Fact-checked by Grok 2 weeks ago

Cloisonné

Cloisonné is an ancient decorative enameling technique in which thin strips of metal wire are soldered onto a metal surface to form small enclosed cells, or cloisons, which are then filled with colored vitreous enamel paste and fired at high temperatures to fuse the enamel to the base, creating vibrant, durable designs.^[1] This method allows for intricate patterns and bold colors, distinguishing it from other enameling techniques like champlevé, where the base metal is recessed to hold the enamel.^[2] The origins of cloisonné trace back to the Mediterranean region around 1500–1400 BCE, with some of the earliest known examples discovered in Mycenaean Greece and Cyprus, such as gold rings from Kouklia (1400 BCE) and a scepter from Kourion (1200 BCE), where the technique initially involved inlaying semi-precious stones or early glass pastes into wire compartments before evolving to true enamel.^[3] From there, it spread through ancient trade routes: by 650 BCE, it appeared in Assyrian jewelry from Nimrud tombs; Scythian artisans adapted it for eastward expansion along the Silk Road to Iran and Siberia by 600–300 BCE; and Phoenician influences carried it westward to Spain and Italy around 500 BCE.^[3] In the Byzantine Empire from the 6th century CE onward, cloisonné flourished for religious icons and imperial objects, exemplifying its role in Christian art with examples like enameled crosses and reliquaries that combined gold bases with translucent enamels.^[3] Cloisonné reached East Asia in the 14th century during China's Yuan dynasty (1279–1368), likely introduced via Mongol conquests in Yunnan with Middle Eastern influences, and was refined under the Ming dynasty (1368–1644), particularly during the Xuande reign (1426–1435), for imperial vessels, incense burners, and temple wares featuring floral motifs and mythical creatures.^[1] In Japan, the technique gained prominence in the 19th century Meiji period, with artisans like Hayashi Kodenji innovating wirework and translucent enamels for export vases and jewelry, earning international acclaim at world expositions. Across Europe and the Islamic world, it remained a staple for luxury goods until the late medieval period, evolving into painted enamels by the 15th century while retaining its core wire-defined structure.^[3] Today, cloisonné continues in artisanal traditions, valued for its technical precision—requiring multiple firings up to 800°C and gilding for finish—and its enduring appeal in decorative arts.^[1]

Fundamentals

Definition and Principles

Cloisonné is a decorative metalworking technique in which thin wires, typically of copper or other metals, are bent and soldered onto a metal base to form small compartments or cells known as cloisons. These cells are filled with powdered vitreous enamel, a colored glass paste, which is then fired to fuse and harden, creating durable, vibrant designs. The term "cloisonné" derives from the French word cloison, meaning "partition" or "cell," reflecting the compartmentalized structure central to the method.^[1]^[4]^[5] The core principles of cloisonné revolve around compartmentalization, which separates enamel colors to prevent mixing during firing and allows for complex, multicolored patterns without the risk of cracking from differential expansion. Opaque enamels provide solid, bold hues, while translucent varieties add depth and luminosity, often enhanced by metallic oxides for color stability. The wire outlines not only define the design but also serve as raised boundaries, contributing to the technique's precision and structural integrity.^[1]^[6]^[5] Cloisonné is distinct from related enameling techniques such as champlevé, which creates cells by engraving or carving depressions directly into the metal surface rather than using raised wires. It also differs from basse-taille, where designs are engraved into the metal base and covered with translucent enamel to produce shading effects through varying depths and light transmission over the relief.^[6]^[6] The resulting visual characteristics of cloisonné include intricate, colorful patterns with bold metal outlines separating vivid enamel fields, evoking the appearance of stained glass windows or mosaics due to the compartmentalized color blocks and luminous quality.^[1]^[7]

Materials and Tools

Cloisonné production begins with a base metal object, typically crafted from copper, which provides excellent compatibility with soldering processes and sufficient durability to withstand repeated firings without significant deformation.^[8] Gold and silver are also employed as base materials, particularly for high-value pieces, due to their resistance to oxidation and ability to enhance the luster of the final enamel surface, while bronze offers a robust alternative for larger structures owing to its tensile strength and corrosion resistance.^[9] These metals are selected in thicknesses ranging from 16 to 20 gauge (approximately 1.3 to 0.9 mm) to balance structural integrity with the heat expansion properties required during enameling.^[10] The distinctive cells of cloisonné are formed using fine wires, usually of gold, silver, or copper, with thicknesses between 0.1 and 0.5 mm to allow precise bending into intricate patterns without compromising the overall design.^[11] These filaments, often flat rather than round for better adhesion and cell definition, are chosen for their high conductivity, which facilitates soldering to the base metal at temperatures around 1450°F (788°C) without melting the underlying structure.^[9] The wires' malleability enables tight curves and intersections, ensuring the compartmentalization essential to the technique, while their non-ferrous composition prevents unwanted reactions with the enamel during firing.^[10] Enamels in cloisonné consist of finely ground powdered glass, primarily composed of silica (31–60 wt%) as the foundational network former, combined with fluxes such as lead oxide (8.2–47.3 wt%) and potassium oxide (5.4–16 wt%) to lower the melting point and promote fusion.^[12] Color is achieved through the addition of metal oxides, including cobalt for deep blues, copper for vibrant reds, and iron or chromium for greens and yellows, which integrate into the vitreous matrix to produce opaque, transparent, or opalescent effects once fired.^[8] These mixtures are prepared into a paste using water or oils for application, and their vitreous nature post-firing imparts exceptional hardness and chemical resistance, with the final enamel layer forming a durable, glass-like coating that adheres permanently to the metal base.^[9] Essential tools for cloisonné include fine pliers and tweezers for shaping and positioning the wires with precision, ensuring clean bends and secure attachments without damaging the delicate filaments.^[13] Soldering irons or torches are used to affix the wires to the base, operating at controlled temperatures to avoid flux residues that could interfere with enamel adhesion.^[9] Kilns provide the critical firing environment, typically reaching 700–850°C to fuse the enamel paste without volatilizing colorants, with multiple low-oxygen firings allowing gradual maturation of each layer.^[14] Brushes facilitate the application of enamel paste into cells, while grinding wheels, alundum stones (in grits from 150 to 320), and wet/dry sandpaper (220–1500 grit) are employed for post-firing polishing to achieve a smooth, reflective surface that highlights the compartmentalized colors.^[10]

