The 'One Hundred Precious Objects' inlay technique or baibaoqian derives its name from the assorted material used in creating the pattern, such as burlwood, porcelain, jade, mother-of-pearl, ivory, rhinoceros horn, and tortoiseshell. For a discussion of this technique, see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol. I, Hong Kong, 1990, p. 145. Such decoration was promoted by the foreign Manchu regime in an effort to acknowledge and reinforce Confucian values, they were used to influence the dissident Han literati who aligned themselves with the Ming loyalists. The antiques symbolized the traditional ideologies and fundamental values of Chinese culture.

The combination of children at play with 'Precious Objects' may be seen on a pair of inlaid cabinets, dated 1650-1700, illustrated by C. Clunas, Chinese Furniture, London, 1988, p. 93, no. 82.