Each of baluster form with a short cylindrical neck, the vases are boldly painted in underglaze cobalt blue with four large figural panels, alternating between scenes of civil dignitaries and warriors set within mountainous landscapes. The figures stand amongst rugged rockwork, pine and flowering trees, accompanied by attendants and deer, all framed by elaborate flowering scroll borders reserved against a diaper ground. Encircling the lower body is a continuous river landscape with boats and pavilions, above a broad lappet band filled with scrolling lotus and floral motifs. The shoulders and necks are further decorated with stylised floral scrolls and ruyi motifs. The bases are left unglazed.

The decoration reflects the narrative style characteristic of high-quality porcelain produced during the late Ming dynasty. The alternating scenes of civil and military officials evoke the complementary ideals of scholarly virtue and martial prowess, themes frequently encountered in the decorative arts of the period. The inclusion of attendants, symbolic deer, and dramatic mountainous scenery lends the composition an air of courtly ceremony, while also alluding to wishes for official advancement, longevity, and prosperity.

The richly ornamented borders and secondary landscape friezes demonstrate the decorative exuberance of the late Ming period, when large storage and display vessels were conceived as complete pictorial compositions rather than simply isolated figural scenes. The lively brushwork, varying tones of cobalt and confident rendering of rocks, foliage and figures are all characteristic of Wanli blue and white porcelain produced at Jingdezhen for the domestic elite and the export market alike.

Pairs of vases of this impressive scale are considerably scarcer than single examples, particularly when preserved together. Their monumental proportions and elaborate decorative programme would have made them important display pieces in a wealthy residence, temple or reception hall.

此對瓶作高大的撇肩罐式，短直頸。通體以濃麗青花繪飾，器腹設四組大型人物開光，文臣與武將題材交替排列。人物立於峰巒起伏的山水之間，四周怪石嶙峋、松樹與花木掩映，並有侍從及鹿相伴。開光外以錦地為底，留白繪繁密的纏枝花卉紋。

下腹環繪江河山水通景，舟船往來，亭臺掩映，下方飾寬幅垂瓣紋，內填纏枝蓮及花卉。肩部與頸部另飾程式化纏枝花卉及如意雲頭紋。底部露胎。

器身紋飾展現了明晚期優質青花瓷典型的敘事風格。文臣與武將相間出現，分別代表文德與武功，兩者相輔相成，是當時工藝美術中常見的題材。侍從、寓意吉祥的鹿以及氣勢雄奇的山水，共同營造出莊重的宮廷儀典氛圍，亦寄託仕途晉升、福壽綿長與富貴昌盛之意。

繁密華麗的邊飾及下腹連續展開的山水紋帶，體現了明晚期崇尚繁縟豐盛的裝飾風格。此時的大型儲物及陳設器往往被視作完整的畫面進行布局，而非僅在器身上安排孤立的人物場景。畫筆奔放生動，青花濃淡層次豐富，山石、樹木及人物描繪純熟，均為景德鎮萬曆青花瓷的典型特徵，兼供國內上層社會及海外市場。

如此體量宏大的瓶成對保存者遠較單件罕見。其恢宏尺寸及繁複完整的裝飾布局，表明原應作為重要陳設，置於富貴宅邸、寺廟或大型廳堂之中。

Reference:
Sotheby's New York, 21 April 2023, lot 693 for a near-identical example. (sold USD 53.340,00) (link)