Historical Development

Ancient Origins

The earliest evidence of cloisonné techniques appears in ancient Egypt prior to 1800 BCE, where gold ornaments were inlaid with materials such as turquoise, lapis lazuli, carnelian, and garnet, secured within cells formed by soldered metal ribs.^[5] Artifacts from the 18th Dynasty (c. 1550–1292 BCE), including jewelry from Tutankhamun's tomb, demonstrate the use of glass pastes filled into these cells to mimic gemstone effects, achieving vibrant colors at lower cost.^[5] These Egyptian examples represent a foundational form of the technique, with inlays often cemented rather than fully fused, highlighting its evolution from stone-based inlays to vitreous materials. In Mesopotamia and the broader Near East, proto-cloisonné methods emerged around 2500–2000 BCE, as seen in the Royal Tombs of Ur, where soldered wire patterns created compartments filled with shell, stone, or early glass inlays on ornaments and cylinder seals.^[5] These artifacts, including elaborate headdresses and jewelry, employed filigree-like wirework to outline designs, predating true enamel fusion but establishing compartmentalized inlay as a decorative principle.^[5] The Mycenaean civilization of Greece (16th–12th century BCE) produced some of the earliest confirmed cloisonné enamels, notably six gold finger rings excavated from a 13th-century BCE tomb at Kouklia, Cyprus, featuring enamel inlays in scroll and ring motifs fused to gold bezels.^[15] A royal gold scepter from Kourion, dated to the 11th century BCE, further exemplifies this with white, blue, and mauve enamel accents on vulture figures and scale patterns.^[15] Early practitioners faced technical limitations, relying on soft solders for wire attachment and unfired or crudely fired pastes, which resulted in less durable pieces prone to cracking or detachment compared to later high-temperature firings.^[5] The spread of these proto-cloisonné methods occurred through ancient trade networks connecting the Near East, Mediterranean regions, and the Indus Valley, facilitating the exchange of materials like lapis lazuli and glass-making knowledge that influenced decorative techniques across civilizations.^[5] By 650 BCE, it appeared in Assyrian jewelry from Nimrud tombs; Scythian artisans adapted it for eastward expansion along the Silk Road to Iran and Siberia by 600–300 BCE; and Phoenician influences carried it westward to Spain and Italy around 500 BCE.^[3]

Byzantine and European Traditions

Cloisonné enameling flourished in the Byzantine Empire from the 6th to the 12th centuries, reaching its artistic and technical peak during the Middle Byzantine period (843–1204 CE), when it adorned religious artifacts symbolizing imperial and ecclesiastical power. Artisans in Constantinople produced exquisite icons, reliquaries, and chalices using fine gold wires to form cloisons that separated vibrant, translucent enamels, creating luminous depictions of Christ, saints, and biblical scenes. Notable examples include the Chalice of Emperor Romanos II (ca. 960 CE), featuring cloisonné enamel portraits of Christ and the Apostles on a sardonyx bowl mounted in silver-gilt, and the Fieschi-Morgan Staurotheke reliquary cross (late 10th–early 11th century), one of the earliest surviving large-scale cloisonné works with smooth, richly colored surfaces illustrating the Crucifixion and related narratives.^[16]^[17] Byzantine craftsmen advanced the technique through innovations such as refined fluxes that produced harder, more durable enamels capable of withstanding multiple firings without cracking, enabling complex multi-layered designs. These developments allowed for the integration of cloisonné with complementary metalworking methods, including niello for dark inlays that contrasted with bright enamels and filigree for delicate openwork borders, enhancing the overall opulence of objects like enkolpia (pectoral reliquaries) and processional crosses. Such technical mastery reflected Byzantine alchemy's influence, where enameling was seen as a divine imitation of gemstones, as evidenced in 11th-century pieces like the pectoral cross reliquary with saints at Harvard Art Museums.^[18]^[19]^[20] The tradition spread to medieval Europe in the 12th to 15th centuries, particularly influencing workshops in Limoges, France, and northern Italy, where enameling techniques evolved for liturgical objects amid the Gothic era's emphasis on narrative storytelling. In Limoges, enamelers employed the champlevé technique, engraving recessed cells into copper bases to hold opaque and translucent enamels depicting elaborate scenes from saints' lives and biblical events on chalices, pyxes, and book covers, often exported across Christendom. Italian centers, such as those in Siena and Venice, incorporated Byzantine-inspired cloisonné into Gothic-style reliquaries and altar crosses, featuring intricate figural compositions with elongated forms and rich symbolism, as seen in 13th-century pieces blending local goldsmithing with Eastern motifs.^[21]^[22]^[23] By the 16th century, cloisonné's prominence waned in Europe as Renaissance advancements in oil painting and fresco techniques offered greater realism and scale for narrative art, diminishing demand for enameled metalwork in favor of canvas and panel formats. This shift, coupled with economic changes and the rise of painted enamel variants in Limoges, marked the technique's decline as a primary medium for religious and decorative objects.^[24]^[21]

