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清乾隆 瓷胎洋彩黃地錦上添花蓮紋長春百子圖雙龍耳瓶， 高:38.8cm， 大清乾隆年制 乾隆雙龍耳瓶，以雙螭龍為耳，細節處施以礬紅描金。瓶外口及圈足外壁繪礬紅金彩回紋裝飾，不僅上下相合，亦於瓶頸左右兩側龍耳形成統一之視覺觀感。瓶頸以黃釉地錐劃鳳尾形卷草錦紋，與瓶下脛部黃地洋彩西番蓮紋為配，兩種西番蓮紋一縱一寬，配合器物局部造型而設，顯示宮廷法度一絲不苟。瓶身通景繪長春百子圖，群嬰百子於山臺岸邊，或擊鼓鳴樂，或舞獅相戲，或龍鳳對燈，或鳴炮相慶，遠處四童子分別高挑鯖、鮪、鯉、鱖四色魚燈行進山間，諧音「清白廉潔」之意。畫面以舞獅、彩燈、鞭炮諸元素，展現春節元宵習俗，寓有長春百子之吉祥寓意。嬰戲圖，為中國經典吉祥題材。嬰戲圖成為宮廷官窯定制紋樣，清代因受到乾隆皇帝喜愛，而發展成宮廷書畫與禦窯瓷器之祥瑞主題，並附以長春百子等吉祥名稱。口與底部均施松石綠釉，全身顯現“蛤蜊”寶光和細微開片。書″大清乾隆年制″六字篆書礬紅款。 The Qing Dynasty Qianlong porcelain body is adorned with a colorful yellow background and embellished with lotus patterns. The Changchun Hundred Sons painting features a double dragon ear vase, Height: 38.8cm, Qing Dynasty Qianlong Year System The Qianlong Double Dragon Ear Vase features a pair of Chi dragons as its ears, with details painted in alum red gold. The outer opening of the bottle and the outer wall of the ring foot are decorated with alum red gold colored patterns, which not only match the top and bottom, but also form a unified visual impression on the left and right sides of the bottleneck with dragon ears. The bottleneck features a yellow glazed conical design with a phoenix tail shaped rolled grass brocade pattern, paired with a yellow colored lotus pattern on the bottom of the bottle. The two types of lotus patterns, one vertical and one wide, are designed to complement the local shape of the object, demonstrating the meticulousness of the imperial court. The bottle body depicts a picture of a hundred sons in Changchun, with a group of infants and a hundred sons on the shore of a mountain terrace, playing drums and music, dancing lions and playing games, dragon and phoenix facing lanterns, or firing cannons to celebrate. In the distance, four young children are walking in the mountains with four colors of fish lanterns: mackerel, tuna, carp, and mandarin fish, which sounds like "clean and honest". The picture shows the customs of Yuanxiao (Filled round balls made of glutinous rice-flour for Lantern Festival) Festival with the elements of lion dance, colored lights and firecrackers, which symbolizes the good fortune of Changchun's hundred children. Infant drama is a classic auspicious theme in China. The infant play painting became a custom pattern for imperial kilns, and during the Qing Dynasty, it was favored by Emperor Qianlong and developed into a auspicious theme for palace paintings, calligraphy, and imperial kiln porcelain, accompanied by auspicious names such as Changchun Baizi. The mouth and bottom are both coated with turquoise green glaze, revealing a "clam" radiance and subtle cracks throughout the body. The book "Made in the Qianlong Year of the Qing Dynasty" is a six character seal script with alum red inscription.