明代官窑青花抱月瓶，御用陈设之器也。其形制本出西域金属器式，入中国而化，至明代官窑而定型。器体扁圆，正背如月，直颈束口，双系耳附于肩侧，左右对称，法度严谨，具中外器制融汇之典范。

此瓶比例端肃，重心稳健，腹部饱满而不失收敛，侧面内敛，转折有度。双耳起势自然，与器身线条相应，既具装饰之美，亦见结构之理。其用不尚实贮，专供陈设，体现明代宫廷器用由实用向礼制与观赏并重之转变。

通体施青花装饰，纹样布局循轴线而设，层次分明，疏密得宜。青料发色沉稳，浓淡相生，笔意内敛而不失生动，显见官窑绘饰之法度与控制。釉色温润，胎质细密，制作工序严整，工艺水准臻于成熟。

综其形制、纹饰与工艺，此件官窑青花抱月瓶，不独为明代宫廷陈设瓷之代表，亦为研究明代御窑制度、审美观念及中外器型交流之重要实证，具有较高之历史、艺术与学术价值。

本作は、明代官窯において製作された青花抱月瓶であり、宮廷における陳設用器として位置づけられる。器形はもと西域の金属器様式に由来し、中国に受容された後、明代官窯制度のもとで規範化され、定型化を遂げたものである。扁円形の胴部は正背ともに月状を呈し、直頸・束口を備え、肩部には左右対称に双系耳を付す。全体の構成は厳整であり、中外器制の融合を示す典型例といえる。

本瓶は比例が端正で、重心は安定し、胴部は充実しつつも過度に張らず、側面は内斂して転折に節度がある。双耳は自然な起勢をもち、器身の線構成と呼応し、装飾性と構造性を兼ね備える。本来の用途は貯蔵ではなく、専ら陳設に供され、明代宮廷器用が実用中心から礼制性・観賞性を重視する方向へ展開したことを示している。

全面に青花を施し、文様は軸線に沿って配置され、層次明確で疏密の配分も適切である。青料の発色は沈着で、濃淡の変化に富み、筆致は内省的でありながら生動感を失わない。官窯における絵付技法の規範性と高度な統制がよく示されている。釉調は温潤で、胎質は緻密、制作工程は厳格であり、成熟した工芸水準を体現する。

本作は、明代宮廷陳設磁器の代表例であるのみならず、明代御窯制度、審美理念、ならびに中外器形交流を考察する上で重要な実証資料であり、高い歴史的・美術的・学術的価値を有する。

This blue-and-white moon flask was produced at the imperial kilns during the Ming dynasty and served primarily as a ceremonial display vessel for the court. Its form derives from metal vessels of Western and Central Asian origin, which were assimilated into Chinese material culture and subsequently standardized under the Ming imperial kiln system. The vessel features a flattened circular body resembling a full moon on both front and back, a straight neck with a narrow mouth, and a pair of symmetrically placed lug handles attached at the shoulders. The overall structure is rigorously balanced, exemplifying the synthesis of foreign vessel forms with Chinese courtly aesthetics.

The proportions of the flask are dignified and well regulated, with a stable center of gravity. The body is full yet restrained, the sides gently drawn inward, and the transitions carefully controlled. The handles rise naturally and harmonize with the contours of the vessel, combining decorative refinement with structural logic. Intended not for storage but for display, the vessel reflects a shift in Ming court ceramics from utilitarian function toward an emphasis on ritual significance and visual appreciation.

The surface is entirely decorated in underglaze cobalt blue. The ornamental motifs are arranged along a central axis, with clear hierarchical organization and a well-balanced distribution of density. The cobalt pigment displays a calm yet nuanced tonality, with subtle gradations of intensity. The brushwork is restrained but lively, revealing the disciplined control characteristic of imperial kiln painting. The glaze is smooth and lustrous, the body finely textured, and the production process meticulously executed, demonstrating a mature level of craftsmanship.

Taken as a whole, this imperial blue-and-white moon flask stands not only as a representative example of Ming court display ceramics, but also as an important material reference for the study of the imperial kiln system, aesthetic principles of the period, and cross-cultural exchange in vessel design. It possesses significant historical, artistic, and scholarly value.