Chinese and Japanese Developments

Cloisonné enameling reached China during the Yuan dynasty (1279–1368 CE) under Mongol influence.^[1] By the early Ming dynasty (1368–1644 CE), particularly during the Xuande reign (1426–1435 CE), the technique had evolved into a sophisticated court art form, with imperial workshops in Beijing's Forbidden City commissioning pieces for palaces, temples, and diplomatic gifts.^[25] These workshops produced elaborate vessels such as vases and incense burners, often in bronze with gilded edges, showcasing the craft's integration of metalworking, painting, and ceramic glazing traditions.^[1] The distinctive Jingtailan style, named after the Jingtai reign (1450–1457 CE) for its prominent turquoise-blue enamel derived from copper oxide, dominated Chinese cloisonné, though pieces employed a palette of up to two dozen vibrant colors including reds, greens, yellows, and whites, achieved through metallic oxides fired at around 800°C.^[26] Motifs frequently drew from imperial symbolism, featuring sinuous dragons representing power and auspiciousness, alongside floral patterns like lotus blooms evoking purity and prosperity, often arranged in scrolling designs on the surfaces of vases and burners.^[25] Production peaked in the mid-Ming Wanli reign (1573–1620 CE), with enamels applied in multiple layers to create depth and luminosity, marking cloisonné as a pinnacle of Chinese decorative arts.^[1] Cloisonné, known as shippō-yaki or "seven treasures" in Japan, was adopted during the Edo period (1603–1868 CE), initially through imported Chinese examples used for small sword fittings and ornaments.^[27] The craft's refinement began in 1838 when artisan Kaji Tsunekichi in Nagoya (then Owari province) developed a local method using translucent glazes over metal bases, presenting early works to the Tokugawa shogunate by the 1850s.^[28] Nagoya emerged as the epicenter, with over fifty workshops by the Meiji era (1868–1912 CE), innovating techniques such as yūsen (wired) and musen (wireless) enameling, alongside moriage layering for raised, textured effects mimicking natural forms like wood grain.^[27] Japanese cloisonné reached its zenith in the late 19th century, during the "Golden Age" of 1880–1910, when exports surged following Japan's opening to Western trade and successes at international expositions like Vienna in 1873.^[29] Masters such as Namikawa Yasuyuki and the Andō Company in Nagoya's Shippo-chō district produced vases and decorative wares blending intricate wirework with naturalistic motifs, capturing about 70% of national output.^[28] These pieces, with their luminous translucency and organic designs, profoundly influenced European Art Nouveau, as seen in the abstracted floral and avian patterns that echoed the movement's emphasis on flowing lines and exotic allure.^[29]

Russian and Other Traditions

Cloisonné enamel production in Russia gained prominence during the 17th and 18th centuries, particularly in Moscow, where workshops in the Kremlin Armory revived the technique for tsars and nobility, creating luxurious religious artifacts such as icons and pectoral crosses adorned with fine gold wires outlining sacred motifs like saints and biblical scenes.^[30] By the 18th century, Rostov Veliky emerged as a major center, with enamel workshops established at the bishop's court as early as the late 17th century, producing items for church use including altar crosses, chalices, and Gospel covers featuring intricate religious iconography in vibrant enamels.^[31] These pieces typically employed gold or silver wires to form cloisons filled with opaque colored enamels, fired multiple times to achieve depth and luminosity, reflecting a blend of Byzantine influences and local Slavic aesthetics.^[32] In the 19th century, Russian cloisonné evolved further, with Moscow and Rostov workshops specializing in shaded cloisonné, where multiple enamel shades were layered within each cell for a painted effect, often on silver-gilt bases for icons and ceremonial crosses depicting Orthodox themes.^[30] The Rostov style, sometimes associated with the Shipovo tradition, incorporated granular enamels—fine textured particles for added dimensionality—and combined cloisonné with guilloché engraving, where intricate mechanical patterns on the metal base were overlaid with translucent enamels to create shimmering effects.^[31] Toward the late 19th century, these techniques were integrated into the Fabergé workshops in St. Petersburg and Moscow, elevating cloisonné for imperial commissions; Fabergé artisans adapted shaded and guilloché methods to produce enameled frames, caskets, and religious objects with gold-wire outlines and religious motifs, often enhancing them with gems for courtly presentation.^[30]^[32] Beyond Russia, cloisonné traditions appeared in Ottoman Turkey during the 16th to 18th centuries, where Istanbul workshops applied the technique to metalwork such as head ornaments, cane handles, and decorative lamps featuring Islamic geometric patterns and arabesques formed by gold or silver wires enclosing turquoise, cobalt, and white enamels.^[32] In the Safavid era (1501–1736 CE), Persian metalworkers in centers like Isfahan advanced cloisonné for miniatures on vessels and boxes, integrating fine wire partitions with painted enamel scenes of courtly life and floral motifs, often drawing on earlier Timurid influences while patronizing European enamellers for technical refinements.^[33]^[34] The 20th century saw revivals of these traditions amid political changes; in Soviet Russia, Rostov enamel production continued through cooperatives formed post-1917, culminating in the state-run "Rostov Enamel" factory after World War II, which preserved cloisonné techniques for icons, jewelry, and utilitarian objects while adapting religious motifs to secular designs.^[31]^[35] In the Middle East, artisan continuities persisted in Iran and Turkey, where Safavid and Ottoman styles informed 20th-century workshops producing enameled metalwork like vases and ornaments with geometric and miniature patterns, maintaining handcrafted methods amid modernization.^[33]^[34]

Technique

Design and Wirework

The design phase of cloisonné begins with the creation of detailed sketches on paper, often incorporating floral, figural, or geometric motifs to define the overall composition.^[36] These initial drawings, sometimes rendered in watercolor for color visualization, serve as patterns that guide the subsequent wirework and ensure the design's aesthetic balance before transfer to the metal base.^[36] The sketch is then scaled proportionally to fit the chosen metal surface, taking into account the object's shape—whether flat for jewelry or curved for vessels—and the practical constraints of enamel flow within the resulting cells, which typically measure 1-5 mm in width to allow for even filling without overflow.^[5]^[37] Wire preparation follows, involving the selection and shaping of thin metal filaments, usually flat ribbons of copper, silver, or gold measuring approximately 0.1-1 mm in thickness and up to 1 mm in width, to form the raised partitions known as cloisons.^[5]^[11] These wires are cut to precise lengths and bent using pliers, tweezers, or fingers to outline the sketched motifs, creating interconnected cells that will contain the enamel and contribute to the final design's lines.^[1]^[36] In traditional methods, the wires are attached to the base by soldering with borax flux at temperatures around 600-700°C, ensuring they stand perpendicular without distorting the underlying metal; modern variations may instead fire the wires onto a fluxed or thinly enameled surface for adhesion.^[5]^[38]^[39] The base, or ground, is selected and prepared early in the process, typically from copper for its ductility and low cost or silver for finer work, shaped into flat plaques, curved surfaces, or hollow forms like vases depending on the intended object.^[1]^[5] Prior to wire attachment, the base undergoes thorough cleaning—often with abrasives or acids—to remove oxides and promote strong adhesion, preventing detachment during handling or heating.^[40] Key challenges in design and wirework include maintaining wire stability to withstand multiple subsequent firings, as uneven bending or weak soldering can lead to sagging or separation, while the precise cell sizing demands careful planning to accommodate enamel shrinkage without compromising the motif's integrity.^[5]^[1] Base distortion from heat is another concern, mitigated by choosing metals with compatible expansion rates and limiting wire frameworks to segmented designs that reduce overall stress.^[5]

