此瓶由幾百朵菊花，蓮花，石榴花，牽牛花，牡丹，百合，玉蘭，玫瑰交錯匯成，故曰“百花樽”。花卉形態逼真，色彩略呈暈影，立體感極為鮮明，表現出敏銳的觀察力。再加上豔麗的琺琅彩絕妙地運用，營造一種層出不窮的印象, 最終的效果宛如豪華的錦緞，這反映乾隆喜好模仿不同材料之意願, 就如仿玉，青銅，絲綢一樣。但極力追求技巧卻時常損害作品的統一性。另外，此花瓶低肩凸起，底部寬大，反映乾隆時期瓷器的造型，逐漸失去優雅。
在技術方面，這件花瓶實在非同凡響，運用粉彩繽紛的顏色系列: 來自卡素斯大紅的氯化金 , 銻酸鐵的黃 , 氧化銅的綠，不同密度氧化鐵中提煉出的桔黃等各種顏色，將其混合在含鉛和二氧化硅的釉內，然後置於八百至八百五十度的馬弗爐中復燒。
此千花瓶像火花最後怒放般，代表了中國陶匠具創造力末期所展現出壯觀繁茂的景象。
如想進一步了解，請查閱中國藝術目錄。
The reign of Qianlong witnessed a gradual lessening of formal elegance in the arts: the overall unity of many pieces was often overshadowed by accomplished technique. Decorations sought to imitate all kinds of materials jade, bronze and silk. This « Thousand Flowers » vase, adorned with hundreds of intermingled chrysanthemums, peonies, lilies, morning glories, magnolias, roses and lotuses, resembles a sumptuous brocade. The decorative features, with their delicately shaded colours, not only derive from careful observation but also reveal an intense feeling for volume. The result is a work of unsurpassed accomplishment, in which the vivid enamels combine to create an ever-changing interplay of impressionistic force.
On a technical level, the vase is a sheer tour de force. The Famille Rose palette characterized by a pigment derived from purple of Cassius, a gold-based colloidal chloride is used together with the yellow of iron antimoniate, the green of copper oxide, and an orange-coloured tone produced from iron oxide. These pigments were mixed in a lead-silica enamel that required a second firing in a muffle kiln at around 800-850o C.
Like an incredible fireworks display, this vase reflects the flamboyance of the Chinese potters? last creative period.