Robustly potted as a cylindrical censer supported on three moulded feet in the form of Buddhist lion masks, each impressed with the character wang (‘king’) on the forehead. The exterior is finely painted in underglaze cobalt blue with three principal figural scenes, each centred on a rocky platform enclosed within a fenced garden landscape. One panel depicts Amitābha Buddha seated in meditation, his left hand holding the opening of a cloth bag, while accompanying figures include Asita and possibly Rāhula, the son of the Buddha. These are interspersed with scenes of various luohans, each rendered with distinctive attributes and set amidst rockwork, garden fences and flowering vegetation. Above runs a raised rib beneath a band of Y-diaper ornament interrupted by three cartouches enclosing flowering branches. The upper rim is encircled by a raised key-fret band, while the flattened mouth rim is decorated with a continuous scroll of flowerheads and foliage.

此爐胎體厚重，作圓筒形，下承三足，足部模印為佛獅面首，額間各印一「王」字。器身以青花繪三組人物圖，均以園林圍欄環繞的山石臺座為中心。其中一組繪阿彌陀佛結跏趺坐，左手提持布袋袋口，左右人物包括阿私陀尊者，以及可能為佛陀之子羅睺羅者。其間另繪數位羅漢，各具不同持物與形貌，置身於山石、園林圍欄及花木之間。

器身上部起一道凸棱，其上飾Y字錦地紋，間設三處開光，內繪折枝花卉。口沿外壁環飾凸起回紋，平折口沿則繪一周纏枝花卉紋。

Reference:

• University Museum and Art Gallery, The University of Hong Kong, 'The Fame of Flame. Imperial Wares of the Jiajing and Wanli Periods', pp. 262-263, for a closely related example from the Songde Tang Collection.

• A similar example is illustrated by Masahiko Kawahara, 'Ko-sometsuke', Monochrome Section, pl. 124–125.

• Another example was included by S. Marchant & Son in their July 1980 exhibition of 'Chinese Blue and White, Wan Li to K’ang Hsi', no. 42.