Enameling and Firing

The enameling process in cloisonné begins with the preparation of finely ground glass powders, known as frit, which are mixed with water and a binding agent to form a viscous paste suitable for application.^[13] This paste is colored by incorporating metallic oxides, such as copper oxide for reds and iron oxide for yellows, which react during subsequent heating to develop the final hues.^[41] The paste is then carefully applied into the wire-defined cells using a fine brush, pipette, or by sifting dry powder for even distribution, ensuring no overflow into adjacent compartments.^[13] For pieces requiring depth or opacity, multiple thin layers are applied successively, often up to three to five times, to build the enamel to the height of the surrounding wires without distortion.^[13] Once applied, the piece undergoes firing in a kiln to fuse the enamel. The kiln is heated to approximately 750–850°C, where the enamel softens, flows to fill the cells, and bonds to the metal base, typically requiring 5–15 minutes per layer depending on the piece's size and enamel thickness.^[42] During this phase, controlled cooling follows each firing to prevent thermal shock and cracking, as rapid temperature changes can cause the enamel to fracture.^[13] The process is repeated for each layer until the enamel reaches the desired level, with shrinkage occurring upon cooling—often up to 30%—necessitating additional applications to achieve uniformity.^[1] To maintain structural balance and avoid warping, counter-enameling—a layer of flux or opaque enamel—is applied and fired on the reverse side before or alongside the front layers.^[13] Color development occurs through chemical reactions of the metallic oxides during firing, where heat causes reduction or oxidation that stabilizes the pigments; for instance, copper oxides yield vibrant reds under oxidizing conditions, while iron oxides produce warm yellows.^[43] Post-firing inspection is crucial for quality control, involving visual and magnified examination for defects such as air bubbles (from impurities or uneven heating), cracks (due to inadequate counter-enameling or cooling issues), or unintended color shifts from over-firing.^[13] If defects are detected after a cycle, the affected areas may be ground down and refired, ensuring the final piece exhibits smooth, vibrant surfaces without compromising the intricate wire framework.^[13]

Finishing and Variations

After the final firing, the surface of the cloisonné piece is ground down to remove excess enamel that has domed during fusion, using abrasive tools such as carborundum wheels or pumice stones to level it flush with the wire cloisons.^[44] This grinding process reveals the outlines of the metal wires, followed by buffing on polishing wheels with compounds like Tripoli and rouge to achieve a smooth, glossy finish that enhances the vibrancy of the colors.^[45] To provide visual contrast, a chemical patina may be applied to the exposed metal wires, darkening them against the bright enamel, while gilding can be used to highlight the wires with a golden sheen.^[46] For larger objects like vases or urns, the enameled panels are assembled onto the metal body through riveting or soldering, ensuring structural integrity while maintaining the decorative surface.^[45] Variations of the cloisonné technique include cloisonné sur émail, where fine wires are soldered onto a pre-fired enamel base to create multi-layered designs with added depth.^[47] Plique-à-jour, often called backless cloisonné, follows the same cell-forming process but uses a temporary backing—such as thin metal foil—that is removed after enameling and firing, allowing light to transmit through the translucent enamel for a stained-glass effect.^[6] Hybrid approaches combine cloisonné with champlevé by incorporating engraved metal cells alongside raised wire partitions, enabling complex relief and inlay effects in a single piece.^[48] In modern adaptations since the mid-20th century, electric kilns have enabled precise temperature control during firing cycles, reducing inconsistencies in enamel fusion compared to traditional muffle kilns.^[49] Additionally, synthetic enamels formulated with stabilized frits and lead-free compositions have improved durability and colorfastness, making the technique more suitable for contemporary jewelry and decorative items resistant to environmental wear.^[12]

Notable Examples

Enamel-Based Works

One of the most renowned examples of Byzantine cloisonné enamel is the Pala d'Oro altarpiece in Venice, a gilded silver panel adorned with multicolored enamel scenes from the Bible, including depictions of Christ, the Virgin Mary, and saints, crafted using fine gold wires to separate vibrant glass enamels fired onto the surface. This masterpiece, originating from Constantinople workshops, exemplifies the period's advanced metalworking, where thin gold cloisons formed intricate compartments for powdered glass frit that fused into translucent and opaque colors during multiple firings, achieving a luminous depth that symbolized divine glory. The altarpiece's narrative panels, such as the Crucifixion and Resurrection, highlight the Byzantine emphasis on theological storytelling through opulent craftsmanship, influencing Venetian religious art for centuries.^[50]^[51] In Chinese cloisonné tradition, the 15th-century Ming dynasty tripod censer in the Jingtailan style represents peak imperial artistry, featuring a bronze body with three cabriole legs supporting a bulbous form decorated in rich turquoise ground with blooming lotus flowers, peonies, and scrolling foliage in reds, blues, greens, and golds, all delineated by delicate copper wires soldered in place before enameling. Produced during the Hongzhi or Zhengde reign (late 15th–early 16th century), exemplifying the Jingtailan style perfected during the earlier Jingtai reign (1450–1457) at the imperial kilns, this censer served ritual purposes in temples and palaces, its floral motifs evoking purity and prosperity as per Confucian symbolism. The object's harmonious color palette and precise wirework demonstrate the fusion of Buddhist iconography with technical innovation, including up to 20 firings to ensure enamel adhesion without bubbling.^[52]^[53] Japanese cloisonné reached artistic heights in the 19th-century Meiji period through works like the vase by master artisan Namikawa Yasuyuki, which showcases intricate landscapes of cascading waterfalls, rocky terrains, and misty foliage rendered in subtle gradations of silver-hatched enamels on a copper body, employing intricate silver wirework for ethereal effects. Yasuyuki, director of the Kyoto cloisonné factory from 1896, elevated the craft to export luxury, blending traditional motifs with Western realism; this vase's layered firings and innovative use of translucent enamels over gold foils create a sense of depth and movement, reflecting Japan's modernization while honoring natural themes central to ukiyo-e aesthetics. Such pieces were prized internationally, underscoring Meiji-era craftsmanship that combined precision soldering with artistic subtlety.^[54]

