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The vase is well potted with a tall funnel neck flanked by a pair of stylized bat handles and rising towards an everted gilt rim decorated with a ruyi-head border below. The exterior of the neck is painted with dripping jewel pendants with continuous decoration comprised of lotus sprays and emanating vines. The lower portion of the bulb-form body is painted with the flowers arranged in the shape of a medallion with long tendril vines joining together and surrounded by blue sinuous dragons. On the other side, the medallion is repeated with dragons replaced by phoenixes in pink. All patterns are completed with fine gilt detailing throughout and against a pale turquoise ground. The base is enamelled in turquoise and is inscribed with a six-character mark in gilt. This vase belongs to a group of wares decorated with bright enamels on a turquoise ground in imitation of cloisonné enamelware. Although the idea of porcelain imitating other materials was pioneered in the early Qing dynasty, it was during the Qianlong period that the technique became very popular, and continued to be used during Emperor Jiaqing's reign. In cloisonné enamel, raised lines are applied to create 'cloisons' on the body of a metal vessel which are then filled in with coloured glass paste, fired and later gilt. On the present vases, the gilt outlines enclose enamelled colours to produce the visual effect of cloisonné. Compare with a similar example with blue handles sold at Waddington's, 10 June 2013. A pair of double gourd vases with similar colour and gilt marks from the Robert Chang Collection was sold at Christie's Hong Kong November 28, 2006, lot 1311. This vase shares similarities with a smaller turquoise-ground vase with handles formerly in the collections of W.W. Winkworth and Robert Chang, and the Meiyintang collection, sold in Sotheby's Hong Kong, 8 April 2013, lot 3052; another example sold at Christie’s South Kensington, 11 November 2011, lot 1489. See also another vase sold at Christie’s London, 14th-17th June 1985, lot 482. 款識：「大清嘉慶年製」 嘉慶時期瓷器承襲乾隆的藝術風格，其造型創新式樣少，紋飾也多采用傳統寓意吉慶的圖案，繪制技法工筆多於寫意。但也有不少延續乾隆風格技術的經典之作。乾隆皇帝雖已遜位，但仍以太上皇的地位威懾朝政，因而嘉慶初年御窯廠的燒制仍為乾隆御窯的延續，其造型式樣、圖案等，均因襲前朝舊制，不敢僭越，因而有「乾、嘉不分」之說。此件作品即為充分延續乾隆時期瓷器高超技藝水平的精品作品。 瓶撇口，細長頸，溜肩，鼓腹，腹下收，圈足，底心紅彩篆書「大清嘉慶年製」六字三行款。造型考究典雅，修胎細緻，嚴謹有度。內外均以松石綠為地，淡雅柔美，嬌嫩怡人。口沿描金，金彩燦爛，富麗堂皇。口沿下及肩部環飾如意雲頭一周，頸部繪吉磬紋，間以纏枝西番蓮纏繞其間。腹部滿繪四組螭龍捧壽圖。設色妍麗奪目，繽紛多彩，盡現尊貴雍容。近足處繪變體蓮花瓣紋。構圖圓碩，主題鮮明，寄寓吉慶連連，福壽雙全，圓滿幸福之意。勾畫細膩，纏枝婉轉舒展，著色深淺有致，頗見柔美之姿。繪畫細緻工整，工藝精湛絕倫，松石綠釉勻淨厚潤，至為可愛，金彩璀璨輝煌，諸彩絢麗濃妍。釉彩、造型、紋飾均為繼承自乾隆時期風格，色彩華麗，造型優美，毫不遜於乾隆時期官窯的上乘作品，其製作之精良細膩，在嘉慶時期頗為難得，實為嘉慶粉彩瓷之精品。 福壽吉慶紋飾流行於清乾隆時期，以各種色釉為地，多粉彩描繪。縱觀中國裝飾的發展，不同的審美要求，使工藝美術裝飾精細，形式豐富，形成不同的風格，但相同的是祥瑞神仙的思想演變為吉祥如意的願望。長期以來，在我國傳統裝飾中，追求吉祥美滿寓意的表現形式就是一大重要主題。吉祥觀念主要包括：納福迎祥、驅邪避惡、多子長壽、升官發財及喜慶如意等。特別在清朝時期，這種裝飾現象十分流行，以至達到了「圖必有意，意必吉祥」的地步。這種觀念恰好符合中國傳統美學強調的「求全美滿」的美學意識。此瓶即是一例，蝠諧音「福」，戟諧音「吉」，罄諧音「慶」，又以金彩書「壽」字，故圖案寓有福壽吉慶之意，體現出清代瓷器裝飾的時代特徵。 此器尊貴秀挺，裝飾雍容華麗，紋飾佈局繁密，圖案化的裝飾，盡展乾隆時期瓷器奢華的藝術遺風，為嘉慶粉彩器難得的上乘之作。

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