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款識：大清乾隆年制 本品盤口長頸，斜溜肩，腹部向下收斂，底部滿釉假圈足；口沿以礬紅彩為地，瓶身通體描繪纏枝花卉，腹部主題紋飾以洋彩繪如意靈芝花卉，構圖繁而不亂，疏密有致，底部中心處以青花書“大清乾隆年制”六字三行篆書款；整器造型圓潤端莊，在紋飾與顏料運用等方面均凸顯出典型洋彩之特徵，以及西洋元素與中國傳統題材的完美結合；乾隆皇帝對西洋文化的借鑒更多側重於裝飾功能方面，他頗為推崇西洋裝飾形成的富麗堂皇的效果，其喜好致使西洋元素的運用空前絕後，其中洋彩porcelain的廣泛出現與流行，使得西洋技法與中國傳統裝飾在porcelain上得到完美結合，鑄就了中國陶瓷史上一段洋溢西洋氣息的佚麗篇章。 This product has a long neck, sloping shoulders, the abdomen converges downward, and the bottom is full of glaze false circle feet; Along the mouth with alum red color as the ground, the whole body of the bottle depicts the tangled branches of flowers, the theme of the abdomen decorated with foreign painted ganoderma lucidum flowers, the composition is complex but not chaotic, dense, and the bottom center is subject to blue and white book "Qing Qianlong year" six characters and three lines of seal characters; The shape of the whole instrument is rounded and dignified, and the typical characteristics of foreign colors are highlighted in the aspects of decoration and pigment use, and the perfect combination of western elements and traditional Chinese themes; Emperor Qianlong's reference to Western culture focused more on decorative functions, and he highly respected the magnificent effect formed by western decoration. His preference led to the unprecedented use of western elements, among which the widespread appearance and popularity of western coloredporcelain made western techniques and traditional Chinese decoration perfectly combined onporcelain. Cast a section of the history of Chinese ceramics filled with western flavor of the lost chapter.