Gem and Glass Inlays

One of the earliest known applications of the cloisonné technique involved hardstone inlays rather than enamel, as seen in Mycenaean gold diadems dating to approximately 1500 BCE. These diadems featured fine gold wire cells filled with cut garnets and lapis lazuli, creating vibrant patterns that emphasized the natural sparkle and texture of the gems against the metal framework. Such pieces, discovered in grave circles at Mycenae, exemplify the Bronze Age adaptation of cloisonné for royal adornment, where the hard materials provided durability and symbolic prestige without the need for firing.^[55]^[56] In the Byzantine Empire, the 6th century saw cloisonné fibulae crafted for imperial and elite jewelry, incorporating cabochon-cut sapphires and emeralds set within gold wire compartments. These brooches, often used to fasten cloaks or as status symbols, highlighted the empire's access to imported gems from Asia and Africa, with the smooth, polished stones enhancing the opulent, light-refracting quality of the designs. Examples from this period demonstrate a shift toward more intricate wirework to accommodate the irregular shapes of cabochons, blending Eastern influences with Roman traditions for wearable art that conveyed divine authority.^[57]^[58] During the Qing dynasty (1644–1912 CE), Asian artisans innovated cloisonné by integrating jade and coral inlays into enamel boxes, mimicking the vibrancy of traditional fired enamels while adding organic textures and symbolic depth. Rectangular or circular boxes often featured green jade plaques carved with floral or auspicious motifs, accented by red coral beads or cabochons in wire cells alongside enamel grounds, as seen in Qianlong-period lidded examples where the hard inlays represented longevity and prosperity. This hybrid approach elevated utilitarian objects into collector's items, with the non-vitreous materials providing contrast and resistance to wear in humid climates.^[59]^[60] In the 20th century, rare Art Deco pieces revived cloisonné wirework by combining it with faceted glass inlays for lighting fixtures, particularly in the 1920s and 1930s. These innovative designs, such as table lamps or sconces, used geometric gold or silver cells to hold precisely cut glass prisms that refracted light dramatically, echoing the era's fascination with modernity and luxury while nodding to ancient techniques. French and American makers experimented with this blend to create shimmering effects in interior decor, though production remained limited due to the labor-intensive setting of multifaceted glass.^[61]^[62]

Cultural Significance

Symbolism and Motifs

In cloisonné art across various traditions, religious motifs often convey spiritual ideals and divine protection. In Byzantine and Russian works, Christian crosses and depictions of saints serve as symbols of divinity and faith, with the cross representing Christ's sacrifice and resurrection, while saints embody intercession and moral guidance.^[63] Similarly, Japanese cloisonné frequently incorporates Buddhist elements, such as the lotus flower, which signifies enlightenment and purity, emerging unstained from muddy waters to represent the soul's transcendence over worldly suffering.^[64] Imperial symbols in cloisonné reflect authority and harmony, particularly in Eastern traditions. Chinese pieces prominently feature dragons, emblematic of imperial power, strength, and the emperor's divine mandate to rule, often coiled in dynamic poses to evoke control over natural forces.^[65] Phoenixes appear alongside dragons, symbolizing harmony, renewal, and the empress's grace, their intertwined forms denoting balanced yin-yang cosmology.^[65] In Ottoman cloisonné, arabesques—intricate, intertwining vegetal patterns—represent infinity and the boundless nature of divine creation, avoiding figurative forms in adherence to Islamic aniconism while suggesting eternal unity.^[66] Natural themes in cloisonné evoke cycles of life and philosophical concepts. European traditions, including Byzantine influences, employ floral motifs like lilies or roses to symbolize renewal and the soul's resurrection, drawing from Christian iconography where flowers represent paradise regained.^[67] Japanese designs often include waves, embodying mono no aware—the pathos of impermanence—and the transient beauty of existence, as seen in undulating patterns that mimic ocean rhythms.^[68] Color symbolism enhances these motifs, infusing cloisonné with layered meanings tied to cultural beliefs. In Asian traditions, particularly Chinese and Japanese, red enamel denotes vitality, good fortune, and life force, frequently used for auspicious elements like flames or flowers to invoke prosperity and protection.^[69] In Byzantine cloisonné, blue represents heaven, eternity, and divine otherworldliness, often as a background to celestial scenes or the Virgin's mantle, underscoring spiritual elevation.^[70]

Legacy and Modern Uses

Cloisonné's artistic legacy extends into the late 19th and early 20th centuries, where its enameling techniques profoundly influenced the Art Nouveau movement, particularly in jewelry design. Designers like René Lalique drew inspiration from Japanese cloisonné methods, incorporating wire-defined compartments filled with vibrant enamels to create organic, nature-inspired pieces that emphasized fluidity and color depth. Although cloisonné enameling was less dominant than plique-à-jour or basse-taille in Lalique's oeuvre, it contributed to the movement's emphasis on intricate metalwork and translucent effects, bridging Eastern traditions with Western innovation. In the 20th century, cloisonné informed modernist decorative arts, with artists adapting its compartmentalized structure for abstract forms in vases and panels, reflecting a shift toward simplified geometries while retaining the technique's luminous quality. Contemporary applications of cloisonné span jewelry, decorative objects, and even architectural elements, revitalizing the ancient craft through innovative interpretations. Modern jewelers such as Jennifer Jordan Park create wearable enamel pieces that blend traditional wirework with bold, contemporary motifs, often drawing on personal narratives to produce pendants and brooches that function as miniature sculptures.^[71] For larger-scale works, artists like Don Viehman employ cloisonné in sculptural forms, using fine silver wires and fused enamels to craft dimensional objects that explore texture and light.^[72] In architecture, Italian brand Piccoli Smalti has integrated cloisonné into modern design since the 2010s, applying the technique to wall panels and fixtures that evoke historical opulence while serving functional decorative roles in interiors.^[73] Post-World War II revivals in Japan and Europe marked a resurgence of cloisonné among artisan communities, emphasizing handmade preservation amid industrialization. In Japan, workshops in Nagoya and Tokyo sustained Shippo-yaki traditions, with postwar artisans like those from the Ando family innovating subtle wire techniques to produce export-oriented vases and lamps that appealed to mid-century tastes.^[74] European makers, influenced by earlier 19th-century revivals, incorporated cloisonné into studio crafts during the 1950s and 1960s, aligning it with the Studio Glass movement's focus on material experimentation. Since the 2000s, digital tools have aided these revivals; computer-aided design (CAD) software enables precise wire pattern modeling for jewelry and sculpture, allowing artists to simulate enamel flows and iterate designs virtually before fabrication. Cloisonné's global appreciation underscores its enduring cultural value, particularly through the recognition of Japanese Shippo-yaki as a traditional craft. Designated as a traditional craft by Japan's Ministry of Economy, Trade and Industry in 1995 and highlighted in Tokyo's traditional crafts inventory, Shippo-yaki exemplifies the technique's role in national heritage, fostering international exhibitions and workshops that promote its adaptation in diverse contexts.^[75]

