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Each vase is robustly potted with an ovoid body supported on a tall splayed foot, the domed shoulder rising to a tall waisted neck and a lipped mouth-rim. The neck is flanked by a pair of gilt ruyi sceptre loop handles each suspending a turquoise wan symbol tied in an iron-red ribbon with long ends. The body is boldly enamelled in vibrant colours against a green ground with the bats in iron-red and large lotus blooms borne on stylised foliate strapwork issuing smaller blooms between bands of ruyi heads and stylized lotus petals. The mouth-rim is encircled with a band ruyi heads above upright plantain leaves collaring the neck. The domed shoulder and foot are both encircled with bats alternating with clouds. Each base is enamelled turquoise and inscribed in iron-red with a six-character seal mark. The appearance of ruyi sceptres as handles on vases was clearly a response to Qianlong Emperor's obsession with these portents of good fortune. Although ruyi sceptre was originally symbols with Buddhist connotation, by the Qianlong period it had become an auspicious emblem while the wan symbol tied with a ribbon was also a popular motif, representing the blessing for longevity. The ruyi handles in gilt on the present vases are skillfully decorated as a gilt-bronze object. While in its colour scheme the present vases imitates metalwork, stylistically it stands in the plain tradition of yangcai porcelain with its dense overall floral designs on a coloured ground. The design is rendered in tones created through the use of white enamel which was first introduced to the Qing court by Jesuit artists and, after repeated experiments, were successfully copied by imperial craftsmen. Along with new colour tones, western style designs and decorative elements that were fashionable in Europe at the time were also introduced to Chinese artists. For example, the small pearl-like roundels dispersed amongst the lotus scroll decoration seen on the present vase are taken from Western floral decoration found on baroque-style furnishings. On the vase they are skillfully shaded to give them a distinct three-dimensional quality that makes them appear jewel-like. Compare a related vase in the Palace Museum, Beijing, from the Qing court collection, with similar ruyi sceptre loop handles suspending wan symbols and long ribbons, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille-Rose Decoration, Hong Kong, 1999, pl 118. See also other yangcai vases with ruyi-shaped handles from the Qing court collection, for example, a double-gourd form purple-ground vase with lotus scroll motif, illustrated in ibid., pl. 126; a purple-ground vase with lotus scroll decoration, illustrated in ibid., pl. 127. Compare a vase in Bajixiang design against a turquoise ground with ruyi-shaped handles, sold in our room in Hong Kong, 2 December, 2020, Lot 1039 for HKD 41,300,000. 款識：「大清乾隆年製」 本品為乾隆官窯之中堪稱別緻的彩繪佳器，其形尊貴典雅，裝飾雍容華麗，頸部雙如意耳精巧細緻，金彩如意底下有一松石綠彩「卍」字吊飾，所繫的紅色綬帶生動飄逸，寓意「如意萬壽」，為乾隆御窯瓷器的一大特色。整器仿製掐絲琺瑯，以嫩綠彩作地，各處圖案以粉彩、金彩、礬紅填飾而成。其口微外侈，口沿裝飾如意雲頭紋，間飾圓形光點裝飾，頸部飾蕉葉紋，大小相間，蕉葉輪廓像如意形般起伏，設計別出心裁。 肩腹相接之處微拱，於五色彩雲間以礬紅繪蝙蝠，寓意「鴻福齊天」。圓鼓腹頂部施如意雲頭紋，腹中繪折枝寶相花和各式洋花，花型碩大飽滿，藍彩花卉以瓔珞連接紅蝠，綠葉翻卷自然，描繪細膩逼真，下腹近足處飾一圈變形蓮瓣紋。足牆外侈，繪雲蝠紋一圈，足沿則以礬紅作地，並以金彩繪卷草紋。底面施松石綠彩，中心以礬紅落「大清乾隆年製」六字三行篆書款。整體圖案佈局疏朗，比飾以纏枝花卉紋的器物更為清新脫俗，施彩清薄妍美，設色淡雅雋永，繪工精細完美，為乾隆彩瓷佳作。 乾隆時期瓷品質量達至頂峰，其製作不惜工本，色彩繽紛，圖案豐富，令人嘆為觀止，本品亦同樣體現這些特色，例如雙耳的裝飾細節匠心獨具，用色講究，刻意仿金銅、仿綬帶絹布等材質，工藝繁縟，極具創意，貼塑雙耳的手法雖非乾隆一朝所創，但能夠製作出如此精巧的耳飾則是乾隆時期之創舉。參考一近例，同出自放山居舊藏，清乾隆御製寶石藍地洋彩蓮花如意萬代尊，售於北京保利2011年6月5日，編號7231。 乾隆官窯之琢器多喜置以雙耳為裝飾，而且式樣豐富，色釉多變，堪稱開一代未有之奇。尤其洋彩琢器，耳部式樣成為本身造型裝飾的重要組成部分，越是精巧別致，越見器物級別之尊貴高雅。縱觀清宮所藏乾隆御瓷，運用此式樣之耳飾異常珍罕，目前僅知數例：清宮舊藏清乾隆紅地勾蓮紋如意耳瓶，如意萬壽綬帶耳，錄於《故宮博物院藏文物珍品大系——琺瑯彩．粉彩》，頁145、圖127；清宮舊藏清乾隆粉彩綠地勾蓮紋如意耳，如意玉磬綬帶耳，載《故宮博物院藏文物珍品大系——琺瑯彩．粉彩》，頁135、圖118；清宮舊藏清乾隆粉彩紫地勾蓮紋如意耳葫蘆瓶，如意雙結綬帶耳，載《故宮博物院藏文物珍品大系——琺瑯彩．粉彩》，頁144、圖126；暫得樓藏清乾隆青釉刻花纏枝蓮紋如意瓶，飾如意萬壽綬帶耳，錄於《暫得樓清代官窯單色釉瓷器》頁120，圖43；清乾隆御製洋彩江山萬代如意耳琵琶尊，售於北京保利2018年12月8日，編號5421。 本品所飾嫩綠地仿掐絲琺瑯十分少見，嫩綠釉燒製不易。在燒製過程，過則發黃，少則發綠，如本品這般呈色極難見到。本品以彩瓷工藝仿掐絲琺瑯，花卉紋本身的畫法及綴飾，必然要帶有西洋風格，因此本器整體風格上更接近於洋彩瓷作，繪畫技法摹仿西洋光影畫法，枝葉有明暗，蕃蓮紋作暈染，顏色層次豐富，過渡柔和。洋彩乃指由西方傳教士引入清宮，繪飾洋風彩瓷之法，初以舶來色彩加添白料調研，後來御作坊多番實驗後成功採用，本品正為佳例，集兩地之大成，見證中西文化之交流。 當時，西洋不僅傳入釉彩新色，亦帶來當時風行歐洲之西洋設計、裝飾元素等，如本品器身纏枝蓮紋間所綴各色圓珠，可見於西洋巴洛克風之花形裝飾，瓔珞珠串巧施光影，強調立體效果，宛若珍寶般耀眼。

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