Far more interesting, i did some digging in our far too many books (for which Corona gave me some time, the world came to a stop here)  and i managed to find a very similar related piece in an old Marchant Catalogue:

S. MARCHANT & SON
established 1925
Exhibition of
Ming Blue and White Porcelain
The Drs. A. M. Sengers Collection

Sadly only one rather small picture but a fantastic describtion of which i will put the full text below. Maybe we can dig up pictures of the ones they are referring too Just a quick preview of what caught my eye, mostly the deer you found strange and the back description:

"amongst trees and houses of European style, a deer running by, all below a band of ruyi heads, the flattened rim with similar houses
and two other figures, the underside with four oval panels cach enclosing a standing boy holding a branch beside buildings, all below a band of four further panels each enclosing a bird on brarich, a hole drilled in the footrim for hanging purposes."

and

"In his inventory, Drs. Sengers writes, "It is very likely that these Basins were produced to order for the
Dutch market. In Holland Chinese ceramics were highly appreciated and large quantities were frequently
shipped from China to Holland. In the course of the second quarter of the 17 century Dutch
customers wanted these ceramics to be adapted to European shapes or decoration. Although the
decoration on pieces made after western models remains predominantly Chinese, one can easıly see the
European motives. On this basin, the various houses on cavetto, rim and within the roundels on the
reverse are certainly inspired by Dutch farm houses or houses with a step gable. Some of these basins
have a drilled hole in the footrim for suspension, a feature sometimes seen in the export production.
Shaving basins are mentioned in the V. O. C. records from 1635 onwards."

We can see that on the Marchant example they were a bit better in painting European houses, but all in all for me this explains the maybe somewhat weirdness of the border and the extremely full painting. They were trying to adapt to European demand. Maybe we can dig up the pictures of the ones in the reference if anyone has the book by stephen little. I will try to get a picture from the one in Princessenhof which should be possible because i know the curator, but they might work from home due to the corona restrictions.

Full Description

61 Basin with flattened everted rim painted with a standing scholar wearing long flowing robes talking to a
boy attendant carrying a wrapped gin (zither) in a mountainous landscape, the cavetto with continuous
landscape scene of four seated sages and another standing holding a fruit branch beside a wood-gatherer
holding a pole over his shoulders, to which are tied three birds and faggots, amongst trees and houses of
European style, a deer running by, all below a band of ruyi heads, the flattened rim with similar houses
and two other figures, the underside with four oval panels cach enclosing a standing boy holding a
branch beside buildings, all below a band of four further panels each enclosing a bird on brarich, a hole
drilled in the footrim for hanging purposes.

(Collection no. 172.)

28.1 cm diameter.
Chongzheng 1630-1640.

In his inventory, Drs. Sengers writes, "It is very likely that these hasins were produced to order for the
Dutch market. In Holland Chinese ceramics were highly appreciated and large quantities were frequently
shipped from China to Holland. In the course of the second quarter of the 17 century Dutch
customers wanted these ceramics to be adapted to European shapes or decoration. Although the
decoration on pieces made after western models remains predominantly Chinese, one can easıly see the
European motives. On this basin, the various houses on cavetto, rim and within the roundels on the
reverse are certainly inspired by Dutch farm houses or houses with a step gable. Some of these basins
have a drilled hole in the footrim for suspension, a feature sometimes seen in the export production.
Shaving basins are mentioned in the V. O. C. records from 1635 onwards.

PUBLISHED AND EXHIBITED:
* Delft op. cit., no. 16.

SIMILAR EXAMPLES:
* Krahl and Ayers op. cit., no. 614, for a dish with similar central panel and Kilburn op. cit., figs. 9 and
10, for a shaving basin in the Princessehol Museum, Leeuwarden with a similar border and identical
underside dated 1635-1644 another in the Freer Gallery of Art, Smithsonian Institute, Washington D. C.
is illustrated by Stephen Little in Chinese Ceramics of the Transitional Period: 1620-1683, fig. 11.

ACQUIRED:
* S. Marchant & Son, March 1984.
98

Dear All,

I found the one in the Freer gallery with base pictures. In my opinion that should be rather convincing that this is a genuine piece. Although mid 17th century and not 16th century as was mistakenly put in the original title.

https://asia.si.edu/object/F1977.12/

Best wishes from Amsterdam

Freek

Dear Freek,

the Marchant and Freer Gallery dishes are absolutely convincing. I must apologize.

In my defense I have to say that what fooled me has been the strange painting style, which now we see that it has been purposely made to accomplish Dutch taste, hence that explain the reason why I didn’t recognize the Chinese “hand”.

This is a further case showing that there is always something to learn about Chinese ceramics. Sorry if my comments caused some problems.

Regards,

Giovanni

Dear Giovanni,

Not at all, no problem caused. I have learned a lot too from this discussion and would not have done so if you and others had not expressed your doubts. I want to thank everyone for that. 

It was a great learning exercise and pointed me to one of the biggest flaws of our business. We just do not have enough time to research all pieces we have as well as they deserve to be researched. In our defence we have 5 children aged 0, 3, 4, 5, 7 divided amongst the two of us. So it will be better in the future.

Your apology is very much accepted not a lot of people do have what it takes to express a sincere apology. I am very thankful for that and it shows you are a honest and genuinely interested person. Thank you!

I totally agree that your defence is one that holds. It is a very odd piece and weirdly painted. The transitional period must have been a weird period in a general sense.

I personally think that if there is one lesson to learn from this is to always keep an open mind on pieces. Especially when they are weird.

