形制规整，葫芦形像丰满，亦称“大吉瓶”。瓶罩红釉发色浓艳，流敞自然，轻挂垂肩，亮丽雍雅。色似牛血猩红，器如美人妍艳，诚康熙郎窑典范。流至海外，融入海外设计师的智慧灵感，将器物的口沿、腰腹和足底部分别以鎏金镶嵌装饰。纹饰精美，做工精细。完美的将中式的单色釉与西方宫廷式装饰相结合。 因其釉水肥腴，宝光鉴人，连挑剔的乾隆皇帝亦为其赋诗：“晕如雨后霁霞红，出火还加微炙工。世上朱砂非所拟，西方宝石致难同。插花应使花羞色，比尽翻嗤画是空。数典宣窑斯最古，谁知皇祜德尤崇”。 拓展知识点： 郎窑红始烧自明初，臻善于永宣。红釉发色极艰，即便巧匠难成，窑出多有瑕疵，色正佳器寥寥，是以景德镇御器厂明代遗址出土大量废品破片。宣德以后，几乎尽弃铜红，红釉器之烧造，至康熙才告大规模复兴。郎廷极（1663-1715），康熙四十四（1705）至五十一（1712）年间，出任江西巡抚，督理景德镇御窑厂事务，尝命重调明初釉色，复烧铜红，浓若牛血殷妍者，谓之「郎窑红」，亮泽均润，正如此瓶绝色；且有淡如朝霞欲上时，谓之「豇豆红」。

Red Lang-kiln ware was finally made sucessful after seven years’attemptunder Lang Tingji’s supervision from Kangxi’s 44th year to 51th year. The glaze color is totally random depending on the firing process. Most Yongzheng wares have small shapes which made this pair of vases even more rare. From top to bottom re-mounted with gold after being taken to Europe. A good reprentative of “East meets West”.