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The vase is potted with the tapering cylindrical body under the inverted trumpet-necked and the sloping shoulder, all supported on a short foot ring. It is superbly enameled overall with an abundance of naturalistically rendered flowers and leaves. It is decorated with a wide variety of floral species including lotus, peony, prunus, chrysanthemum, rose, aster, dahlia, orchid, morning glory, hydrangea and lingzhi, with gilt borders encircling the mouth rim and above the foot. The interior and base are covered with turquoise enamel. The base is inscribed with a six-character seal mark in iron-red. The dense arrangement of various flowers decorating this vase is known as wanhuajin (myriad flower brocade), as well as baihuadi (ground of one hundred flowers), and, according to T. T. Bartholomew in Hidden Meanings in Chinese Art, Asian Art Museum of San Francisco, 2006, p. 146, during the Qing dynasty the design conveyed the hope that the Qing dynasty "would last as long as flowers continue to bloom." A Qianlong-marked double-gourd vase with similar mille fleurs decoration is illustrated by S. W. Bushell, Oriental Ceramic Art, London, 1981 edition (reprint of the ten-volume 1896 edition), p. 214, figure 279. Bushell noted that the flowers on the vase were "... painted in natural colors, so that each species may be recognized at a glance by one familiar with the garden flora of China. Among them may be distinguished peonies of several kinds, lotus, chrysanthemum, magnolia, roses, hibiscus (both pink and yellow), orchids, iris, lilies (scarlet and white), asters, hydrangea, wisteria, dielytra, pomegranate, begonia, narcissus, convolvulus, syringa (white and lilac), Pyrus japonica (hai-t'ang) and double peach, Olea fragrans, cockscomb, etc." The mille fleurs design first appeared during the Yongzheng period (1723-1735), as represented by a small bowl in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 18, no. 15. Another similar Yongzheng-marked bowl, formerly in the Edward T. Chow Collection, is illustrated by M. Beurdeley and G. Raindre in Qing Porcelain - Famille Verte, Famille Rose, London, 1987, p. 102, pl. 146. Two other similar bowls have been sold at Christie's, one in Hong Kong, 28 October 2002, lot 606, and one in New York, 15 September 2009, lot 371. This same design continued into the Qianlong period as seen on a bowl from the Robert Chang Collection sold at Christie's Hong Kong, 31 October 2000, lot 811, that has a Cai Xiu Tang zhi mark in blue enamel. During the Qianlong period a variation of this design appeared, with the design becoming denser, allowing no visible white space between the flowers and leaves. The famille rose palette also became richer and with more realistic shading of the enamels, as well as with the addition of iron-red. This version of the pattern is well represented by a large Qianlong-marked vase in the Musée Guimet, illustrated by Beurdeley and Raindre, op. cit., pp. 118-19, pls. 164 and 165. Another well-known Qianlong-marked example is the bottle vase in the Asian Art Museum of San Francisco, illustrated by He Li in Chinese Ceramics, New York, 1996, p. 307, no. 664. See, also, the double-gourd vase decorated with this design sold at Christie's London, 11 November 2003, lot 94. This version of the design, with its rich interweaving of the flowers to form a harmonious overall pattern, continued to be admired during the reign of the Jiaqing emperor. A fine example of this is the Jiaqing-marked vase in the Shanghai Museum illustrated in Zhongguo taoci quanji, vol. 21, Shanghai, 1981, pl. 144. A pair of cups with this design and iron-red Jiaqing marks from the Edward T. Chow Collection was illustrated by C. and M. Beurdeley in La Ceramique Chinoise, Fribourg, 1974, no. 151, and later sold at Sotheby's Hong Kong, The Edward T. Chow Collection, Part One, 25 November 1989, lot 171, and again at Christie's Hong Kong, 29-30 April 2002, lot 708. Another pair of similar cups was sold at Christie's New York, 21 September 2004, lot 343, and a single cup at Christie's Hong Kong, 27 May 2008, lot 1751. 款識：「大清嘉慶年製」 瓶身裝飾沿用乾隆時期的百花圖案，因器物上佈滿千姿百態的花朵，不露地色，故稱「百花不露地」。清代瓷器紋樣不同，用處不同，據乾隆清宮內務府記事記載，繪此種圖案之器，為尋常賞花時所用，象徵「萬花獻瑞」。底礬紅篆書「大清嘉慶年製」款。 此器為燈籠瓶制式，頗為少見。器形飽滿，器身以礬紅、黃、紫，粉、藍、綠等粉彩滿飾各色花朵，圖案以牡丹為主題，周圍繪菊花、茶花、牽牛花、蓮花、玫瑰花、百合等。畫面繁密細緻，五彩繽紛，猶如萬花齊放，富麗堂皇。百花不露地裝飾之出現必在工藝繁榮之世，考其源流，可知雍正一朝為初創階段，多見碗杯之屬，花葉之間留有空隙，尚無緻密之象，實物可參見北京故宮博物院藏品，乾隆之後發展至極致，嘉慶初年尚見，本品即為典範。其工序之繁縟，設色之豐富，繪畫之多彩，絕非數人之力可成，當為彩瓷之翹首。 尊貴秀雅，裝飾雍容華麗，通體點綴各式花卉，圃簇繁麗，上下相映，各盡其妍，種類之多，不勝分辨，使人仿佛置身百花叢中，目不暇接。其設計獨具匠心，畫面雖繁密卻不亂，花葉分佈各有主次，婉轉舒展，頗見柔美之姿。其筆意精美絕倫，彩料妍亮，色彩搭配與轉換之妙又恐非言語可表。 本瓶以粉彩分別繪月季、牡丹、菊花、曇花、刺梅花、紫薇花、羽毛花、蘭花、牽牛花、大波斯菊、雞冠花、秋海棠、百合、矢車菊、酢漿草、梅花、荷花、荷葉、虞美人等各色花卉及花葉，滿布器身，竟達數十種之多，中外品種聚於一處，相配相伴恰是巧妙。千姿百態的花朵，競相鬥豔，盡顯嬌媚本色，花團錦簇，象徵著「百花獻瑞」的吉祥之意。 此瓶百花不露地裝飾工藝在繪畫上受到宮廷畫家工筆寫實和惲南田沒骨畫法的影響。同時受到了當時西方皇室裝飾影響，繁花層疊，不見胎骨；在設色及陰暗透視上又受到就職於造辦處的西洋畫家影響。再加上瓷工藝匠用不同濃淡、深淺的顏色表現花朵，並運用油畫畫法中的陰陽向背與凹凸感使其更為鮮活，形神兼備，各具不同的風采，故「百花」雖繁，卻密而不亂，極富層次感，給人以一種迎面而來密不透風的美。本瓶雖落嘉慶款識，仍可看作是乾隆朝瓷匠的延續之作，其藝術價值不輸乾隆本朝。 百花不露地裝飾之出現必在工藝繁榮之世，考其源流，可知雍正一朝為初創階段，多見碗杯之屬，花葉之間留有空隙，尚無緻密之象，實物可參見北京故宮博物院藏品，乾隆之後發展至極致，嘉慶初年尚見，本品即為典範。其工序之繁縟，設色之豐富，繪畫之多彩，絕非數人之力可成，當為彩瓷之翹首。