壺身呈菱形，壺頭為鳥形，壺把為鳥羽環，此壺源自於西亞和中亞的金屬工藝： 唐朝的陶匠非常自由地採用外來的形狀（鳥頭壺和雙耳壺）和外來的圖案（花卉徽章、藤蔓、棕櫚紋和圓形圖案）。
這些藝術表現展現了當時的自信與精神。這件作品是北方青瓷的代表，雖然一般認為北方窯專燒白器，南方窯專燒青器（尤其是越青瓷）。它延續了五百世紀北朝晚期北方青瓷生產的傳統。
With a lobed body, a bird-shaped head, and a birdfeather loop handle, this ewer is derived from West and Central Asian metalwork: Tang potters adopted foreign shapes (bird-headed ewer and amphora) and foreign motifs (floral medallions, vines, palmette, and roundel designs) with great freedom.
The artistic expressions bespoke the confidence and spirit of the period. This work is a representation of northern celadon, although it is commonly believed that the northern kilns specialized in white wares and the southern kilns in green wares (notably, Yue celadon). It continues the tradition of celadon production in the north during the late Northern Dynasties period in the 500s.
Provenance
?–1989
(J. E. Eskenazi, Ltd., London, England, sold to the Cleveland Museum of Art)
1989–
The Cleveland Museum of Art, Cleveland, OH
Exhibition History
Asian Autumn: New Objects/New Insights: Cleveland's Recent Chinese Acquisitions. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 18-December 31, 1994).
Notable Acquisitions. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).
埃斯肯納奇與克里夫蘭博物館有不少交易，這是其中一件精品。這種早期唐代的注器十分罕見，龍泉堂近期的三彩展覽中，也曾展出一隻由日本藏家收藏的同類三彩器物，相信價格超過了3000萬人民幣。
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