 14, Ming Dynasty, Tokyo, 1976, fig. 12. The rare painted rocks of the mature Yuan porcelains are therefore important steps in the development of painting style in the second half of the fourteenth century.

The form of the peonies themselves is also significant. They are richly and elegantly painted, showing several views of the blossom: some directly from above, some in three-quarter view, and some in profile with the lower petals separating from the upper, in the style known as ‘split peony’. This varied peony scroll is typical of accomplished Yuan style. The final point to mention about this peony scroll is the use of parallel lines incised into the body of the vase beneath the cobalt. In the mid-fourteenth century this combed texture was used to great effect on leaves and petals of peony scrolls on large vertical forms. These can clearly be seen on a guan jar illustrated by Wang Qingzheng (ed.) in Qinghua Youlihong, Hong Kong, 1987, no. 22. Since the lines were incised into the body before the cobalt was applied, additional cobalt ran into these lines giving the appearance of even deeper colour. Thus rich blue vein lines are seen on the flowers and leaves. This feature is discussed in detail by Margaret Medley in Yuan Porcelain and Stoneware, London, 1974, p. 55.

This handsome and extremely rare double-gourd vase is a superb example of underglaze blue decoration in the mature Yuan style of the mid-fourteenth century. The fact that the decorator was allowed to be so extravagant in his use of the precious cobalt is an indication of the importance of the piece at the time it was made, suggesting that it was a special commission for a patron of considerable social standing.

元 纏枝花紋葫蘆瓶
元 青花纏枝牡丹紋葫蘆瓶

北京保利2018年春拍“
元青花缠枝福禄万代大葫芦瓶5681万元成交
北京保利2018春季拍卖会

创作年代：元
尺　寸：高47cm
估　价：RMB 35,000,000~~55,000,000
成交价：RMB 56,810,000
作品描述：

出版
1.《The Gourd of Long-lasting Happiness and Prosperity-A New Departure for Porcelain》，康蕊君，Orientations，3月，2005年
2.《Twelve Years – Twelve Treasures》，Woolley and Wallis， 2017， 图版1

2018年06月19日晚，北京保利2018年春拍“景元（一）——亚历山大瓶与元青花诸器名藏”在北京四季酒店举槌，本场共31件精品上拍。其中，元青花缠枝“福禄万代”大葫芦瓶 （亚历山大瓶）以3200万元起拍，电话委托率先应价，随后新买家加入，场内买家加到4200万，李移舟的电话委托出到4920万，场内买家在片刻斟酌中考虑加价到4940万，最终落槌，加佣金以5681万元成交。（拍前估价：RMB 35，000，000-55，000，000）

这件“亚历山大瓶”其传承有序，最早的书面收藏纪录可追溯至约一个半世纪以前，甚至比现藏于大英博物馆的大威德爵士旧藏至正型元青花龙纹瓶还要早，具有极其重要的文物和学术价值。

本品为北美十面灵璧山居旧藏，器形硕大饱满，呈双节葫芦形。通体施釉平滑，釉水明润，正是老古玩行鉴定术语中所谓之“鸭蛋青”色。其青花发色浓淡有致，整体色调明快，青料聚集处可见明显锡斑，正是自波斯进口之“苏麻离青”钴料之特征。

瓶身所绘纹饰亦颇可考究玩味，所绘九枝葫芦同根相连，九为数之极，取六爻三三衍生之数，是“生”的极致。九亦为阳数的极数，即单数最大的数，于是多用九这一数字来附会帝王及与帝王有关的事物，亦合于“大哉干元”的元朝国号，故此瓶极有可能为帝王御瓷，寓意“福禄万代”、“子孙万代”，并且九只画面中的葫芦再加上瓶子本身，正是十只葫芦，又赋予了“十全十美”的吉祥寓意。

此件葫芦瓶融合中国福禄多子的观念，是否为元朝统治者赏赐“黄金家族”中尊元朝皇帝为蒙古大汗的其他兄弟汗国君主的礼物，值得进一步研究。如元史记载元文宗（1328-1332在位）好文多艺，重视文治，同时十分重视和关系密切的同裔伊利汗国的交往，经贸密切，而伊利汗国正是忽必烈的同母胞弟旭烈兀击败阿拉伯帝国所建，统治波斯地区，并于1264年接受元朝册封，成为伊儿汗，而陶瓷学者研究认为，元文宗时期正是早期元青花的试验期，此时应当已有波斯人将“苏麻离青”矿料运到景德镇，开始进行钴料的提纯工艺试验。元文宗后二十年正是元青花生产技术迅速提高，品质最为成熟的时期，代表作如大英博物馆所藏至正十二年铭龙纹瓶，以本品的上佳品质推断，制作时间也应在这一成熟阶段。

