Zhou Dunyi, the central figure on the vase, was a Chinese philosopher and cosmologist.
Born in 1017 the Chinese scholar, referred to as literati was considered by Thompson, J as one of the first “neo confucians”.
Neo-Confucians refers to a stream of Confucian thinking that prevailed amongst scholars in the early Song Dynasty (960–1279 CE).
This way of thinking was characterised by both Buddhist and Daoist metaphysics which attempted to communicate the details of Confucian Philosophy.
Zhou personally investigates spirituality in relation to morality and politics.
Additionally Zhou’s study stems from what Thompson describes it as “Buddhist notions of equanimity and compassion”.

Zhou was originally born in Daozhou, with the given name of “Dunshi”.
This was soon changed to Dunyi in 1063 when Emperor Yingzong came into power as it was the commons practice in Chinese culture, specifically in families of scholar officials that prohibited the use of the name of the emperor.
Later in his lifetime, Zhou moved to Xingzi in Jiangxi, the province in which the porcelain was primarily produced, explaining the relationship between his work and his presence on the vase.
Furthermore Thompson explains that Zhou was not well known throughout his lifetime, despite his heavy influence over Zhu Xi, who was a significant figure in the emergence of neo-confucians thought.
He additionally tutored two young individuals Cheng Hao (1032-1085) and Cheng Yi (1033-1107), which contributed to his standing as a well-regarded intuitive by his contemporaries.
Only later was Zhou regarded by others Neo Confucians as an “exemplar of authenticity”.
This assists in explaining why the vase was created (1587) significantly after Zhou’s death (1073), when appreciation and acknowledgement of his contribution to Literati culture was realised.

Zhou’s presence of the vase observing the lotus flower, refers directly to his poem “On the Love of the Lotus”, composed in 1071.
It was written shortly after he built his personal retreat, Lianxi.
This was located on the foot of Mount Lu where in front of his study he constructed a pond in which to observe the lotus blossoms.
This is where Zhou and many other retired literati spent their time, observing the blossoms, a symbol of purity and purpose.
This scene closely resembles that that is presented on the vase.
Zhou’s piece “On the love of the Lotus” is describes as his ode to the blossom, the piece whilst addressing his anthropocosmic insight, which is addressed in many of his works.
For Zhou, the poem communicates the spiritual and cosmic harmony, conceptualising his understanding of human life the universal/cosmic forces.
The lotus is referred to in the poem as the gentleman (junzi) among flowers, which in Confucian thinking was considered an ideal trait of human beings.

Many Chinese literati works, specifically Zhou’s writing in “On the Love of the Lotus” draw on cultural ideology stemming from Confucian, Daosit, and Buddhist philosophy.
This is present within the image of the lotus specifically, as Zhou writes “I love the lotus for rising from the mud yet remaining unstained; bathed by fire currents and yet not seductive”.
Thomspon understands this to be presenting Zhou’s tranquil mood, whilst highlighting his attentive state of awareness, giving insight into his wise manner and way of viewing his surroundings, as seen in his presence on the vase.
 This viewer is subsequently encouraged to broaden their thinking by contemplating the actions and lifestyle of Zhou, the largest and most dominant figure depicted on the vase.
Zhou is celebrated for his “intellectual and moral fortitude” offered to viewers as a figure of exemplary moral virtue, depicted to the viewer through reading the vase, following the scenes around the exterior through a series of interrelating visual devices.
Zhou Dunyi, the central figure on the vase, was a Chinese philosopher and cosmologist. Born in 1017 the Chinese scholar, referred to as literati was considered by Thompson, J as one of the first “neo confucians”. Neo-Confucians refers to a stream of Confucian thinking that prevailed amongst scholars in the early Song Dynasty (960–1279 CE). This way of thinking was characterised by both Buddhist and Daoist metaphysics which attempted to communicate the details of Confucian Philosophy. Zhou personally investigates spirituality in relation to morality and politics. Additionally Zhou’s study stems from what Thompson describes it as “Buddhist notions of equanimity and compassion”.
Zhou was originally born in Daozhou, with the given name of “Dunshi”. This was soon changed to Dunyi in 1063 when Emperor Yingzong came into power as it was the commons practice in Chinese culture, specifically in families of scholar officials that prohibited the use of the name of the emperor. Later in his lifetime, Zhou moved to Xingzi in Jiangxi, the province in which the porcelain was primarily produced, explaining the relationship between his work and his presence on the vase. Furthermore Thompson explains that Zhou was not well known throughout his lifetime, despite his heavy influence over Zhu Xi, who was a significant figure in the emergence of neo-confucians thought. He additionally tutored two young individuals Cheng Hao (1032-1085) and Cheng Yi (1033-1107), which contributed to his standing as a well-regarded intuitive by his contemporaries. Only later was Zhou regarded by others Neo Confucians as an “exemplar of authenticity”. This assists in explaining why the vase was created (1587) significantly after Zhou’s death (1073), when appreciation and acknowledgement of his contribution to Literati culture was realised.
Zhou’s presence of the vase observing the lotus flower, refers directly to his poem “On the Love of the Lotus”, composed in 1071. It was written shortly after he built his personal retreat, Lianxi. This was located on the foot of Mount Lu where in front of his study he constructed a pond in which to observe the lotus blossoms. This is where Zhou and many other retired literati spent their time, observing the blossoms, a symbol of purity and purpose. This scene closely resembles that that is presented on the vase. Zhou’s piece “On the love of the Lotus” is describes as his ode to the blossom, the piece whilst addressing his anthropocosmic insight, which is addressed in many of his works. For Zhou, the poem communicates the spiritual and cosmic harmony, conceptualising his understanding of human life the universal/cosmic forces. The lotus is referred to in the poem as the gentleman (junzi) among flowers, which in Confucian thinking was considered an ideal trait of human beings.
Many Chinese literati works, specifically Zhou’s writing in “On the Love of the Lotus” draw on cultural ideology stemming from Confucian, Daosit, and Buddhist philosophy. This is present within the image of the lotus specifically, as Zhou writes “I love the lotus for rising from the mud yet remaining unstained; bathed by fire currents and yet not seductive”. Thomspon understands this to be presenting Zhou’s tranquil mood, whilst highlighting his attentive state of awareness, giving insight into his wise manner and way of viewing his surroundings, as seen in his presence on the vase.  This viewer is subsequently encouraged to broaden their thinking by contemplating the actions and lifestyle of Zhou, the largest and most dominant figure depicted on the vase. Zhou is celebrated for his “intellectual and moral fortitude” offered to viewers as a figure of exemplary moral virtue, depicted to the viewer through reading the vase, following the scenes around the exterior through a series of interrelating visual devices.
Vase with Poet Zhou Dunyi