天球瓶是受西亞文化影響極深的一種瓷器造型，創燒于明代永樂、宣德年間的景德鎮窯，青花為多見。永樂朝開始成為觀賞式瓶，宣德年間較為流行。因球腹碩大，像從天而降，故名。雍乾之際，清朝皇室對永宣窯器的推崇致使摹古之風盛行，御窯廠承命竭力摹制，所出之品幾類古物，尤以雍正后期乾隆早期最甚，其中天球瓶作為經典的永宣器類得到廣泛的摹制和創新。
The earthenware vase is a kind of porcelain shape deeply influenced by the West Asian culture. It was created and burned in the Jingdezhen kiln during the Reign of Yongle and Xuande in the Ming Dynasty. Blue and white flowers are more common. Yongle began to become ornamental bottle, Xuande years more popular. Because the belly of the ball is huge, like falling from the sky, so the name. During the Reign of Emperor Yonggan, the imperial court of The Qing Dynasty respected the Yongxuan kiln ware, so the style of ancient copying prevailed. The imperial kiln factory made every effort to copy and produce several kinds of antiques, especially in the late Period of Emperor Yongzheng and the early period of Emperor Qianlong.
此瓶直口微撇，頸較短，渾圓腹，圈足。通體施紫色釉。繪人物圖，圈足內施白釉。外底署青化篆書“大清乾隆年制”六字三行款。天球瓶以形似天體星球而得名，此種器形始見于明代永樂、宣德時期，盛行于清代雍正、乾隆兩朝，屬于陳設用瓷。后世所制粉彩蟠桃紋天球瓶多以雍、乾時期的制品為藍本燒造而成。雍正官窯粉彩瓷器上所繪蟠桃多繪八只桃實，而乾隆時則多繪九只桃實，因此有“雍八乾九”之說。此瓶彩繪構圖疏朗有致，釉色濃淡相間，繪畫細膩工巧，堪稱乾隆官窯粉彩瓷器的代表作。
This bottle has a straight mouth, a slight skim, a short neck, a round belly and a circular foot. Purple glaze is applied to the whole body. Draw a figure and apply white glaze inside the circle foot. There are six characters and three lines of Qinghua seal script "made in the reign of Emperor Qianlong of the Qing Dynasty" on the outsole. The celestial vase is named for its shape like a celestial planet. This shape was first seen in the Yongle and Xuande periods of the Ming Dynasty. It was popular in the Yongzheng and Qianlong dynasties of the Qing Dynasty. It belongs to furnishing porcelain. Most of the pink flat peach shaped celestial bottles made in later generations were based on the products of the Yong and Qian periods. The flat peaches painted on the pastel porcelain of Yongzheng official kiln were more than eight peaches, while nine peaches were painted during Qianlong. Therefore, it is said that "Yong Ba Qian Jiu". The composition of this bottle is sparse and bright, the glaze color is thick and light, and the painting is exquisite and skillful. It can be called the representative work of powdered porcelain in Qianlong official kiln.
乾隆一朝堪稱中國彩瓷之巔峰時代，這有賴于唐英引領下的御窯廠，唐英為制作洋彩的關鍵人物，洋彩應屬琺瑯彩釉類，并或多或少的模仿西洋畫技法，因而有別于傳統技法，更需要畫工高超的繪畫功底與豐富的經驗。唐英撰寫的《陶冶圖冊》詳細的記錄了景德鎮御窯廠官窯御瓷的制作過程，這間接證明景德鎮御窯廠即為洋彩的制作之處。而其創燒也可體現中西文化之交融，乾隆皇帝對西方巴洛克與洛可可時代的繁縟華美藝術風格頗為喜愛，這種富麗堂皇的裝飾工藝以及獨到新穎的藝術設計可視為皇帝本人藝術品位的反映。
The qianlong Period was the peak age of Chinese color porcelain, which depended on the royal kiln factory under the guidance of Tang Ying. Tang Ying was the key figure in the production of foreign color, which belonged to enamel color glaze and more or less imitated western painting techniques. Therefore, it was different from traditional techniques and required superb painting skills and rich experience of painters. The Taoye Atlas written by Tang Ying recorded in detail the production process of royal porcelain in jingdezhen royal kiln factory, which indirectly proved that Jingdezhen Royal kiln factory was the place for the production of foreign color. And its creation can also reflect the integration of Chinese and Western cultures. Qianlong emperor was quite fond of the overelaborate and colorful art styles of the Western Baroque and Rococo era. This splendid decoration technology and original and novel art design can be regarded as a reflection of the emperor's artistic taste.
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