口径：8cm底径：3.5cm高：3.6cm

秋葵，花开初秋之时，其色鹅黄，薄如霓裳，妍丽无匹，然芬芳易逝，有朝开暮谢之说，故惹得历代文人心生怜惜，百般痴爱，遍植屋庐之旁，以获观赏之美，宋人喻良能就有“栋梁酣夕照，雉堞蔓秋葵”之句。传世稀罕的宋画当中不乏以秋葵为题，可见众人对此钟情之深。明成化皇帝以脱俗超轶的高雅艺术品味，将其移绘御瓷之上，为后世无比推崇的成窑逸品平添一份诗意的柔美。整器以斗彩装饰，外壁画连枝秋葵一道，碗心则绘葵瓣花一朵。青花纹饰纤柔明快，彩绘图案清新秀丽，笔意细腻流畅，布局舒展灵空，处处流露出对秋葵的无限怜惜之情。底有青花书“大明成化年制”双圈楷书款。

Okra, when the flower blooms in the early autumn, its color is yellow, thin as a neat, beautiful and unparalleled, but the fragrance is easy to die, and there is a saying that thanks to the literati, it provokes the literati’s heart and pity, all kinds of obsessions Beside the eaves, in order to enjoy the beauty of the scenery, the Song people Yu Liang can have the sentence of "the pillars of the evening, the vines and the okra". Among the rare Song paintings handed down, the okra is the title, which shows that everyone loves it. The emperor of Ming Chenghua used the taste of elegant art that was superb and superb, and moved it to the imperial porcelain to add a poetic feminine to the kiln leisure products that are highly respected by later generations. The whole body is decorated with bucket color, the outer wall painting is connected with the branch okra, and the bowl heart is painted with a sunflower flower. The blue pattern is soft and bright, the painted pattern is fresh and beautiful, the brush is delicate and smooth, the layout is stretched, and the infinite pity for the okra is everywhere. At the end of the book is the blue-and-white book "Da Ming Cheng Huanian" double-circle book.