此瓶为元青花立件中极为难得的传世作品，葫芦造型为上下接胎而烧造，工艺极繁，是为英国藏家威廉亚历山大（William Alexander 1849-1916）旧藏，他于1876年8月9日购自古董商Thomas Goode & Co，。亚历山大先生为当时极为著名的中国陶瓷收藏家、鉴赏家，其收藏始于1867年，由伦敦各大古董商购入藏品。其收藏囊括中国唐代至清代陶瓷、玉器、掐丝珐琅器等。其去世后，部分藏品由著名收藏家大维德爵士Sir Percival David购买入藏，现如今部分亚历山大先生的藏品仍展于大英博物馆，展品中著名的以“亚历山大碗”命名的宋青釉碗，原定为汝窑，现为唯一博物馆藏传世张公巷窑作品，可见其收藏品质之精良。

本品于2005年于英国Woolley & Wallis公司以300万英镑售出，是继鬼谷子下山图罐之后，又一元青花重要作品。同类葫芦瓶，纹饰绘缠枝牡丹纹者，仅见土耳其托普卡帕宫收藏。北京故宫博物院藏有一例乾隆青花仿烧例，伦敦苏富比(微博)1994年售出一例，编号148，为此类元青花葫芦瓶之下半部分残器，青花发色绘画与本品极为类同，疑原为一对，余者于公私收藏未见，本品应为市场中可流通例中孤品。八棱葫芦瓶见有两例，一为土耳其托普卡帕宫藏，绘青花开光花鸟草虫纹，一为日本掬粋巧芸馆藏，绘凤凰纹。

土耳其托普卡帕宫收藏

在土耳其托普卡帕皇宫戒备森严的库房里收藏着40件元青花，其中不乏举世孤品，在收藏界名声远播，土耳其托普卡帕皇宫收藏的40件元代青花瓷器，无论是数量还是质量，都是世界第一, 今天大家跟着知名收藏家马未都一起看看托普卡帕宫里的中国瑰宝。

“研究中国陶瓷，不去看土耳其藏的中国瓷器，对一名陶瓷学家来说，是死不瞑目的事。”这是中国古陶瓷研究会前会长冯先铭先生在生前说过的一句话。

在土耳其托普卡帕皇宫戒备森严的库房里收藏着40件元青花，其中不乏举世孤品，在收藏界名声远播，土耳其托普卡帕皇宫收藏的40件元代青花瓷器，无论是数量还是质量，都是世界第一, 今天小编带着大家跟着知名收藏家马未都一起看看托普卡帕宫里的中国瑰宝。

青花是一个非常文学化的名字，极富诗意，中国古代陶瓷中只有它这么浪漫。其他品种无论在它之前还是它之后，都以一种科学冷静的态度面世，与它同时代异曲同工的陶瓷品种“釉里红”也不叫红花，而青花也从不叫釉里蓝。

这是托普卡帕宫收藏的体形最大的一只青花碗，其尺寸是超群的，在全世界都极为罕见。这只碗的碗心绘有一朵翘枝莲花，四周环绕白云锦文、海浪等。外壁绘有翘枝莲花等精美纹饰，青花及留白交相辉映。

高清细节图再来一波

全世界范围内只有托普卡帕皇宫收藏的元青花有明确的传承记录，而且这些元青花中有多件为世界孤品。

托普卡帕皇宫收藏的这件蓝釉反白大盘极为独特，工匠在制作完成后，在整个纹饰上喷洒了一层斑驳细密的色点。这种装饰手法未见于世界其他元青花藏品。

像蓝釉白花菱口大盘这类作品虽充分表达着伊斯兰文化的色尚，蓝色饱满，但为何并未呈现流行趋势？而青花作品无可争议地成为这种蓝色瓷器的主流，在伊斯坦布尔的参观中，在伊斯兰文化对蓝色的理解上，渐渐让人悟出其蓝色的表现力，疏密，浓淡，内容，都让神秘之蓝不再是简单之蓝。

这只龙纹瓶身上通体绘有一条青龙，体型大，从单一角度只能“见首不见尾”或“见尾不见首”。

托普卡帕宫收藏的这两只八方梅瓶因其独特而成为世界孤品。

草虫是中国文人的情趣，也是元青花纹饰中的传统题材。上图中的葫芦瓶为托普卡帕皇宫的藏品，以其八方棱形的造型显示出与众不同的特色，下图的葫芦瓶则是以硕大的身形见长。中国国内尚未发现身形如此巨大的葫芦瓶。

