直口、厚唇，溜肩、圓腹，底足微撇，器體五接，拉坏後接胎，由瓷器內部可明顯看到腹部有一接痕，為元朝典型罐器之一。
The jar has a straight mouth, thick lip, sloping shoulders, rounded body, and a slightly flared foot. The vessel consists of five connected sections, and it has been reassembled after being pulled apart, as evident from the visible seam on the interior of the vase. This type of jar is a typical representative of Yuan dynasty pottery. 
全器從頸口至足底，由上至下共分四層，口沿繪一圈海濤紋，器肩繪的是一圈纏枝蓮花紋，罐腹主題紋飾繪的是昭君出塞圖；昭君前方有一著青衣使者在前，使者的青色馬上揹著紅色弓箭與箭筒；昭君著青衣，抱著用白色、紅色布包裹的長柄琵琶，坐在紅色馬上，旁邊有兩位坐在青色馬上的侍女；昭君後方有三位使者，最後則是兩位匈奴使者，騎紅馬、著青衣的使者，右手拉韁繩、左手上停著一隻矛隼，另一位使者著紅衣騎在青色馬上；周圍有松、竹、梅、柳、芭蕉葉紋、山石和脛部繪一圈有間隔、內繪祥雲的蓮瓣紋，整體畫面飽滿、主次分明、流暢自然，山石皴染酣暢淋漓，筆筆精到，渾然一體十分完美，構成一幅壯觀又優美的山水人物畫卷，本器整體紋飾描繪方法都符合元朝標準繪法。
The jar is divided into four sections from top to bottom. The mouth rim is decorated with a blue and white sea wave pattern, while the shoulder is adorned with an intertwined branch lotus motif. The central theme on the body of the jar portrays the scene of Princess Zhaojun departing for the frontier. In the forefront, Princess Zhaojun is accompanied by a messenger dressed in blue clothing. The messenger's blue horse carries a red bow and arrow with a quiver. Princess Zhaojun, wearing blue attire, holds a long-handled pipa wrapped in white and red fabric. She sits on a red horse, with two attendants on blue horses beside her. Behind Princess Zhaojun are three more messengers, followed by two Xiongnu envoys riding red and blue horses. One envoy, dressed in red, holds the reins in his right hand and a falcon on his left. Another envoy in red clothing rides on a blue horse. The surroundings are adorned with motifs of pine, bamboo, plum blossoms, willow, banana leaves, rocks, and a band of lotus petals with spaced intervals and auspicious cloud patterns on the calf of the jar. The overall composition is well-balanced, with distinct focal points and a natural, flowing rhythm. The depiction of rocks is lively and expressive, with meticulous brushwork that achieves a harmonious and perfect integration, forming a grand and beautiful landscape with figures. The decorative style on the jar adheres to the standard Yuan dynasty painting techniques.
釉裏紅易燒失，對溫度及氣氛敏感，如發色不好則容易呈黑色或灰色，若還原氣氛掌控不好還會出現綠色斑痕，此件少部分即有釉裡紅揮發未完全形成的蟹殼青與蘋果綠，是標準元朝釉裡紅特徵。青花料以國產料和進口料混合，國產料比例較高，青料低鐵高錳，色澤微帶藍紫色，少部分周圍有黃褐、綠褐的鐵鏽斑，青花料和釉裡紅皆吃進胎骨，透明釉以浸釉方式施釉，釉水肥厚、微帶蛋青，罐內刷釉。
Iron red glaze is sensitive to firing conditions and atmosphere, and deviations can result in black or gray colors. Poor control of reducing atmospheres can lead to green spotting. This jar exhibits slight traces of underdeveloped iron red glaze, manifesting as crabshell green and apple green, which are indicative of typical Yuan dynasty iron red characteristics. The blue pigment is a mixture of domestically produced and imported materials, with a higher proportion of domestically sourced materials. The blue pigment has low iron and high manganese content, lending a slight blue-purple hue, and some areas display yellow-brown and green-brown rust spots. Both the blue pigment and iron red glaze are integrated into the body. The transparent glaze is applied through dipping, with a thick application and a subtle eggshell tint. The inside of the jar is also glazed.
此件使用麻昌土與高嶺土混合之二元配方土，胎質粗、帶雜質，足底末施釉但有滴釉，足底斜削45度，可見黑褐色芝麻斑點狀，足底和足底滴釉處有標準火石紅。
The jar is made using a combination of Ma Chang and Gaoling clays, resulting in a coarse texture with impurities. The foot is unglazed with dripped glaze, and the underside is beveled at a 45-degree angle, revealing sesame seed-like black-brown spots.