The surface  of the Vase is painted with blue cobalt and divided into horizontal sections, with a geometric broader decorating the lip.
The visuals on the neck of the vase illustrate decorative clouds with white cranes flying amongst them, layered above the dark blue background.
The crane is interpreted as a symbol of longevity, due to its status as high ranking bird in the imperial hierarchy, with its white feathers representing its ability to live a long life.
The stylised clouds suggested luck, fortune and good fate.
Below this sit two small horizontal registers that separate the neck and the shoulder of the vase.
The first section is embellished with hatching and the one below with flowers, transiting to the shoulder of the vase which depicts the symbol of the Lingzhi Fungus design or Ruyi, translating to good wishes.

Coming to the body of the vase, the largest surface area depicts a celebration of the style and material culture of Chinese Literati.
Literati culture was significant in the Ming Dynasty as images of the natural hierarchy became metaphors for China at that period of time.
New class scholar officials depicted an increasing number of images of the private retreat, communicating the academic and social values of self cultivation and position as literati.
This was done through poetry, calligraphy and visual arts.
As seen in the Vase it effectively establishing their social position within Chinese academic society.

On one face of the Vase, a figure said to be Zhou Dunyi, a renowned Chinese philosopher and official is portrayed sitting on a mat and supposedly gazing at a lotus pond.
This is a common representation of the scholar as it is referencing his essay on the lotus flower, “On Love of  the Lotus”.
Accompanying this, four young attendants at the upper left of the scene seem to be brewing tea for the Scholar Zhou and his companion.
A large rock then separates these figures from an additional two, who can also be identified as scholars due to their clothing.
An instrument called a zither sits before them, in addition to two attendants a man and a women standing nearby also holding instruments.
The scholars are drinking wine and sitting in front of folding screens on a covered table, implying the performance of a musical piece.

The foreground presents a picnic scene of a basket, wine and multiple jars of gourd.
A young lady with a fan standing close by, effectively transiting the musical performance scene around the vase to another setting of four gentlemen in a peaceful environment sitting around a low table drinking wine.
Below this another visual register occurs separating a landscape of roaming cranes and a deer resting on the foot of the jar, suggesting a sense of hope and longevity.
The surface  of the Vase is painted with blue cobalt and divided into horizontal sections, with a geometric broader decorating the lip. The visuals on the neck of the vase illustrate decorative clouds with white cranes flying amongst them, layered above the dark blue background. The crane is interpreted as a symbol of longevity, due to its status as high ranking bird in the imperial hierarchy, with its white feathers representing its ability to live a long life. The stylised clouds suggested luck, fortune and good fate. Below this sit two small horizontal registers that separate the neck and the shoulder of the vase. The first section is embellished with hatching and the one below with flowers, transiting to the shoulder of the vase which depicts the symbol of the Lingzhi Fungus design or Ruyi, translating to good wishes.
Coming to the body of the vase, the largest surface area depicts a celebration of the style and material culture of Chinese Literati. Literati culture was significant in the Ming Dynasty as images of the natural hierarchy became metaphors for China at that period of time. New class scholar officials depicted an increasing number of images of the private retreat, communicating the academic and social values of self cultivation and position as literati. This was done through poetry, calligraphy and visual arts. As seen in the Vase it effectively establishing their social position within Chinese academic society.
On one face of the Vase, a figure said to be Zhou Dunyi, a renowned Chinese philosopher and official is portrayed sitting on a mat and supposedly gazing at a lotus pond. This is a common representation of the scholar as it is referencing his essay on the lotus flower, “On Love of  the Lotus”. Accompanying this, four young attendants at the upper left of the scene seem to be brewing tea for the Scholar Zhou and his companion. A large rock then separates these figures from an additional two, who can also be identified as scholars due to their clothing. An instrument called a zither sits before them, in addition to two attendants a man and a women standing nearby also holding instruments. The scholars are drinking wine and sitting in front of folding screens on a covered table, implying the performance of a musical piece. 
The foreground presents a picnic scene of a basket, wine and multiple jars of gourd. A young lady with a fan standing close by, effectively transiting the musical performance scene around the vase to another setting of four gentlemen in a peaceful environment sitting around a low table drinking wine. Below this another visual register occurs separating a landscape of roaming cranes and a deer resting on the foot of the jar, suggesting a sense of hope and longevity.
Vase with Poet Zhou Dunyi