A major influence on both the form and decoration of enamel wares during the 18th century was the interest in antiquity, by the Qing emperors themselves and other members of the elite. This fashion for antiquities strongly influenced the design of cloisonné enamels, with ancient bronze ritual vessels providing the greatest source of inspiration for archaistic styles in Qing enameled wares. This interest and influence of archaism was not a new development of the Qing dynasty, but arguably reached its zenith in the 18th century. The publication of illustrated books purporting to show bronze objects from antiquity provided inspiration for the decorative arts as early as the Song dynasty. From these source books, artisans were free to improvise.

The shape of the present vessel is inspired by ancient bronze lei, massive containers for wine, with the form closely modeled after those produced between the late Shang/early Western Zhou and the Eastern Zhou periods, such as one found at Quandu village, Fengxiang county, Shaanxi province, illustrated in Zhongguo qingtongqi quanji [Complete Collection of Chinese Bronzes], vol. 5, Beijing, 1996, pl. 182. Here the archaic form has been adapted into a faceted hexagonal shape without handles, and decorated with a design that blends archaistic motifs with lotus scroll, a motif commonly found on Ming and Qing dynasty textiles, porcelains and lacquers.

No other cloisonné enamel vessel of this unusual form is known. However, the synthesis of archaistic and floral motifs on cloisonné vessels of other forms does appear on a Qianlong period tripod censer and cover from the collection of Alfred Morrison (1821-1897) and part of the 'Fonthill Heirlooms', sold twice at Christie's, first in their London rooms, 18th October 1971, lot 110, and again in their Hong Kong rooms, 1st December 2010, lot 3032. Compare also an 18th century square-form vase sold in the same rooms, 30th May 2006, lot 1573.