Historical development of cloisonne

Mongols attach great importance to craftsmen. In the long-term movement, they searched for craftsmen in the ruling areas and established workshops to develop handicrafts in the Yuan Dynasty. 12 19, Genghis Khan attacked the food-eating countries. Every time he captured a city, he often only kept craftsmen, wiped them out, sent them to various people, or rewarded their sons, wives and generals, or called them to work in Mongolian camps, or sent them to Mongolia. After Yuan and Mongolia unified the whole country, with the increase of foreign exchanges, many skilled craftsmen came to China one after another, and Arab craftsmen brought the technology and main raw materials for burning cloisonne. Historically, Mongolian Hezan (127 1 ~ 1306) was named Khorasan Khan, and Irkhanuk ruled Persia in Yuan Chengzong's time. Hezan is not only proficient in his mother tongue of Mongolian, but also knows a little Arabic, Persian, Hindi, Chinese, Flemish and other languages, and all his skills are developed by himself. This paper not only knows that enamel color technology was a "difficult art" in the late13rd century, but also Hezan, who was highly praised by Khan, studied the enamel color production technology, highlighting that this technology has been valued by Yuan people.

Cloisonne enamel served the royal family as much as possible. Due to the immature firing technology, the production scale is not large and there are not many products. Judging from several existing Yuan Dynasty cloisonne enamel products, China craftsmen, after learning and mastering the enamel making technology, produced products with national style in order to satisfy the aesthetic taste of the rulers of China, but the decoration still retained some Arab artistic charm. Although cloisonne enamel technology was gradually valued by the court in the early Ming Dynasty, it really attracted the attention of scholars and was treasured by officials and businessmen, or in the late Ming Dynasty. So many of the real early artifacts were passed down from generation to generation, and the technology was not very mature. The thickness of silk is uneven, and the silk is often higher than the tread. The carcass and glaze layer are relatively thick. There are not many kinds of incense burners, boxes, lamps and vases in Gegu Yaolun. Cloisonne enamel at that time generally had no brocade, and was mostly decorated with lotus patterns and lotus petals. The color is monotonous and there is no mixed color, but a leaf is often painted with two or three colors.

/kloc-after the 0/5th century, the technology of cloisonne has made great progress, not only in shape, variety and glaze color, but also in technological skills. Most of the existing Ming Dynasty shredders and enamels were made in the late Ming Dynasty, with a wide variety, including religious etiquette articles such as Ding Yi and a large number of daily necessities, such as vases, incense burners, lampstands, boxes, plates, bowls and dishes. The shapes are generally dignified and simple, with rich decorative patterns, including lotus flowers, gluttony, banana leaves, dragons and phoenixes, cloud cranes, chrysanthemums, landscapes, pavilions and figures. Draw lessons from traditional crafts such as brocade, jade, porcelain and lacquerware, and highlight the pattern procedure of hook edge filling. Enamel color is rich, and there are many mixed colors, such as blue, red, yellow, green, white, sky blue, sapphire blue, chicken blood red, grape purple, purple red and emerald blue. Glaze color changes, gorgeous. In the early Qing dynasty, an enamel factory was set up in the palace to study and develop enamel wares. The style of cloisonne in Kangxi period followed the norms of Ming dynasty, and the color of cloisonne was not as good as cloisonne. At that time, the production of enamel was generally based on porcelain, and the shape and decoration were mostly modeled after porcelain. Because Kangxi turned his attention to the new technology of painting enamel and neglected the production of cloisonne, the cloisonne at that time was small in quantity, monotonous in variety, mainly small utensils and poor in quality. This situation continued until the Yongzheng period. Although the enamel work in Yongzheng period redeveloped cloisonne enamel technology, the effect was not good. Therefore, the production of cloisonne enamel has not been fully restored. Only one antique bean-shaped vessel was collected by the National Palace Museum in Taipei.

It was not until the Qianlong period that cloisonne enamel technology flourished in an all-round way and reached its peak, forming several craft centers such as Neifu Manufacturing Institute, Guangzhou, Yangzhou and Suzhou. In the Qianlong dynasty, in addition to copying all kinds of utensils of the previous dynasty, it also made antique bronzes and the production of Buddha statues, shrines, pagodas, mandas, seven treasures and eight treasures for religious ceremonies, and found a new way to burn practical and decorative utensils with various animal shapes. General articles for daily use, such as drinking utensils, stationery, daily vases, flower pots, sedan chairs, aromatherapy, washbasins, armymen, hand warmers, slag buckets, mirrors, hanging screens, lamp holders, hat holders, fish tanks, Ruyi, fasting cards, snuff bottles, clocks, quills, fingers, nails, hairpins, etc. Its decoration is complicated, and its patterns adopt traditional dragons, animal faces, auspicious decorations, lotus ponds, landscapes, Fan Lian and lotus petals, chrysanthemum petals and various western-style flowers. Moreover, in order to pursue the perfect combination of painting art and enamel technology, Qianlong often skillfully applied ancient calligraphy and painting to the decoration of cloisonne enamel. Chopper technology is more skillful, the thickness is even and smooth, the color glaze is diverse, and the glaze color is bright and clean, but most of them lack the transparent and moist texture. At the same time, the combination of tire manufacturing technology and enamel painting has brought the development of silk enamel technology to the extreme.

After Qianlong, due to the gradual decline of the national situation, the production of cloisonne began to decline, and there were not many handed down works. In the late Qing Dynasty, cloisonne enamelware was mainly shaped in bottles, with various styles, but the proportion was not very harmonious. Due to mechanical molding, the carcass of the object is thin and smooth, but the artistic taste is obviously not as good as that of dry enamel.