Technicolour World of Age-old Cloisonné

Cloisonné (jingtailan) is the decorative art of applying differently coloured enamel - though often blue - to the surface of a copper or bronze object which is then fired to become a bright and colourful artwork, be it clocks, bowls, vases and other household ornaments.

Jingtai indicates the history of the craft, which has developed since the reign of Ming Emperor Jingtai (1540-1546), though from the start, cloisonné production was extremely profitable (its industry is prosperous to this day). Many cloisonné works of the most delicate quality were produced from early on.

During the Ming (1368-1644) and Qing (1644-1911) dynasties, cloisonné ware was produced for royal use as both ornaments and containers. Examples from those periods are still kept in Beijing's Palace Museum, best known as the Forbidden City.

Why did cloisonné reach the peak of its popularity in the reign of Jingtai? The Chinese nation of the time possessed excellent facilities and conditions for developing the art. It had metallurgical technology, such as bronze casting; glass-making and glazing skills, and profitable production techniques which enabled the accurate control of kiln-firing temperatures. The result was enamel that was as soft and smooth as jade, almost sparkling in appearance, and as delicate as the famed Chinese porcelain - quality that fully satisfied aesthetic tastes.

The general method for making cloisonné involved first soldering brass wires or copper strips to the surface of a copper object to form a pattern or illustration. Then, according to the requirements of each pattern, coloured enamels were filled in to the model's recesses.

Enamel was made by melting different materials such as red lead, boric acid, borate, and glass powder together, a combination that produced an opaque or translucent glistening substance. A variety of oxidized metals were then added, converting the substance into enamels of different colour. After cooling, the enamel solidified. It was then ground into a powder and mixed with water prior to the filling-in process.

After the "spaces" on the original framework of an artifact were filled in by the paste, the total item was then fired. During firing, the enamel would contract, producing an uneven surface. It was then necessary to fill in the uneven places with enamel paste of the same colour many times over.

This procedure had to be repeated until perfection was achieved. Such techniques apply to this day, hence the value of cloisonné items. It has been said that not a single palace in the whole world is without at least one example of this art form. 

Cloisonné, noted for its exquisite designs and bright, unfading colouring, has proved one of China's major contributions to global fine artware. If you want to view cloisonné production yourself, you need only visit Beijing's "One Hundred Workshop" (Baigongfang). Find at C 12 Guangming Lu, Chongwen District.