Best wishes from Amsterdam,

Freek

Dear Freek, thank you very much, that’s very kind of you.

This is a classic case of “live and learn”, it has been a lesson for me. Especially because I like so much Transitional ware.

Kind regards from Italy.

PS: as for wishes from Amsterdam, Italy, and elsewhere, I am strongly recommending anyone to take the ONLY defense that we have against this terrible Covid 19: STAY HOME! Here in my town it is still devastating. Hospitals are extremely overloaded, we are setting up field hospitals, the only crematorium is not enough for the needs, piles of coffins in waiting list. It is a despair. Do not take this with ease: STAY HOME.  

The short video along with the documentation provided is a very compelling argument that provides evidentiary argument that the dish is genuine. 

As previously stated I am not an expert nor is this type of ware in my realm of interest. I am more inclined to republican period porcelain. 

I therefore retract my previous opinions and posts and apologize for any and all offense/other that may have been inferred. 

In addition your office is splendid. Packed to the rafters! I shall also endeavor to purchase that book you kindly referred to.

Collecting is a wonderous journey both in learning new things and admiration both for the articles themselves and more so the extended knowledge that dealers and collectors possess. 

Mark 

Dear Mark,

Thank you for your good words. I myself love republican and PROC porcelain a lot as well. It is a very difficult field wit lots an lots too learn and lots and lots of boobytraps.

The book is fantastic i am sure you will love it very much!

Dear Giovanni,

Thank you for your words of caution on Corona. We have been stuck to home for almost 2 weeks now. The only thing we can do is groceries and we are allowed to work because there are no other people there so it is more or less quarantene. I go twice a week to take care of the shipping of parcels. Luckily for us the world wide postal network remains in operation. I have been following the situation in Italy closely, it is horrible. Were do you live?

I am very much afraid of what will happen in the USA and the 3rd world countries. 

Best wishes from Amsterdam and stay safe!

Freek

Dear Freek,

I live in Piacenza, which is one of the more heavily affected towns, but not among the ones mentioned in the titles of the newspapers because it is a small town (120,000) inhabitants. We are at only 20 km from Codogno, the small village where it all started.

Luckily I live in countryside, so it is easier to stay isolated.

I am on your same side, really worried for what it can do on the less fortunate areas of the World, or where there is no Public Health care.

Stay safe everybody, stay home.

Regards,

Giovanni

Hi all,

Because of all the trouble at the moment I can't read and comment much. I did not realize that I would stir up so much with my question about a transitional object. I read all the comments and most of them twice, but it is still way above my level of knowledge. But with all pictures, links and the movie, I'm starting to get an idea of it. 

Sorry that I say there could be something wrong with this piece, the strange arm etc. I now realize that it's my own lack of knowledge and I will never assume anything that quick anymore. 

But now my head is spinning and I must probably read it all again to see what the actual conclusion is now for myself 😀 .

Thank you all for sharing!

Hi ShangrilaAntique,

Can I do one request? I see people talk about surface wear and when I look at the bowl from the museum https://asia.si.edu/object/F1977.12/ and zoom in than I understand. Could you take a picture in the same angle? That you see the reflection of the light and therefor see all the tiny scratches and such? 

Dear Janneke,

A natural surface wear is a good sign, but it is not a feature that must be there.

I have myself pieces much older than the one under discussion, which has no surface wear at all.

Regards,

Giovanni

I am still of the opinion that this piece is a fake,sorry.

Perhaps if it could have been seen and handled by Christies,etc then a real opinion could be given.

All the images of the genuine pieces do not set alarm bells ringing but if I'm wrong,I'm wrong.

If I'm right then the piece has fooled a fair few collectors which is even more worrying.

Vic

Hi Freek - 

Firstly, thank you for posting the video and the Marchant and Freer examples, both of which are, as Giovanni says, absolutely convincing ... 

When you compare the painting style and execution of the exterior designs on the Freer example and this piece posted, the differences are still self evident ... 

Whether this is due to a middle or lower skilled painter, as mentioned by Xin, or the doubts expressed regarding authenticity by other forum members here, is extremely difficult to judge on images alone ... 

Personally, due to the division of opinions express regarding this piece, I feel any potential buyer would need to see/handle this piece first to satisfy themselves ...

Personally, I still don’t like it, and would not buy it but, as with Giovanni and Mark, I would also like to apologise if any of my comments posted caused any offence, none was ever inferred ... 

Stuart 

Hi Janneke - 

There is no need for apologies for posting images and then asking questions ...

It is within the posting of such interesting/difficult pieces, which may include certain aspects that are so far unknown/unseen before, the comments/opinions expressed and debate such causes, that all here can learn from ... 

Stuart 

Dear All,

No worries Janneke and Stuart. Your questions were legit. I agree that it is preferable to handle a piece. That is why there is the rule that if you buy something online you can always return it after arrival.

I have tried to make some pictures of the surface ware Janneke. But you should keep in mind that these pieces were bought for display and display only in Holland. So they were virtually never used. Making ware mostly appear on the rims from bumping, moving etc. Especially because these Ming wares are made of realitvely brittle porcelain that causes rims to frit easily.

@Stuart, In my opinion you must be very carefull to draw any conclusions on painting style during the period 1600-1670. This was not a period in which there were very strict rules on what to do how. We do lot of Kosometsuke wares and they give a good insight in the extreme level of freedom painters had at that time. You can find similar scenes done in an extreme amount of quality and difference

just a random example i have at hand

I think we should more