The heavy potting of this bowl is evidence that very much of the earliest blue and white, especially the simpler forms (dishes, bowls, pear-shaped bottles) was made for the export market, where the novelty of design and medium would negate the thick and heavy quality of the vessel. Markets of South-East Asia, long used to the equally heavy and thickly-potted celadon-glazed Southern wares of Zhejiang and Guandong Province, clearly responded eagerly to the new 'blue and white', and buried it appreciatively with the distinguished deceased in 14th Century grave sites from Cebu to Sulawezi.

A similar bowl is now in the Hakone Art Museum, Japan, illustrated in Mayuyama Seventy Years, no.715. A similar bowl, with a crape myrtle-flower band, excavated in 1960 from one of the Song Sheng family tombs outside Zhonghuamen, Nanjing, that of Madame Ye, who died in 1418, is illustrated by Addis, Chinese Ceramics from Datable Tombs, pl. 39(u), together with another late Yuan piece discovered from an early Ming tomb, and was included in the Exhibition of Kiln Sites of Ancient China, 1980, Catalogue no. 243, together with another bowl from the Hutian kiln site at Jingdezhen, no. 242. Another bowl of equally large size, with a different arrangement of the ducks and lotus on the interior, is illustrated in Masterpieces of Chinese and Korean Ceramics in the Ataka Collection, pl.88. See also the mandarin duck bowl in the Topkapi Saray Museum, Istanbul, Catalogue, vol.II, no.572