元青花的研究专家蒋奇栖博士认为中国瓷器有确切年代记录出口到中东地区的，是在公元800年。在托普卡帕皇宫里还挂有一幅波斯细密画，描绘了奥斯曼苏丹梅赫梅特二世宴请外国使臣的场面，宴会上用的全是中国的瓷器。

古陶瓷专家许明先生曾经撰文认为，托普卡帕皇宫里的中国瓷器来源主要有两条线路：首先，它的来源是土耳其东南方向的陆路，这就是历史上著名的丝绸之路。

土耳其东南方向的贸易之路还有一条陆—海路，它是公元8世纪发达起来的阿拉伯世界与中国和亚洲东部的海上来往通道，这也是被称为“海上丝绸之路”的航线。阿拉伯和波斯商人从波斯湾取道马六甲海峡北上交州(越南北部)、广州。阿拉伯人的海上优势，一直保持到15世纪。我们不难设想，大量的中国瓷器通过商船，在波斯湾登陆，再北上陆运到土耳其。

如今，几百年之后的托普卡帕宫，一旁是湛蓝的马尔马拉海、博斯普鲁斯海峡和金角湾，你仿佛还可以感受到那个遥远而伟岸的苏丹手中捧着他挚爱的元青花瓷，眺望东方，露出一抹神秘的笑容。这里的每一件元青花，都是对那个时代，和伟大“丝路”的最好见证。

纏枝牡丹紋葫蘆瓶

：於2006年3月29日紐約佳士得拍賣會，以203.2萬美元（約2864.4萬元人民幣）成交。

上海震旦博物馆|：艺文飨宴　　元青花缠枝牡丹纹特征　2018/03/30

缠枝花卉纹兴于宋，元、明、清三代达到鼎盛，其被大量运用在陶瓷、织物及玉器装饰之中。这种缠枝花卉纹在构图元素上虽略有差异，但构图机理却相对稳定，即是将波状线与切圆线组合安置，作二方或四方连续展开，形成婉转缠绵的基本样式。

元代青花瓷器上的缠枝花卉纹。其适应不同造型之瓷器分区装饰的特点，采取刻、印、绘等方式，将花卉置于中心，四围辅以细密枝茎与丰硕叶片，发展出多层次的纹饰样态。

位居纹饰中心的花卉种类常见有牡丹、荷莲及菊花等，其中以牡丹的形貌表现最为多样。为避免纹样重复环绕铺陈而产生的视觉疲劳，牡丹花冠的描绘选取前、后、俯、仰等不同视角。花瓣内部填色、边缘留白，叶片对称饱满、大叶3-5裂、随装饰部位灵活分布，从而使元代青花瓷上的缠枝牡丹纹呈现出环状、带状、片状及依形铺排等不同样式。

一、环状牡丹纹

“环状牡丹纹”由牡丹花朵、涡旋枝梗及肥硕叶片构成缠枝状，花冠形态各异，或俯、或仰、或上、或下……长条状枝梗从花间穿延而出，回绕于花朵外侧，形成环状样式。各组纹样以枝梗反向涡旋形态相连，犹如分岔枝枒连绵不断，空白处填饰的叶片大小不等、方向各异，使回旋相连的枝条更显丰灵。

这种缠枝牡丹纹样式通常作为主体纹饰出现在元代青花大罐、梅瓶及葫芦瓶等的腹部，也有部分位于圆形大盘内部盘心处。上海博物馆元青花缠枝牡丹纹罐、土耳其托普卡比宫元青花缠枝牡丹纹梅瓶以及日本大阪市立东洋陶瓷美术馆元青花牡丹纹圆口大盘上均见有此类纹饰。

二、带状牡丹纹

“带状牡丹纹” 花冠虽分别采用俯视、侧视、背视等多角度取像，花朵之间亦以枝梗相连，枝梗两侧分岔，并以叶片填饰空白，但各牡丹花朵间是以同一主梗连贯，不同于环状牡丹纹的回旋交缠。

这种缠枝牡丹纹样式多以附属纹样的形式出现在青花大罐肩部以及大盘、大碗内壁处，日本东京富士美术馆元青花鱼藻纹大罐、河北围场县博物馆元青花敛口龙纹大盘以及日本出光美术馆元青花牡丹双凤纹碗之上均有此种样式。值得注意的是，带状牡丹纹多环饰于云龙、鱼藻、十字金刚杵等主纹旁侧，藉由波状律动增加流畅而华丽的美感。

