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Cloisonne,
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 cloisonne became prevalent during the reign of Jingtai
(1450--1456) in the Ming dynasty. Owing to the brilliant color and
splendid designs, cloisonne has been highly appraised at home and
abroad. Regarding the making of cloisonne, it involves quite
elaborate and complicated processes: base-hammering, soldering,
enamel-filling, enamel firing, polishing and gilding.
Procedure of Cloisonne-making
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 cloisonne. 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 cloisonne.
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 cloisonne 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.
Enamel Filling
Then comes to
enamel filling, which requires such basic elements as boric acid,
saltpeter and alkaline. Due to the different minerals added,
cloisonne 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.
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.
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.
Gilding
Lastly, place the
article in gold or silver fluid with changing electric current so
as to keep the cloisonne 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.
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