Collections and Preservation

Major Institutional Holdings

The British Museum in London houses one of the foremost collections of cloisonné enamels, spanning Byzantine reliquary crosses from the 10th century to Chinese imperial pieces from the Ming and Qing dynasties, including intricate mandalas and incense burners produced for the Qianlong Emperor.^[76] These artifacts highlight the technique's evolution from early Christian metalwork to East Asian decorative arts, with items cataloged in the museum's Asian and medieval departments.^[77] In Paris, the Louvre Museum maintains significant holdings of cloisonné enamels, particularly from the medieval period, featuring Byzantine gold medallions depicting saints like Démétrios and Crucifixion scenes, as well as 17th- and 18th-century French enamelled watches and jewelry that incorporate cloisonné alongside painted techniques.^[78] The collection underscores the Louvre's emphasis on European enamel traditions, including Limoges-style works influenced by earlier Byzantine methods.^[79] The Victoria and Albert Museum in London boasts an extensive array of Japanese cloisonné enamels, known as shippō-yaki, largely from the Meiji period (1868–1912), with nearly 90 objects gifted by Edwin Davies that represent the "Golden Age" of the craft, including vases and chargers by masters like Namikawa Yasuyuki.^[80] These export-oriented pieces, often featuring floral and avian motifs, complement the museum's broader Asian decorative arts holdings and illustrate the technique's adaptation for Western markets.^[81] In Asia, the Palace Museum in Beijing preserves imperial cloisonné wares from the Ming dynasty, including rare Xuande-era (1426–1435) jars and Jingtai-blue (1450–1457) vessels that exemplify the craft's introduction and refinement under court patronage for Buddhist and ceremonial use. The collection, drawn from the Forbidden City's former treasuries, demonstrates the evolution from Mongol-influenced origins to Qing imperial mastery.^[12] The Tokyo National Museum features a premier assembly of Meiji-period shippō-yaki cloisonné, showcasing innovative techniques developed in workshops like those of the Namikawa family, with vessels and ornaments that blend traditional motifs with modern industrial precision.^[82] This collection, integral to the museum's Japanese decorative arts section, highlights cloisonné's role in Japan's late-19th-century export boom, with examples fired on copper bases to achieve vibrant, translucent effects.^[83] Russian institutions also hold notable cloisonné treasures; the Kremlin Armoury in Moscow displays 17th-century enameled icons and jewelry from the Armoury School, as well as 19th-century cloisonné-revetted pieces by silversmiths like Pavel Ovchinnikov that revive Byzantine traditions in Orthodox religious art.^[84] The holdings extend to earlier Byzantine enamels, emphasizing the technique's transmission to Russian craftsmanship.^[85] The State Hermitage Museum in St. Petersburg is renowned for its Fabergé cloisonné enamels, housed in dedicated memorial rooms that feature works by Feodor Rückert, such as shaded cloisonné vases and eggs from the early 20th century, blending Russian imperial motifs with innovative enamel layering.^[86] This collection, comprising dozens of imperial commissions, illustrates cloisonné's adaptation in fin-de-siècle luxury goods.^[87] Access to these holdings has been enhanced through international exhibitions, such as the Metropolitan Museum of Art's "Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900," which drew on loans from institutions like the Palace Museum to showcase cloisonné's technical and cultural impact across centuries.^[88] Such collaborations, including past loans from the British Museum and V&A, facilitate global study while referencing preservation needs like climate-controlled display.^[89]

Conservation Challenges

Cloisonné objects face significant material vulnerabilities due to the inherent differences in thermal expansion between the vitreous enamel and the underlying metal base, typically copper or bronze, leading to cracking and delamination over time. Thermal stress during the original firing process or subsequent environmental exposure exacerbates these issues, as the enamel's lower thermal diffusivity (approximately 4.024 × 10⁻⁷ m²/s) compared to bronze (1.616 × 10⁻⁵ m²/s) creates interfacial defects and air-filled gaps that weaken adhesion. Additionally, the thin metal wires—often silver or copper—used to form cloisons are prone to corrosion; silver wires tarnish through reaction with hydrogen sulfide in the air, forming black silver sulfide, while copper wires oxidize to cuprite or malachite, potentially causing detachment from the base as corrosion products expand. These vulnerabilities are compounded by physical handling, which can chip the brittle enamel layers or dislodge wires, resulting in progressive structural failure.^[90]^[90]^[91]^[92] Environmental factors pose ongoing threats to cloisonné preservation, with high relative humidity (above 45-50%) accelerating corrosion by mobilizing chlorides in the metal substrate, leading to flux leaching from the enamel and further degradation of the glassy matrix. Temperature fluctuations induce additional stress, promoting enamel cracking, while exposure to light, particularly ultraviolet rays, can cause subtle color fading in certain pigments over prolonged display periods, though the vitreous nature of enamel generally confers greater stability than organic dyes. Pollutants such as sulfur dioxide and hydrogen sulfide from indoor environments or off-gassing storage materials contribute to wire tarnish and base corrosion, with handling during exhibitions increasing risks of vibration-induced damage. Strict environmental controls, including relative humidity below 50% and minimized light exposure, are essential to mitigate these threats.^[93]^[92]^[94] Conservation efforts employ advanced non-invasive techniques to address these challenges, such as X-ray radiography to detect hidden structural damage, including subsurface cracks and delaminations without compromising the artifact. Laser cleaning has been adapted for gentle removal of corrosion from metal wires, preserving the enamel while targeting tarnish layers, though its application remains selective due to potential heat risks. For reattachment of detached elements, reversible adhesives like Paraloid B-72 or Beva 371—standardized in conservation practices since the late 1970s and 1980s—allow secure bonding of enamel flakes or wires to bases while enabling future interventions. Complementary methods, such as infrared thermography, further aid in mapping delamination by identifying thermal anomalies indicative of air gaps.^[95]^[96]^[96]^[90] Ethical considerations in cloisonné conservation include ongoing repatriation debates for objects acquired during colonial periods, such as Chinese pieces in the British Museum, where calls from Chinese state media and scholars advocate for the return of artifacts obtained through unequal treaties or looting, emphasizing cultural heritage rights over institutional retention policies. These discussions highlight the need for collaborative international frameworks to balance preservation with provenance resolution, ensuring that conservation does not perpetuate historical injustices.^[97]

