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此件明代青花鱼藻纹盖罐形制优雅，直口丰肩，短颈鼓腹弧收，罐身通体以青花满绘鱼藻纹，莲花荷叶错落有致，荷塘之中有鱼游动，形象鲜活，造型各异。水藻飘动好似水的流动，鱼儿浮游使人感到鱼逆流而上，再加上青花料添釉烧制后有浓淡烟散的效果，就如水墨画一般。画面清新净雅，青花设色沉稳，绘工精湛纯熟，不为多见。宣德瓷器的胎体低钙高钾，透光性高。釉层盈润，釉下青花以苏麻离青，宣窑青花运用浓淡青料的对比多见于盘、高足碗上的海水龙纹，而在大罐上运用如此细腻之技法则至为难得。
This blue and white jar with fish and algae pattern in Ming Dynasty is elegant in shape, with straight mouth and full shoulder, short neck and bulging belly. The whole body of the jar is painted with fish and algae pattern in blue and white. The lotus leaves are scattered, and there are fish swimming in the lotus pond. The algae are flowing like water, and the floating fish make people feel that the fish are going upstream. In addition, the glaze of blue and white materials has the effect of smoke dispersion, just like ink painting. The painting is fresh and elegant, the blue and white design is steady, and the painting is exquisite and skilled. Xuande porcelain has a low calcium and high potassium content and high transparency. The underglaze blue and white is Su Ma Li Qing. The contrast of thick and light blue and white materials used in Xuanyao blue and white is mostly seen in the dragon pattern of sea water on the plate and high foot bowl. It is very rare to use such delicate techniques on the large pot.
明代鱼藻纹便是大多画鳜鱼，大有“桃花流水鳜鱼肥”的诗情画意。是众多文人的向往。到了清代，鱼就被画得更为雍容华贵，开始用红彩绘鱼纹，配以绿色水草，图案味更加浓郁。一个小小的鱼藻纹饰，融合了皇家御器厂最先进的烧造技术与当时最为前卫的人文美学思想，展现出一种大自然的意韵和美学境界。
In Ming Dynasty, most of the fish and algae patterns were painted on mandarin fish, which was poetic and picturesque. It is the yearning of many scholars. In the Qing Dynasty, fish was painted more elegant, and began to use red color to draw fish patterns, coupled with green water plants, which made the pattern more rich. A small fish and algae decoration combines the most advanced firing technology of the Royal jade factory with the most avant-garde humanistic aesthetics at that time, showing a natural charm and aesthetic realm.
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