Two other guan of this pattern have been published, each with wave borders at the neck replacing the chrysanthemum scroll. The first of slightly larger size, 29.8 cm., in the Brooklyn Museum, New York, is illustrated by M. Medley, The Chinese Potter, pl. 135, and again in Sekai Toji Zenshu, vol. 13, p. 225, fig. 122; a smaller example, 21.7 cm., in the Tokyo National Museum, is illustrated in Oriental Ceramics, Kondasha Series, Vol. 1, 1982, col. pl. 19.
A jar of this pattern but with a border of lotus lappets around the base in the Topkapi Saray Museum is illustrated in Yuan dai Ciqi, Taibei, 1998, pl. 70. Two further guan of this pattern but with the addition of a peony meander at the shoulder and a classic scroll band above the lotus panels have sold in our London Rooms, the first on 12 October 1970, lot 23; the second 8 June 1987, lot 160. Compare also with two jars with additional Buddhist emblems enclosed within the lotus lapets encircling the base, one from the Ataka collection, now in the Osaka Ceramic Museum, illustrated in Sekai Toji Zenshu, Tokyo, 1981, vol. 13, pl. 56; the other similar jar but with a reduced neck, from the collection of Sir Harry and Lady Garner, was included in the Venice exhibition, Mostra d'arte Cinese, 1954, and illustrated in the Catalogue, no. 613, and once again in Mayuyama, 70 Years, 1976, vol. I, pl. 693.
It is extremely rare to find the 'fish-in-waterpond' motif on Yuan dynasty blue and white ceramics, although the subject matter was revived in the Xuande period where it appeared mainly on dishes, such as the two dishes excavated at Zhushan, included in the exhibition, Xuande Imperial Porcelain Excavated at Jingdezhen, Chang Foundation, Taibei, 1998, illustrated in the Catalogue, nos. 86-1 and 86-2. The four species of fish is identified by Li Yiping, as qingyu (a type of mullet), baiyu, liyu (carp) and guiyu (mandarin fish), ibid, p. 260.