口径：17.1 cm 底径：17.5 cm 高：48.8cm
本品清乾隆 青釉浮雕吉庆有余青花描金粉彩婴戏图八方瓶佳作，端庄大气，技艺卓绝，取八方之形，承青铜古韵，集青釉、浮雕、粉彩、青花、描金等高低温釉彩及釉上釉下装饰融于一身，完美诠释乾隆瓷艺之炉火纯青。
本品一开光内见一小童手持青花瓷瓶，一童儿高举灯笼。另一个开光内一小童持戟，戟上悬磬，取音「吉庆有余」；再见北京故宫博物院所藏之瓶，小童手持仿哥釉瓶，注目观鹌鹑，另一小童手中持戟，戟挂双鱼，纹饰细节与本品略异，但寓意相同。
本品青釉细润明亮，浮雕技法气韵流畅，观之，赏心悦目，抚之，更是爱不释手。本品釉色精良莹澈，似秋水如碧玉，必是精于还原之火，方能烧出如此美色，南宋龙泉曾有所见，后或失传，元、明之瓷均不能与其比肩。至清雍正一朝，此等釉色再现于世，并不常见，多以小件为主，兼饰浮雕者，则更只偶有见之。清时御窑所出素胎，土色洁净纯白，配此清透釉色，更显精美异常，与浮雕图案相映成趣，浑然天成，使釉下磬与双鱼有玉佩玎玲之感。可参考一青釉罐例，浮雕龙纹，曾为Loch勋爵、放山居、Margadale 勋爵及东京出光美术馆收藏。
青釉配以大幅青花图案者可谓是寥若晨星，而如本品青釉配以青花地粉彩开光者则更为难得。清代御瓷上多以金彩在釉上绘制各种纹饰，而本器系以金彩描绘釉下青花图案之轮廓，极其罕见，青花之含蓄内敛与金彩之灿然辉煌相得益彰，尽显皇家御瓷之雅致富丽。本品传承有序来自台湾藏家珍藏。
The Qing Qianlong blue-glazed embossed jiqing has a blue and gold pastel painting of baby paintings. It is a masterpiece of dignified atmosphere and excellent craftsmanship. It takes the shape of the eight squares and inherits the ancient charm of bronze. It collects high-low temperature such as glazed, relief, pastel, blue and white, and painted gold. The glaze color and the under-glaze decoration are combined in one body, which perfectly interprets the pure blue fire of Qianlong porcelain art.
When the product was opened, a child was holding a blue and white porcelain bottle, and a child held up a lantern. Another child holds a halberd in the light, and the halberd hangs on the halberd to take "Ji Qingyou Yu"; see you in the bottle held by the Beijing Palace Museum. The child holds an imitation brother enamelled bottle to watch the quail. , The details of the decoration are slightly different from this product, but the meaning is the same.
This product has a fine blue glaze, and the relief technique is smooth and elegant. It is pleasing to the eye and caressing. The glaze of this product is exquisite and bright, like autumn water like jasper, must be good at reducing the fire, in order to burn such a beautiful color, Longquan in the Southern Song Dynasty has seen, later or lost, porcelain of Yuan and Ming can not be compared with it. Until the Yongzheng period of the Qing Dynasty, these glazes were reproduced in the world, which was not common. They were mostly small pieces, and they were also decorated with reliefs, which were only occasionally seen. The plain tires produced by the royal kiln in the Qing Dynasty were clean and pure white. With this clear glaze color, it was more exquisite and unusual. It contrasted with the relief pattern, and it was natural, so that the underglaze salamander and Pisces had the feeling of jade. You can refer to the example of a blue-glazed pot, embossed dragon pattern, which has been collected by Lord Loch, Fangshanju, Lord Margadale and Tokyo Idemitsu Museum.
The celadon glaze with a large blue and white pattern can be described as a morning star, and the blue glaze with the blue and white pastel lighting is even more rare. The Qing Dynasty imperial porcelain used gold color to draw various patterns on the glaze, and this device uses gold color to depict the outline of the underglaze blue and white pattern. It is extremely rare. The implicit restraint of the blue and white flowers complements the brilliant splendor of the golden color. Elegant and rich. This product is inherited in an orderly manner from Taiwan collectors' collections.
