Cloisonné was introduced to China from Arabian countries via the ancient Silk Road in the 13th century. Upon its arrival, it quickly integrated into the rich tapestry of China’s history and culture. The craft flourished during the Jingtai period of the Ming Dynasty (1368-1644), during which the predominant use of blue (lan in Chinese) enamel glaze inspired its name, jingtailan.
Embodying exquisite craftsmanship and rich cultural heritage, jingtailan art pieces are often used as prestigious national gifts on diplomatic occasions, symbolizing China’s artistry and commitment to fostering international relations.
“My first encounter with Chinese cloisonné at the age of 15 was predestined. I was instantly captivated by its dazzling colors and exquisite craftsmanship,” Zhong Liansheng, a nationally recognized inheritor of jingtailan intangible cultural heritage, said.
As general manager of Beijing Enamel Factory Co. Ltd., Zhong began his journey in jingtailan production in 1978. He has dedicated his career to exploring and innovating this art form, helping the factory navigate challenges by integrating modern design concepts into the creation of jingtailan to ensure this traditional art shines in the new era.
“From what was initially a hobby to a life goal, Chinese cloisonné has become a part of who I am,” he told Beijing Review.
Embracing a beginning
When Zhong first entered the world of jingtailan, his understanding of the craft was limited. In the 1970s, the Beijing Enamel Factory was actively seeking new inheritors of the art form who could design and craft art pieces in accordance with market demands. Driven by his passion for drawing, Zhong applied for and was accepted into the program.
“Our classes were held within the factory campus and during breaks. I would wander into the design studio and take inspiration from masters and talented designers,” Zhong said.
The teachers also guided newcomers like Zhong on enlightening trips to the Forbidden City, an ancient imperial palace complex in Beijing, where they studied artifacts, including ceramics, bronzes and ornamental treasures. This exposure allowed the young artist to explore the intricate patterns and unique characteristics that define traditional Chinese art.
It was during this time that the future master began to appreciate the artistry of jingtailan. He was captivated by the vibrant glazes that exuded a regal richness, complemented by the luxurious golden embellishments. Through a well-rounded education in art and design, combined with practical experience, Zhong’s understanding and passion for jingtailan deepened, paving the way for his journey to becoming a master of this magnificent craft.
According to Zhong, jingtailan’s production encompasses a series of intricate steps, including bronze smelting, forging, engraving, chiseling, structuring with copper wires, coating with enamel glaze, and inlaying gems and jades. “Using precious materials and complex procedures, Chinese cloisonné is indeed a labor-intensive and time-consuming art,” he explained.
“Its magnificence exudes a dignified grandeur, reflecting the Chinese nation’s pursuit of beauty and auspicious culture,” he added.
Inheritance and innovation
As Zhong began working at the factory, he found himself stepping into its golden era of jingtailan production. It was a time when the factory thrived, with over 1,800 employees and more than 200 artisans in his workshop alone. The factory floor was bustling with activity; piles of finished and semi-finished jingtailan pieces filled every corner, creating a lively atmosphere of creativity and productivity.
However, the landscape shifted dramatically with the onset of economic reforms and the transition from a planned economy to a market-driven one. The once-flourishing cloisonné export dwindled as the overseas market became sluggish. Domestic demand for non-essential goods like jingtailan plummeted, leading to a downturn across the entire arts and crafts sector.
In the face of these challenges, many artisans decided to leave the factory and seek better opportunities elsewhere. Yet, Zhong remained, driven by a deep attachment to jingtailan intertwined with a sense of responsibility. He realized that it was time for a change and the path to survival lay in the necessity of “embracing the times and connecting with everyday life.”
In this June, Zhong held an exhibition at the China National Arts and Crafts Museum in Beijing and in the most prominent position, he showcased a cloisonné vessel called the Zun of Peace. Modeled after a zun, an ancient ritual wine vessel resembling a vase, the piece features dragons at the top, representing guardians of peace, while phoenixes on both sides convey wishes for prosperity.
“It was created in 2008 by jingtailan master Li Jing and me based on the design of master Qian Meihua when Qian was already 81 or 82,” he said. Qian was a major influence in Zhong’s life, a gentle teacher who dedicated her life to jingtailan from her 20s until the age of 83.
“The year 2009 was the 60th anniversary of the People’s Republic of China (PRC), and Qian proposed that we complete it as a tribute to the PRC’s birthday,” Zhong recalled. The Chinese Zodiac animal for 2009 was the ox, so their design featured three bronze oxen lifting the vessel, symbolizing the diligence and courage of the Chinese nation. The main body, made from red copper, displays six doves structured with copper wires, symbolizing the PRC’s six-decade journey. The rim is adorned with 60 red agates, representing the nation’s achievements over those 60 years.
“Several generations of craftsmen from the Beijing Enamel Factory, starting with master Qian, have built our skills of traditional techniques. We infuse our own experiences and what we have learned into our artworks, creating pieces that reflect the aesthetics and features of our times.”
Zhong often reminds his apprentices that this is the 21st century, and that although jingtailan has existed for over 600 years, it still needs continuous development. Zhong has undertaken significant explorations from multiple perspectives to boost the development of the jingtailan industry. He and his colleagues have established new product lines that balance the creation of both collectible pieces and practical everyday items.
One notable example is the enamel watch, whose production process is particularly intricate. Skilled artisans have to work meticulously under a 60x microscope, using pure gold and silver wires with a diameter of just 0.045 mm to create each timepiece entirely by hand.
In addition to these exquisite watches, Zhong has also applied jingtailan techniques in architectural design, enhancing home decor and urban landscape. This expansion not only showcases the versatility of jingtailan but also ensures its continued relevance in modern times.
Continuous innovation is important for creating exquisite works in line with the times and maintaining the glory of Chinese cloisonné, he said. –The Daily Mail-Beijing Review news exchange item
