Another innovation, seen on the large jar illustrated here, was the use of underglaze red, colored using a copper oxide. The red color of the underglaze copper pigment is notoriously difficult to achieve during firing, and pieces decorated exclusively with this color are scarcer than the well-known blue-and-white examples. Nonetheless, underglaze copper-red wares became popular and were made in some number during the reign of the first Ming emperor, Hongwu (r. 1368-1398). Shards from such wares were discovered at the Hongwu palace site in Nanjing, which suggests that they were used at the court. The presence of several copper-red wares from the late 14th century in the palace museums in Beijing and Taipei also supports this presumption. In addition, some ceramics decorated with a copper-based pigment were exported; examples are known in the Philippines.

This guan-shaped jar provides an outstanding example of a late 14th-century porcelain painted with a copper-red pigment. The jar, which once had a cover and a slightly longer neck, was probably used for storage. Although the copper-red decoration retains the density and complexity characteristic of Yuan-period design, its strong spatial organization helps to date it to the early Ming period. The painting is carefully divided into several registers: ruyi-shaped designs encircle the truncated neck, while leaf-shaped designs filled with flowers and a horizontal band containing a floral arabesque cover the shoulder. Two rows of similar leaf-shaped images divided by a small band with a key-fret motif encircle the base.

The central section is painted with a traditional Chinese theme called the Three Friends of Winter (suihan sanyou): the pine, plum, and bamboo, which flourish even under adverse conditions, are symbols of longevity, perseverance, and integrity, the innate virtues of the ideal scholar-gentleman. Although it has a long history in Chinese literature, the theme did not become popular in Chinese art until the 14th century. The emergence of this theme during this time has often been interpreted as a subtle Chinese response to Mongol domination. It is possible that a similar rationale underlies its appearance in the decorative arts at the time.

On this jar, the overall theme is reiterated by the presence of the orchid--another symbol of the scholar-gentleman--which has been added to the principal motifs. The camellias, roses, plantains, and strangely shaped Taihu rocks on the jar indicate that the Three Friends are growing within the confines of a traditional scholar-gentleman's garden. The high quality of the painting on this jar and its large size indicate that it was an expensive item, probably made for a wealthy scholar-gentleman or possibly for the court.