The molding of porcelain was standard practice at Jingdezhen since long before the snuff-bottle period. Molding allows for easy mass production and is well suited to the manufacture of porcelain. Instead of forming or decorating each individual piece, a carver uses a single mold from which many identical pieces can be turned out. The use of complex molds for snuff bottles, which included extensive relief decoration and dictated the entire form of the bottle, flourished as an art from the late Qianlong period into the Jiaqing reign.
A similar crackled cream-glazed example is illustrated by C. Lawrence, Miniature Masterpieces from the Middle Kingdom. The Monimar Collection of Chinese Snuff Bottles, no. 93, and another is in M. Hughes, The Blair Bequest. Chinese Snuff Bottles from the Princeton University Art Museum, no. 285. A multi-colored enameled example is illustrated in B. Stevens, The Collector's Book of Snuff Bottles, no. 1007.
This group of Buddhist lion-form snuff bottles are depicted either as a lion gripping a brocade ball, or as a lioness with cub. For a cream-glazed example of the latter, see H. Moss, Snuff Bottles of China, no. 288, and H. White, Snuff Bottles from China, pl. 114, no. 3, for a multi-colored example in the Victoria and Albert Museum.