Complete information of cloisonne production technology

Cloisonne production skill is a local traditional skill in Chongwen District of Beijing, and it is one of the national intangible cultural heritages.

Cloisonne technology is a combination of foreign enamel technology and local metal enamel technology. In the Ming and Qing dynasties, both the imperial prison and the manufacturing institute set up enamel workshops specially for the royal family in Beijing, and their skills moved from maturity to brilliance. Since modern times, social unrest, Beijing cloisonne skills once declined. After 1949, this ancient art has been rapidly restored and developed due to the active protection and support policies adopted by the state.

On May 20, 2006, the production technology of cloisonne was approved by the State Council and included in the first batch of national intangible cultural heritage list, numbered VIII-43.

Basic introduction Chinese name: Cloisonne production process approval date: May 20, 2006 Non-legacy level: national heritage category: traditional craft application area: Chongwen District, Beijing HeritageNo.: VIII-43 Historical origin, technological characteristics, technological process, inheritance protection, inheritance value, inheritors, protection measures, social influence and historical origin. Cloisonne has a long history of development, but due to the lack of existing literature records, so far, The "big food kiln" recorded in the book is the "tire cloisonne" product. Cloisonne production skills —— According to the analysis of historical data, the "Cloisonne Enamel with Copper Tire" was introduced to China from Arabia at the end of13rd century. At the beginning of the introduction, there were many names such as "big food kiln" and "franc". The earliest existing enamel products in China are the products collected by the Palace Museum at the end of the Yuan Dynasty, such as the three-ring jar of animal ears, the linked tripod furnace and the lotus elephant ear furnace. It is said that Jingtai was the son of Emperor Xuande of the Ming Dynasty, who attached great importance to bronzes and casting and smelting copper. Jingtai was deeply involved in his childhood, he knew it in detail, and he was deeply addicted to it. Only in casting, Xuande has reached the extreme, unable to make a breakthrough, so he found another way in color in an attempt to win by surprise. Finally, "Cloisonne" was created. Because the color planning in advance is extremely painstaking, after success, they also like it very much. Royal Chen ornaments are all made of cloisonne, and there are countless porcelain materials that can be made. Cloisonne production skills-The works have inherited the legacy of Chenghua period, and they have not changed the legacy, but still tried to burn, so cloisonne objects are the most common in Jingtai and Chenghua. Later, they experienced Hongzhi, Zhengde and Jiajing Qin Long dynasties. Although they were still fired, they all followed the rules and failed to tell stories, which was not as good as Jingtai and Chenghua years in quality. After Wanli, although it was occasionally popular, it didn't regard setting up an official factory as a routine business as before, so there were few products in the future. During the Qianlong period of the Qing Dynasty, it was fired again, with many categories and good results. Although it can't be compared with Jingtai and Chenghua periods, it is not inferior to the products produced after Zheng Hong. At this time, the distinctive national style of cloisonne was deeply loved by westerners, and cloisonne handicrafts began to be exported as important export commodities. Under the influence of foreign trade, in addition to the official enamel workshops, people have also established enterprises and shops dealing in cloisonne products, such as Tian Li Baoli Huasheng and Jingyuantang Zhiyuan Hall. The craft of cloisonne has developed to modern times. Although the craft of cloisonne is diverse and the production method is very different from before, it still uses the customary title of "cloisonne". Craft Features The craft of making cloisonne not only adopts the traditional craft of firing bronzes and porcelain, but also absorbs the techniques of traditional painting and sculpture, making it a master of traditional crafts in China. The handicrafts produced are vigorous, dignified, rich and elegant. Cloisonne technology is a combination of foreign enamel technology and local metal enamel technology. It is a combination of history, culture, art and traditional craft, simple and elegant, exquisite and luxurious, with unique national artistic style and profound cultural connotation. Process flow 1. Cloisonne products include bottles, cans and other utensils that are more decorative than practical, as well as figures, animals and fruits that are purely decorative. No matter what kind of product, the carcass should be made first, and then decorated with cloisonne. There are only a few kinds of tires that can be made by machine, and many shapes still need to be made by hand or semi-hand. To make tires, you must first make molds. After the mold is made, the copper plate (usually copper) is cut to make the carcass. If it is machined, it is easier to achieve a regular and symmetrical shape. If it is cut, hammered and welded by hand or semi-hand, it will be very difficult and require rich operating experience and good technical level. The most difficult thing is to ensure the uniform thickness of the carcass. Otherwise, the enamel glaze will crack due to different expansion degrees during the firing process. Second, after the silk-making matrix is completed, copper wire patterns need to be made and bonded, which is called "wire clamping". When making silk, the cylindrical copper wire should be pressed into flat wire. Works of different sizes should use copper wires of different widths.

