"Culture of State" Cloisonne's Development Road

Copper fetal silk enamel, also known as "Cetai", is a unique craft that is only enjoyed by the emperors and has been hailed as "the country's most important device." It has been loved by the emperors of many dynasties. It symbolizes the noble status of imperial powers. This article will discuss with readers the development path of cloisonne.

Let's talk about "Bronze Tires" and the name of cloisonne. Copper tire silk enamel, as the name suggests, refers to the use of thin flat copper wire to form a pattern on a copper tire, and then fill the enamel color in a small compartment enclosed by the copper wire facade, after repeated firing, gilding, Polished into a piece of shining smashing utensils.

China's traditional aesthetics is an aesthetic that ignores color and shape. The splendid, lively and splendid resplendent splendor of the silk reeds has caused an aesthetic impact and slap on the Chinese people, especially the husband and wife class. For example, a literary like Cao Zhao categorically believes that the device has lost its popularity. "But if a woman can use it, she can play it with her." Although it failed to cater to the elegant and noble taste of the Shifu literati, the silk thread won the love of the rulers of the Yuan, Ming and Qing dynasties. Due to its popularity in the Ming Dynasty and the early years, it was mainly composed of bright blue. It also received a poetic name: "Cetailan."

The silk enamel technology can be traced back to the Yuan dynasty, but the Yuan dynasty process is still very rough, the type of tire is heavy, the enamel is not uniform, and the colors are relatively monotonous. In the middle of the Ming Dynasty, the craftsmanship reached maturity, and not only were the birthplaces exquisitely crafted, the types of utensils were varied, and the glaze was changing. In the early stages of sapphire blue, vegetable green, chicken blood red, and car white, new grapes were added. Violet, turquoise and rose, the view of the more pure and translucent, revealing a lovely crystal gem gloss.

In the late Ming Dynasty, mountains and rivers were broken and the people were unable to live. It was not until the reign of Emperor Kangxi that the reeds began to burn again. However, Emperor Kangxi was obsessed with the technique of “painting and calligraphy” transmitted from France, and ordered the office to produce large quantities of enamel. In the years between the Yongzheng and Qianlong eras, the silk thread was ushered in the second climax.

In the Qing Dynasty, the craftsmanship of silk enamel has made great progress compared to that of the previous period. Its major feature is its magnificent volume, and it has expanded from compacts, bowls, boxes, smokers, stoves, tripods, pots, pots and other small things to Daily furniture, such as tables and chairs, beds, cabinets, screens, large censer, etc. Now walking around the Forbidden City, almost all the halls have large and striking cloisonne ornaments. Another feature is the combination of silk reel and abortion, painting, stone inlay, lacquer carving, wood carving and other technologies. Qianlong once made six towers of pagodas, which are more than two meters high. They are "Towers of pavilions with bronze tires and blue-green terracotta palaces". They are meticulous in craftsmanship, and they are gracefully decorated. They are full of magnificent and royal weather. Reeling silk is no more than a giant system.

The reason why the silk enamel has become the exclusive art of the palace for hundreds of years is because of the high value of the copper tire silk enamel, especially the enamel silk wares of the Yuan and Ming dynasties. The carcass was heavy and made of pure copper. In the process of making, very few even use gold to make a tire; on the other hand, the innate gas of the resplendent reeds of the reeds is highly reflective of the reclusive demeanor of the literati class, so it is considered by the successive emperors as a unique imperial power. Symbol with wealth. On the eve of Qianlong’s forty-fourth year, when the Emperor ate New Year's Eve in the palace, only the emperor used the cloisonne tableware, and the royal prince who accompanied the feast used porcelain or silver utensils. This was on the table of Louis XV. Like a pure gold treasure ship, the emperor Qianlong also used ceremonial devices to show the difference between emperors and courtiers.

The silk eliminator is a testament to the prosperity of the National Games and the prosperity of the people. Once the economic recession occurs, the craft will quickly decline. On the eve of liberation, the craftsmanship of silk reeling has almost died. After liberation, the country began to attach importance to the protection of traditional culture and craftsmanship. When the art market of the following arts prospered, opportunities were created for the resurrection of the silk reeling process.

In recent years, silk enamel ware has frequently appeared in important art auctions. In the autumn of 2010, a pair of Qing zhenzheng gongs and silk gongs and double-height censer were destined for HK$129.5 million, setting a world auction for silk enamel wares. Record. In 2013, Poly Autumn will present “The Pierre Messier Collection of French silk reeds in the Qing dynasty”. This is the return of the 19th-century Europe's tropics to China in an attempt to rejuvenate the court fashion with several ups and downs. In addition, there are still many companies in Beijing who are committed to researching and inheriting the silk enamel technology and giving it a new cultural connotation and historical value.