References

[1]
Chinese Cloisonné - The Metropolitan Museum of Art
Oct 1, 2004 · Cloisonné is the technique of creating designs on metal vessels with colored-glass paste placed within enclosures made of copper or bronze wires.
[2]
General Gemology and Jewelry - GIA
In addition to cloisonné enamel, there are several other classic enamel techniques. Champlevé, which dates back to the twelfth century, features engraved or ...
[3]
https://doi.org/10.32545/encyclopedia202007.0019.v1
[4]
Cloisonne - Etymology, Origin & Meaning
Cloisonné, from French cloison "partition" (12c.), means divided into compartments, originating from Vulgar Latin clausio, from claudere "to close, shut."
[5]
Cloisonne Primer - History of Cloisonne Technique - Ganoksin
Dec 6, 2016 · Cloisonne is enamel with wires separating colors, using metal strips to form outlines, originating in Egypt before 1800 B.C. with gold and ...
[6]
The Art of Enameling: The Techniques - GIA 4Cs
Jan 14, 2015 · In the basse-taille technique, the artist makes cuts of varying depths into metal. Methods to do this include carving, engraving, and stamping.
[7]
History of Stained Glass
The predominant colors are red and blue. This style of stained glass seems to have developed from cloisonne enamels and miniature paintings. Few Romanesque ...
[8]
The composition and technology of polychrome enamels on ...
Mar 12, 2020 · This research presents non-destructive analyses of Chinese enamelled copper and porcelain decorated with polychrome enamels.<|control11|><|separator|>
[9]
Techniques of Decoration on Arms and Armor
Oct 1, 2003 · Recesses on a metal object, either cells formed by soldering wire to the base (cloisonné) or simple cuts or grooves (champlevé), are filled ...
[10]
THE ART OF ENAMELING - Cloissone - Jean Tudor
The metal bases most commonly used are of copper, fine silver, and gold. The average thickness of this metal runs from 16 to 20 gauge, depending on the object ...<|separator|>
[11]
Cloisonne Wire Sizes · Alohi Lani Designs
Jan 6, 2012 · Common cloisonne wire sizes include .005 x .040, .008 x .032, and custom sizes like 32 ga. round wire. .005 x .040 is taller, .008 x .032 is ...
[12]
Chinese cloisonné revisited - ScienceDirect.com
The use of painted enamels on copper was an innovation that began in China in the late seventeenth to early eighteenth century, apparently under European ...
[13]
Enameling Applications and Preparation - Ganoksin Jewelry Making ...
Apr 19, 2023 · Sometimes it is possible heat the metal in the enameling kiln to a temperature at which grease residues burn off, but care must be taken ...
[14]
[PDF] century cloisonné-style Chinese painted enamels - Lirias
Cloisonné is also a type of enamelling on copper. This artistic technique was developed in the Mediterranean region c. 1450 BCE (Speel, 1998, p. 107). The ...
[15]
The Earliest Cloisonne Enamels - Ganoksin Jewelry Making ...
Oct 18, 2016 · The technique of enameling may have been invented independently but the history of the earliest cloisonne enamels started from Cyprus.
[16]
Mobility and reuse: the Romanos chalices and the chalice with hares
Mar 28, 2022 · It is decorated with precious stones and colorful cloisonné enamel icons of Christ, angels, and saints. An enamel inscription beneath the bowl ...
[17]
The Byzantine Fieschi Morgan cross reliquary – Smarthistory Guide ...
The smooth surfaces and strikingly rich, luminous colors of the exterior are features of the cloisonné enamel technique, of which this is one of the earliest ...
[18]
Wearable art in Byzantium – Smarthistory Guide to Byzantine Art
(Enamel is a decorative technique in which glass, colored with metallic oxides, is melted and fused with metal. The Byzantines are well known for their ...
[19]
Byzantine Enamel and the Aesthetics of Technological Power, Ninth ...
Beginning in the ninth century C.E., artisans in the Byzantine Empire mastered the complex process of cloisonné enameling – fusing colored glass to metalMissing: innovations harder fluxes niello filigree
[20]
https://hvrd.art/o/304335
[21]
Images of Antiquity in Limoges Enamels in the French Renaissance
Apr 1, 2008 · From the twelfth through the fifteenth century, Limoges enamel painters gouged into the surface of the metal (champlevé) or raised thin dams ...Missing: Gothic | Show results with:Gothic
[22]
altar-cross; reliquary (?) - British Museum
The enamel is brilliant, with a technical control that is virtuoso. The basic palette is: off-white, deep blue (7.5PB 2/6), turquoise (5B 4/6), deep green (10GY ...
[23]
Enamels of Limoges, 1100–1350 - The Metropolitan Museum of Art
Limoges enamels, the richest surviving corpus of medieval metalwork, were renowned throughout Europe in the Middle Ages. Yet today they are little known ...
[24]
Enamelwork - European Art, Glass, Metalwork | Britannica
In western Europe cloisonné enamelling was abandoned in the 12th century, in favour of the champlevé technique executed on a base metal such as copper or ...
[25]
[PDF] Imperial Splendor: Chinese Cloisonné at Sunnylands
The use of painting motifs in cloisonné began during the Ming dynasty and developed significantly during the. Qing dynasty when larger panels were possible due ...
[26]
Current exhibition - National Palace Museum
The tradition of Jingtailan (the blue of the Jingtai era) refers to the technique of creating designs on vessels using colored enamels held in place within ...
[27]
Japanese Cloisonné: History, Techniques, and the Golden Age
