珐琅彩绘采用的画珐的制作技法起源于15世纪中叶，其地区在于欧洲的比利时、法国、荷兰三国交界的佛朗德斯。15世纪末，法国中西部的里摩居，以其制作内填珐琅工艺为基础，发展成画珐琅的重镇，一开始制作以宗教为主题的器物，后来逐渐制做成装饰性的工艺品。

康熙十九年，朝廷在紫禁城内武英殿附近设置珐琅作，主要生产铜胎掐丝珐琅和錾胎珐琅。而珐琅真正大量进入中国的时间则是康熙二十二年，当时清政府收复台湾，后废除海禁，西洋制品便开始涌入，而珐琅也因此进入中国，进入中国的第一站便是广州。当时是由来华的传教士带入广州，并进贡内廷。而这些舶来的画珐琅器以它精细的彩绘技法和华丽的装饰风格，深受皇宫贵族和广州地方官员和土庶的喜爱。由于当时欧洲传教士通过私信渠道得知，康熙皇帝对这种洋玩意也很感兴趣，并力图使中国的珐琅工匠掌握这门技术，于是便在广州和北京内设有工厂，工匠分别在两地试烧画珐琅，经过大约10年的时间，成功地烧制出了我国的金属胎画珐琅器。康熙五十五年以后，随着广州和欧洲的画珐琅器制作匠师进入内廷，参与指导造办处珐琅器的生产，甚至亲自操作，画珐琅器的生产遂呈现繁荣景象。康熙五十五年，经广州巡抚杨琳推荐，广东画珐琅匠师潘淳、杨士章，并有西洋人三名，法蓝（珐琅）匠二名，徒弟二名，进入内廷。康熙五十七年，奏准武英殿珐琅作改归养心殿，增设监造一人，显示出康熙皇帝对珐琅器生产的重视。康熙五十八年，法国画珐琅艺术家陈忠信被召至内廷指导画珐琅器的生产，康熙要求其烧制的样式、图案主要以中国风格为主，少有西方珐琅的特点。而在中外匠师的共同努力下，宫廷造办处珐琅作很快熟练掌握了金属胎画珐琅烧制技术，并烧造出一大批具有浓郁宫廷韵味的金属胎画珐琅器。同时，造办处珐琅作还尝试着将这种技法移植到瓷胎上，于是便产生了瓷胎画珐琅，即今人所称的“珐琅彩”。

此对珐琅双绝敞口、长颈、带耳、斜肩、鼓腹，圈足，颈部、腹部都绘有花卉纹及一对雉鸡。此彩瓷像西方油画一样，以油来调配彩料，并且有一定的厚度，使得彩绘更具有立体感和层次感。在胎体未上釉处先作地色，后画花卉雉鸡。清代时期珐琅彩瓷器多以蓝、黄、紫红、松石绿等色为地，以各色珐琅料描绘各种花卉纹，其色彩、绘画、款式皆同于当时的铜胎画珐器。

这些年，康熙、雍正、乾隆的珐琅彩瓷器在拍卖商场上连续创下了天价。部分藏家也随之把目光盯在了康、雍、乾，清三代期间的珐琅彩瓷。珐琅彩瓷是瓷器中的极品，是我国制瓷技术开展到清代康熙、雍正、乾隆顶峰期间的产品，因为存世稀少近几年拍卖价不断飙升。

The enamel production techniques used in enamel painting originated in the middle of the 15th century, and its area is in Flanders, which is the border of Belgium, France, and the Netherlands in Europe. At the end of the 15th century, the Limo House in central and western France developed into an important town for painting enamels based on the craftsmanship of making inner enamels. At the beginning, religious-themed objects were made, and then they were gradually made into decorative crafts.

In the 19th year of Kangxi, the imperial court set up enamel works near the Wuying Hall in the Forbidden City, mainly producing copper cloisonné enamel and chisel enamel. The time when enamel entered China in large quantities was the 22nd year of Kangxi. At that time, the Qing government regained Taiwan and abolished the maritime ban. Western products began to flow in, and enamel also entered China. The first stop to enter China was Guangzhou. It was brought into Guangzhou by missionaries who came to China and paid tribute to the inner court. And these imported painted enamels, with their fine painting techniques and gorgeous decoration style, were deeply loved by the imperial nobles, local officials and local officials in Guangzhou. At that time, European missionaries learned through private messages that Emperor Kangxi was also very interested in this kind of foreign gadgets, and tried to make Chinese enamel craftsmen master this technique, so he set up factories in Guangzhou and Beijing. After trial firing painting enamels, after about 10 years, we successfully fired our country's metal painting enamels. After the fifty-five years of Kangxi, as the artisans of painting enamelware from Guangzhou and Europe entered the inner court, participated in the guidance of the production of enamelware in the workshop, and even operated it personally, the production of painted enamelware was prosperous. In the fifty-fifth year of Kangxi, recommended by Guangzhou Governor Yang Lin, Guangdong painter and enamel master Pan Chun, Yang Shizhang, and three Westerners, two Falan (enamel) craftsmen, and two apprentices, entered the inner court. In the fifty-seventh year of Kangxi, the enamel work of Zhunwuying Hall was changed to Yangxin Hall, and a supervisor was added, which shows that Emperor Kangxi attached great importance to the production of enamelware. In the fifty-eighth year of Kangxi, French painter of enamel Chen Zhongxin was called to the inner court to instruct the production of painted enamelware. Kangxi required that the styles and patterns fired should be mainly Chinese style, with few characteristics of Western enamel. With the joint efforts of Chinese and foreign craftsmen, the enamel maker of the palace building office quickly mastered the firing technology of metal enamel painting, and fired a large number of metal enamel painting enamels with strong court charm. At the same time, the enamel maker of the office also tried to transplant this technique to the porcelain enamel, which resulted in the porcelain painting enamel, which is now called "enamel color".

This pair of enamels has a double open mouth, a long neck, ears, slanted shoulders, bulging abdomen, ringed feet, and a pair of pheasants are painted on the neck and abdomen. Like Western oil paintings, this colored porcelain uses oil to mix color materials and has a certain thickness, which makes the colored painting more three-dimensional and layered. First paint the ground color on the unglazed part of the carcass, and then paint the flower pheasant. In the Qing Dynasty, enamel porcelain was mostly blue, yellow, purple, turquoise green and other colors. Various colors of enamel were used to depict various flower patterns. The colors, paintings, and styles were the same as those of copper enamels at that time.

Over the years, the enameled porcelains of Kangxi, Yongzheng and Qianlong have continuously set high prices in auction markets. Some collectors also followed the enamel color porcelain of the Kang, Yong, Qian, and Qing dynasties. Enamel porcelain is the best product among porcelains. It is the product of my country's porcelain-making technology developed to the peak of Kangxi, Yongzheng and Qianlong in the Qing Dynasty. Because of its scarcity, auction prices have soared in recent years.