粉彩百子龙耳瓶，大清嘉庆年制款。此瓶体量硕大，气势恢宏，造型端庄，考究俊逸，撇口束颈，两侧饰夔龙耳施以红釉，甚是华美；圆肩弧腹，线条平缓，使得腹面宽广平整，最宜瓷绘，颈部以彩釉为地，自上而下描绘纹饰，口沿描金彩，绘如意云头纹一周，腹部通景绘庭院百子婴戏图，整个画面置于临水轩榭之中，远山苍翠，江水潺潺，色彩浓淡相映，将虚实之景由远及近的自然过度。亭台楼宇掩映于峻石花树之间，花木俯仰生姿，假山奇石立于园中，曲折阑干，更兼奇松耸立，碧草如茵，数名童子嬉戏于庭院。众童子列队出行，前有小童鸣锣开道，后跟童子舞龙鱼灯，众小童姿态各异，人物描绘谨遵法度，生动而富于童趣，令人忍俊不禁。整器之装饰布局采用中国画式的散点透视手法构图，以平面布局，从不同的角度和视点上进行正面描绘，注重线条结构，其中儿童的描绘遵循粉彩传统人物勾描技巧，，周遭景物线描当中沿用了中国工笔划的技巧，运用线条的浓淡、刚柔、虚实、粗细、轻重来表达客观景物的情趣，远山近水，峦石苍树，以线写形，以形写神。近景远景层次丰富，处处如在画中。但整体色彩的运用又不乏西方油画明丽鲜艳，用色大胆效果，画面给人强烈、醒目的视觉观感，一派祥和喜庆之景。 A famille rose vase with dragon handles that depicts plenty of children playing boisterously. It marks Da Qing Jia Qing Nian Zhi on bottom of vase. Famille rose (known in Chinese as Fencai or Ruancai, meaning 'soft colours', and later as Yangcai, meaning 'foreign colours') was introduced late in the reign of the Kangxi Emperor (1661–1722), possibly around 1720. It used mainly pink or purple and remained popular throughout the 18th and the 19th centuries, also being widely adopted by European factories. Famille rose enamel ware allows a greater range of colour and tone than was previously possible, enabling the depiction of more complex images, including flowers, figures and insects.