Cloisonné

Cloisonné

Cloisonné is a national intangible cultural heritage.

　　One of China's special crafts, it is made by crafting the body of an object from red copper, shaping copper wires into various patterns and soldering them onto the copper base, then filling in with enamel glaze and firing. It began to be produced in large quantities in Beijing during the Jingtai era of the Ming Dynasty.

　　Cloisonné is an art craft where various colored enamels are applied onto the surface of a copper object to form patterns, with the outlines of the patterns embedded with copper or gold and silver wires, then fired at high temperatures. This craft originated during the Jingtai era of the Ming Dynasty, and initially only blue was used, hence the name "cloisonné" (Jingtai Blue). Although all colors are now available, the original name has been retained. Since "cloisonné" has become the name of the craft rather than a color, it is said that Emperor Jingtai, son of Emperor Xuande, grew up witnessing his father’s dedication to bronze ware and metallurgy. He became extremely knowledgeable and passionate about it, though he found it difficult to surpass his father’s achievements in casting. Therefore, he sought innovation through color. After meticulous planning, he succeeded in creating cloisonné. So enamored was he with the result that he commissioned countless imperial decorations, all crafted in cloisonné—so many that they were too numerous to count, covering nearly every type of ceramic form. This tradition continued into the Chenghua era, with efforts to uphold the legacy and refine the craft, making cloisonné objects especially common during the Jingtai and Chenghua reigns. In the subsequent Hongzhi, Zhengde, Jiajing, and Longqing eras, production continued but remained conventional and lacked innovation, with quality failing to match that of the earlier periods. After the Wanli era, production was occasional and no longer state-sponsored as before, resulting in very few pieces. Throughout the entire Ming Dynasty, the craft never regained its former glory. It wasn’t until the Qianlong era of the Qing Dynasty that production resumed with a rich variety of high-quality items. Though not quite on par with the Jingtai and Chenghua periods, these works were still superior to those made after the Hongzhi and Zhengde eras. Although some pieces attributed to the Kangxi and Yongzheng eras exist today, upon closer inspection they are virtually indistinguishable from Qianlong-era works. In fact, they were likely made during the Qianlong period but inscribed with Kangxi or Yongzheng reign marks.

　　The Beijing cloisonné technique, also known as "copper-body filigree enamel," earned the name "cloisonné" because it matured during the Jingtai era of the Ming Dynasty. This technique involves crafting the object’s body from copper, hammering thin copper wires into flat strips, and manually forming various patterns, which are then twisted, soldered, and affixed onto the copper base. Enamel glaze is applied afterward, and the piece undergoes multiple processes such as firing, polishing, and gilding to create the final product.

　　The cloisonné technique is a fusion of imported enamel craftsmanship and indigenous metal enameling arts. During the Ming and Qing dynasties, the Imperial Enamel Workshop and the Imperial Workshops in Beijing specialized in producing enamelware exclusively for the royal family, helping the craft evolve from maturity to brilliance. In modern times, amid social upheaval, the Beijing cloisonné craft once declined. However, after 1949, thanks to the government’s proactive protection and support policies, this ancient art quickly recovered and developed.

　　The Beijing cloisonné craft is complex and involves numerous procedures. It integrates bronze techniques and enamel processes, inherits traditional painting and metal engraving arts, and reflects the Chinese tradition of mutual learning among various craft disciplines. Cloisonné products feature elegant shapes, intricate patterns, and richly colored enamel, embodying the characteristics of court art. They offer an artistic impression of being “smooth, solid, and dazzlingly golden,” holding high artistic value. These works have been exhibited at numerous important domestic and international events, bringing honor to the nation, and are often presented as state gifts to foreign dignitaries.