Third, silk.

Some irregular patterns need to be bent by a single copper wire, while regular and uniform patterns are bent by combining several copper wires. Usually 6, 8 or 10 filaments are bonded together side by side with pigskin fat according to the size of the filaments and the complexity of the pattern. In the handicraft era, parallel copper wires were evenly wound on straws, and then pigskin was painted on the surface of the copper wires. After drying, take it off and cut it into required length. 1958, a silk reeling machine was developed. It can save a part of labor, improve the efficiency by 50% and make the silk more uniform. Fourth, the pattern is to cut a group of bonded wires into the required length, and then bend them into the required pattern line shape with tools. This method is called "pattern breaking". Broken flowers are purely manual, requiring keen vision, accurate understanding of patterns, skilled mastery of tools and skilled operation. Broken flowers can only be used if they are burned in the fire, because the flexibility of copper wire becomes worse during the breaking process, and it is not easy to stick to the substrate. After annealing, the flexibility becomes better, and the attached grease marks can be removed, so that silk flower can be easily separated. Finally, separate the pattern lines one by one and stick them on the tire with bletilla striata. 5. Flowers are also called sticky silk, that is, the broken flowers are separated one by one and then glued to the designated position of the carcass. Filaments are not strong only by bonding, and welding is needed to enhance their firmness. This process is usually carried out twice to ensure that the filaments are firmly welded in the carcass. 6. The surface of the flat welding substrate is covered with impurities formed by flux and bletilla striata. If it is not removed, there will be sand holes formed by bubbles on the color surface, which need to be boiled with dilute sulfuric acid. Either way, it is successful to cook the chopped substrate into a pinkish silvery white. The above-mentioned series of operations may cause local deformation of the carcass, so it must be reshaped, which is called "flat living". 7. The pigment used in blue cloisonne is enamel glaze. Adding proper amount of cosolvent and colorant into enamel glaze can become colored enamel glaze with different colors. The process of filling the glaze into the silk tire is called "point blue" and point blue. It is necessary to shovel the glaze into the silk gap a little with a special long-handled blue gun and suck the glaze with a glass straw. Cloisonne production skills-op.8. Color first and then burn blue. The pigment will shrink after sintering, so it turns blue for the second time and burns again, which is called "lighting two fires". It is not enough to burn two fires for some products. It takes three or even four fires to complete. Nine, polishing products must be polished, so that the glaze is smooth and the copper wire is evenly exposed. When polishing, use diamond sand first, then cloth wheel, and finally wipe it with charcoal. X. The design of cloisonne is like dancing in chains, and it is difficult to show aesthetic feeling under the constraints of complex technology. For example, due to the limitation of enamel glaze, there should not be a large area of block surface, otherwise it is easy to crack, and the pattern should be trimmed more, so that the enamel glaze with metal edges will be stable. Another example is that numerous wire decorations make the production time-consuming. In order to improve production efficiency, it is necessary to design some repetitive patterns to realize local batch operation in manual production. The form of single pattern is the core of the whole design. A good single pattern, whether it is continuous in two directions, continuous in four directions or laid loosely, will not feel monotonous. Inheriting, protecting and inheriting the value Beijing cloisonne has complex technology and many processes. It combines bronze and enamel techniques, inherits traditional painting and metal carving techniques, and embodies the tradition of learning from each other among traditional crafts in China. Cloisonne products are elegant in shape, complex in pattern and rich in color, and have the characteristics of court art, giving people the artistic feeling of "round, firm and gorgeous" and having high artistic value. They have participated in many important exhibitions at home and abroad in China, won honors for China and often presented them to foreign guests as national gifts. Qian Meihua, female, Han nationality, was born in 1927, and her native place is Ninghai County, Zhejiang Province. In June 2007, Qian Meihua was selected as the representative inheritor of the first batch of national intangible cultural heritage projects declared by Chongwen District. Zhang Tonglu, male, Han nationality, was born in 1942 in Quyang County, Hebei Province. In June 2007, Zhang Tonglu was selected as the representative inheritor of the first batch of national intangible cultural heritage projects declared by Chongwen District. Zhong Liansheng, male, Manchu, born in February, 1962, from Beijing. 20 12- 12 Zhong Liansheng was selected as the representative inheritor of the fourth batch of national intangible cultural heritage projects declared by Dongcheng District, Beijing. Protection Measures In 1950s, Qian Meihua, the inheritor of cloisonne production skills, followed Lin to rescue the endangered cloisonne. Honorary commendation for social impact 1904, the "Baoding Furnace" made by Tian won the first prize at the Chicago World Expo and the first prize again at the Panama World Expo 19 15.