三、面状牡丹纹

“面状牡丹纹” 保有缠枝牡丹纹的基本样态，但其布局既非回旋交缠，亦非平环带状，整体铺陈仅具备面状特性，不存在规律排布，通常围绕孔雀、凤鸟、仙鹤等题材伴生出现，似有补白之功。

这种缠枝牡丹样式主要施于元代青花大罐及四系扁瓶等器物之上，以较大的面积及自由伸展的走向呈现花朵盛开、枝繁叶茂的自然意象，突显整体纹饰画面的华美祥和。此样式可见于伊朗巴斯坦国家博物馆收藏的元青花仙鹤牡丹纹大罐及日本松冈美术馆所藏元青花孔雀牡丹纹四系扁瓶。

四、依形牡丹纹

“依形牡丹纹”是指缠枝牡丹纹依照器形设计，不必分区布局，作为全器唯一纹饰出现。

这种样式是葫芦瓶、水注等器物可能采取的装饰方式。土耳其托普卡比宫所藏的元青花牡丹纹葫芦瓶全器作8字形圆体，表面满布缠枝牡丹纹，各形态花朵以由下而上、随形而走的方式排列，长短不一、方向互异的枝叶漫布其间，以繁密的布局建构出花团锦簇的美感，呈现明显的纹随形走趋势。

元代青花缠枝牡丹纹采用不同的视角呈现花形，运用相异的形态灵活布局，让相同的题材产生丰富的样态，从而产生出特殊的节奏韵律与美感经验。这种纹饰秩序井然、繁而不乱，极符合传统中式审美，故成为中国传统文化中使用最为广泛的纹饰之一。

參考：
元青花纏枝牡丹紋梅瓶1127萬元成交 　

分类： 陶瓷

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拍品唇口外侈，短頸，豐肩，鼓腹至下漸收，至底微外撇，淺圈足，器型飽滿豐潤，古樸壯碩，極富元代游牧民族所崇尚的粗獷之美，具有鮮明而獨特的民族風采。 此梅瓶通體以青花描繪紋飾，自上而下層次分明，以纏枝牡丹為主體，呈帶狀分佈於肩部及腹部，肩部短窄故紋飾巧雅，腹部闊大故花卉更為繁茂圓碩，枝蔓蜷曲纏繞，牡丹一仰一覆妍姿盛放。 足脛處繪變形蓮瓣紋，花瓣內繪朵雲，並加飾圓圈，每片花瓣均用一道粗線和一道細線平行勾勒出輪廓，花瓣間不相連，留有一定空隙，盡見元青花特色。 不同紋飾間以唐草紋或菱形紋相隔，構圖雖滿，但密而不亂，紋飾主次分明，視覺衝擊力極強。 青花成色蒼翠妍麗，濃淡相宜，砂底微泛火石紅色。 製作精美而傳世極少，故異常珍貴，本件即為傳世元青花中的一例精品，其臻美之態彌足珍貴。

元代青花瓷普遍出現並趨於成熟，作為記錄元代景德鎮瓷業情況的唯一書籍，元人蔣祁所著《陶計略》雲：「窯火既歇，商爭取售，而上者擇焉，謂之撿窯。交易之際，牙儈主之……運器入河，肩夫執券，次第件具，以憑商籌，謂之非子」於字裡行間足見元代瓷器熱銷於世的盛況。 元青花在器型和紋飾上，展現出不同的審美取向與風格。 就造型而論，有著濃郁的游牧民族色彩，壯碩而簡潔，但在裝飾紋樣上，則主要來源於漢文化，故主體紋飾大多是中國傳統題材，如牡丹、束蓮、龍鳳、麒麟、松竹梅等，輔助紋飾如波浪紋、迴紋、蕉葉紋等，也大多出現在中國傳統器物的裝飾中。 元青花瓷以景德鎮為代表，是漢族文化、蒙古族文化、伊斯蘭文化的結晶，其造型大氣磅礡而不失精緻感，是不同民族生活習俗集結的產物。

翻閱公私典藏，與本品相似度極高者僅見伊朗國家博物館館藏一例，其器型、紋飾、佈局等均與拍品相契合。 另主體紋飾相同僅肩部繪製其他紋飾者可見上海博物館館藏三例，其紋飾均以纏枝牡丹為主體，僅肩部分別飾雲肩、山茶、佛教八寶紋，可資比較。 其餘傳世者多見孔雀紋、雲鳳紋等，紋飾較為繁雜，相較可見論疏朗秀雅本品更勝一籌。