The series of European subjects painted at the Palace enameling workshops during the Qianlong reign were influenced to some extent by European enamels and other arts sent to China from the Kangxi period onwards for presentation to the Emperor. The subject matter of the present bottle shows the influence of eighteenth-century French painters such as Watteau and Boucher, particularly in the treatment of the full bodies of the figures and bold brushwork. Figures set within a pastoral landscape dotted with buildings in the distance is also commonly found in French painting of this period, and is a common feature among bottles of this type.
Compare the similarly painted Beijing enamel bottle with Qianlong mark, illustrated in The Complete Collection of Treasures of the Palace Museum - Snuff Bottles, Hong Kong, 2003, p. 110, pl. 162, which is decorated on either side with a lady dressed in European-style clothing beside a small cherubic child. Like the present bottle, the Palace example is painted on one side with a small boy excitedly reaching for a bird perched on his finger, rather than on a stick as seen on the current bottle. The nuanced shading and careful rendering of the figures suggests that both bottles may have been executed by the same hand. Another Qianlong-marked Beijing enamel bottle featuring a bird perched on a stick held by a young boy in a bucolic landscape is illustrated in Snuff Bottles in the Collection of the National Palace Museum, Taipei, p. 82, pl. 8.