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景泰蓝 Jǐngtàilán, Cloisonné
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景泰蓝 jǐngtàilán, Cloisonné. The art of Jingtailan (Cloisonné) is a unique combination of sculpture, painting, porcelain making and copper-smithing that is said to have originated in Beijing during the Yuan Dynasty (1271-1368). The oldest extant piece was made during the Yuan Dynasty, but Jingtailan underwent a major change during the Ming Dynasty when at about 1450 to 1456, a new blue pigment was discovered and gave Jingtailan its current name based on the Chinese word lan for blue. Ming Dynasty Jingtailan is also considered to be the most intricate. Nevertheless, Jingtailan reached its peak during the Qing Dynasty (1644-1911) due to great innovations in copper-melting techniques.
The making of Jingtailan requires rather elaborate and complicated processes; base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. The products are featured by excellent quality. The skill and workmanship have been handed down from the Ming Dynasty. Since the founding of new China, quite a number of new varieties have been created. It enjoys a high reputation both at home and abroad with most of its products for export.
All the products are beautiful and elegant in molding, brilliant and dazzling in colors and splendid and graceful in design. It is a famous local handicraft in Beijing region.
Jingtailan can be found on large objects such as vases and other large utensils and decorative items, as well as small items like earrings, bracelets, chopsticks or jars.
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Procedure of Cloisonne-making
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base-hammering
This is, in fact, the work of a coppersmith. As copper is easily hammered and stretched, it is employed to make the body of cloisonne. A sound judgment is required because it determines the uniformity of thickness and weight. In contrast to the work of a coppersmith which is ended when the article is shaped, base-hammering is just the beginning in the making of cloisonne.
Filigree Soldering
The second step can be compared to embroidery, as both require great care and high creativity. The only difference is that instead of embroidering on silk, the cloisonne craftsman adheres copper strips onto the copper body. 1/16 inch in diameter, these strips are shaped into what the artisan requires, usually a complicated but complete pattern. With a blueprint in mind, the craftsman exerts his experience and imagination in setting the copper strips on the body.
Enamel Filling
Then comes to enamel filling, which requires such basic elements as boric acid, saltpeter and alkaline. Due to the different minerals added, cloisonne appears different in color. Usually one with much iron will turn gray, with uranium, yellow, with chromium, green, with bronze, blue, with zinc, white, with gold or iodine, red. After ores are ground into fine powder and contained in plates, workers apply them on the little compartments separated by filigrees.
Enamel Firing
Put the article to the crucible and in a moment the copper body will turn red. In time of firing re-filling is repeatedly required, as the enamel in the little compartments will sink down a little after firing.
Polishing
To make the filigree and the filled compartments even, the artisan has to polish the half finished products again and again. First emery is used. Then after the whole piece is put to fire again, a whetstone is employed for polishing. In the end, a piece of hard carbon is required in order that the article will obtain some luster on the surface.
Gilding
Lastly, place the article in gold or silver fluid with changing electric current so as to keep the cloisonne free from rust. Another electroplating and a slight polish are demanded for the exposed parts of the filigree and the metal fringes of the article.