Cloisonné, whose history can date back to over 500 years ago, is well-known traditional enamelware. It is actually called the "Blue of Jingtai" as blue is the dominant color adopted for enameling and cloisonné became prevalent during the reign of Jingtai (1450--1456) in the Ming dynasty. Owing to the brilliant color and splendid designs, cloisonné has been highly appraised at home and abroad. Regarding the making of cloisonné, it involves quite elaborate and complicated processes: base-hammering, soldering, enamel-filling, enamel firing, polishing and gilding.

Cloisonné is famous traditional enamelware, known as the "Blue of Jingtai" in China, with a history of over 500 years. It is so called because "blue" was the typical color used for enamellings and "Jingtai" was the reign title of the 7th Ming emperor's reign. Enamelware became very popular during the emperor's reign. There is a great variety of products, such as the traditional vase, jar, bowl, plate, box and ash-tray. A great number of new varieties have also been created. They are brilliant in colors and splendid in ensign and enjoy a high reputation both at home and abroad. Cloisonné is one of the famous arts and crafts of Beijing.

The making of cloisonné requires rather elaborate and complicated processes: base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding.

Base hammering of body is the first step in the making of cloisonné. The material used for making the body is copper, because copper is easily hammered and stretched. This step requires a sound judgment in the shaping and uniformity of thickness and weight. It is in fact the work of the coppersmith. The only difference is that when an article is shaped, the coppersmith's work is finished, whereas the cloisonné craftsman's work has just begun.

The second step is filigree soldering. This step requires great care and high creativeness. The artisan adheres copper strips onto the body. These strips are of 1/16 inch in diameter and of lengths as the artisan desires. The strips of filigree thus adhered make up a complicated but complete pattern. The artisan has a blueprint in mind and he can make full use of his experience, imagination and aesthetic view in setting the copper strips on the body.

The third step is to apply color which is known as enamel filling. The color or enamel is like the glaze on ceramics. It is called falang. Its basic elements are boric acid, saltpeter and alkaline. Owing to the difference in the minerals added, the color differs accordingly. Usually one with much iron will turn grey, with uranium, yellow, with chromium, green, with zinc, white, with bronze, blue, with gold or iodine, red. In time of filling, all the colors, ground beforehand into minute powder and contained in plates, are placed in front of the workers and are then applied on the little compartments separated by filigree.

The fourth step is enamel firing. This is done by putting the article with its enamel filling to the crucible. After a short moment, the copper body will turn red. But after firing, the enamel in the little compartments will sink down a bit. That will require a re-filling. This process will go on repeatedly until the little compartments are finally filled.

The fifth step is polishing. The first polish is with emery. Its aim is to make the filigree and the filled compartments even. The whole piece is again put to fire, then polished once more with a whet-stone. Finally, a piece of hard carbon is used to polish again so as to obtain some luster on the surface of the article.

The sixth step is gilding. This is done by placing the article in fluid of gold or silver, changed with electric current. The exposed parts of the filigree and the metal fringes of the article will again undergo another electroplating and a slight polish.
　

Procedure of Cloisonné-making

1. 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 cloisonné. 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 cloisonné.

2. 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 cloisonné 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.

3. Enamel Filling

Then comes to enamel filling, which requires such basic elements as boric acid, saltpeter and alkaline. Due to the different minerals added, cloisonné 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.

4. 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.

5. 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.

6. Gilding

Lastly, place the article in gold or silver fluid with changing electric current so as to keep the cloisonné 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.