Metal Enamel

Author: Li Jiufang
Publisher:
Publication Date: 2001-11-01
Features: Metal-core enamelware is made with metal as the core, using quartz and feldspar as the main glaze materials, and fired into colorful enamel products. Based on manufacturing methods and technical characteristics, it can be divided into: cloisonné enamel (commonly known as Jingtailan) and painted enamel. The process is complex, with glaze preparation and firing techniques being highly challenging and costly, making it collectible only by the royal family. It was primarily popular in the imperial court and rarely circulated among the common people. This volume collects 244 precious artifacts from the Yuan Dynasty to the Qing Dynasty, all imperial enamelware left behind by the Qing court, showcasing the development and achievements of metal-core enamelware craftsmanship. Metal-core enamelware can be divided into "cloisonné enamel" (commonly known as Jingtailan) and "painted enamel" (foreign porcelain). This book systematically presents 244 pieces of imperial enamelware from the Yuan Dynasty to the Qing Dynasty. The dating analysis of enamelware in the book is professional, and the descriptions of the artistic features are meticulous. It is the crystallization of years of research by the Palace Museum and is absolutely worth collecting. Enamel products are highly complex in craftsmanship and costly, making them collectible only by the "royal family." Kangxi once specially summoned craftsmen from France to paint enamelware. Yongzheng would comment on pieces with low firing standards, while Qianlong even personally inquired about the production status of the enamel workshop in the Imperial Workshop. Enamel products are undoubtedly symbols of imperial status. The patterns of enamel craftsmanship are exquisite and diverse, featuring traditional flowers, animals, and auspicious creatures, as well as works based on the works of ancient famous calligraphers (such as the Tang Dynasty's "Emperor Ming Testing Horses"). In the late Qing Dynasty, depictions of Western landscapes and figures also appeared, with a wealth of themes that are breathtaking. The enamelware craft was first introduced from the Arab region and later influenced by European techniques. Many Western missionaries and painters also participated in its production. The development and achievements of metal-core enamelware craftsmanship are of great reference value for studying cultural exchanges between China and the West. Metal-core enamelware is made with metal as the core, using quartz and feldspar as the main glaze materials, fired into colorful enamel products. Based on manufacturing methods and technical characteristics, it can be divided into: cloisonné enamel (commonly known as Jingtailan) and painted enamel. The process is complex, with glaze preparation and firing techniques being highly challenging and costly, making it collectible only by the royal family and primarily popular in the imperial court, rarely circulated among the common people. This volume collects 244 precious artifacts from the Yuan Dynasty to the Qing Dynasty, all imperial enamelware left behind by the Qing court, showcasing the development and achievements of metal-core enamelware craftsmanship. Metal-core enamelware is made with metal as the core, using quartz and feldspar as the main glaze materials, fired into colorful enamel products. Based on manufacturing methods and technical characteristics, it can be divided into two major categories: cloisonné enamel and painted enamel. Cloisonné enamel, commonly known as "Jingtailan," is the main variety of line enamelware, which also includes chiseled-core line enamelware and later-developed hammered-line enamelware. Cloisonné enamel and chiseled-core enamelware were introduced to China from the Arab region around the mid-13th century. Painted enamel, commonly known as "foreign porcelain," was introduced to China from Europe around the early 17th century. After these two types of enamelware with different characteristics were introduced to China, their techniques were quickly adopted by Chinese craftsmen and quickly produced works with Chinese national styles. Due to the complex manufacturing process of metal-core enamelware, the difficulty of glaze preparation and firing techniques, and high production costs, this precious enamelware was primarily produced in the imperial court for the emperor and the imperial family for a long period. A small number of enamelware were also given as valuable gifts by the emperor to nobles and high-ranking officials, while it rarely circulated among the common people. The Palace Museum of Beijing has collected about 6,000 imperial enamelware pieces with clear historical lineage. This volume selects 244 representative and precious artifacts, showcasing the development and achievements of Chinese metal-core enamelware craftsmanship and providing important materials for the dating research of "Jingtailan." During editing, we used the earliest part of the main body of modified objects as the basis for dating. For example, among the Yuan Dynasty enamelware in the museum, no complete pieces remain, but some modified objects still belong to Yuan Dynasty originals, which are included in the Yuan Dynasty. For Ming Dynasty Jingtailan enamelware, as of now, no standard pieces have been determined, and they are generally categorized into the mid-Ming Dynasty based on their craftsmanship style.