### Summary of Japanese Cloisonné History and Techniques
[28]
Japanese Cloisonné Enamels: An Expression of Endless Patience
Oct 21, 2021 · From tentative beginnings in the 1830s, cloisonné enamels grew by the end of the nineteenth century into one of Japan's most successful forms of ...<|control11|><|separator|>
[29]
Japanese Cloisonné: Polished to Perfection - Asian Art Newspaper
Nov 5, 2017 · Explore the 'Golden Age' of Japanese cloisonné enamelware (around 1880 to 1910), fom tentative beginnings in the 1830s in Nagoya, Japan.
[30]
Collector's Guide to Russian Enamels
In the late 19th century, the technique of “shaded” cloisonné enamel evolved, in which multiple colors of enamel were painted into each cloison, giving a ...Missing: 17th- Rostov
[31]
Rostov handicraft of enamel history technology features
Rostov finift. Rostov Veliky from the XVIII century to the present day is the center of enamel art in Russia. Artistic enamel in Russia is called the finift.
[32]
Enamels Of The World - The Khalili Collections
In Russia during the 19th century interest in certain traditional arts, including cloisonné enamel, marked a return to older Slavic references that had been ...
[33]
ENAMEL - Encyclopaedia Iranica
According to some sources, European jewelers, goldsmiths, watchmakers, and enamelers were patronized by the Safavid court, and enamels were ordered from Europe.<|separator|>
[34]
The Art of Persian Enamel Making: A Journey Through History
Persian enamel, also known as Minakari, is an intricate art form that has been practiced in Iran since the Sassanid era, around 224 to 651 CE.
[35]
Rostov enamels - Bridge to Moscow
Originally enamels were used to decorate church utensils and icons. Enamels were produced in several Russian towns but this art flourished in Rostov. In the ...
[36]
View the Process of Cloisonné Enamel - Patsy Croft Jewelry
First in the process of cloisonne I like to begin with some drawings, which lead to a few watercolor paintings. Early on in my journey of enameling I learned ...
[37]
Cloisonné wire - Jewelry Discussion
Feb 7, 2024 · She wrote that 28 gauge is a common commercial cloisonné wire thickness, but that 36 or 38 gauge are also common. It could be that your teacher ...
[38]
https://www.kernowcraft.com/jewellery-making-tips/silversmithing-and-soldering-advice/soldering-flux-for-jewellery-making-explained
[39]
https://www.firemountaingems.com/learn/categories/jewelry-medium/metalworking/how-tos-on-metalworking/5546-article.html
[40]
CONTEMPORARY CLOISONNE
The enamelist bends and cuts small pieces of the wire, arranges the wires in the desired pattern, and fires then onto a cleaned and prepared base, usually made ...
[41]
[PDF] METROPOLITAN MUSEUM
During the Yongzheng period, artisans work- ing in both cloisonné and painted enamels operated in the same physical location (the enameling workshop: falang zuo ...
[42]
Traditional Techniques and Craftsmen | Ando Cloisonne - 安藤七宝店
After enameling, the pieces are fired in an electric kiln at temperatures between 700°C to 800°C for about 10 to 15 minutes. The firing temperature and duration ...
[43]
ENAMEL - Donze Cadrans
... metal oxides, different colors are obtained : Selenium for yellow; Uranium for bright orange (not frequently used anymore); Iron for black, blue and brown ...
[44]
[PDF] METROPOLITAN MUSEUM
techniques, it is worth noting that they were used in cloisonné enamels in China prior to European contact. A study of seventeenth- century cloisonné objects ...<|control11|><|separator|>
[45]
Making a Cloisonne Pendant Using Torch Fire - Ganoksin
Oct 15, 2016 · Learn the step-by-step process on making a Cloisonne pendant, a special french enameling technique, using a torch flame. Read on for more
[46]
A Comparison of Cloisonne Finishing Techniques
Jun 20, 2022 · I can try sanding/polishing by hand and NOT fire polish in the kiln. I can sift a thin layer of clear over the whole surface and fire that to ...Missing: assembly | Show results with:assembly
[47]
[PDF] 3-7 Les techniques de l'émail - Musée des Beaux-Arts
L'émail cloisonné Connue dès l'Antiquité, cette technique consiste à fixer par soudure de fines cloisons d'or, d'argent ou de cuivre sur le support de métal, ...
[48]
Cloisonné and Champlevé Enamel Techniques - YouTube
Jun 7, 2020 · I show how to make a fine silver pendant: cutting out the pattern, fusing the border, doming, soldering and inlaying 23.5kt gold foil.Missing: hybrid | Show results with:hybrid
[49]
The Ultimate Enameling Kiln Basics
Feb 25, 2022 · Cloisonné: Small wire enclosures are filled with wetted enamel particles, and they're later fired. This is an ancient technique for decorating ...
[50]
Pala d'Oro - Art and Architecture of the Middle Ages
A golden altarpiece with enamel decoration for the main altar of the Basilica of San Marco, Venice. It was made in Constantinople.Missing: 11th | Show results with:11th
[51]
Pala d'Oro in Venice - The Byzantine Legacy
The altar panel is completed by numerous enamelled medallions portraying saints worshipped by the Venetians. Three phases may be identified in the history of ...Missing: 11th cloisonné scenes
[52]
Li (tripod)-shaped cloisonné incense burner - Smarthistory
It has a bellied shape with three short, pointed legs. Nine colorful floral and leaf designs lie on a beautiful turquoise background on the main body of the ...Missing: Jingtailan censer
[53]
Li (tripod)-shaped cloisonné incense burner (article) - Khan Academy
These lotus flowers are the primary decorations on the incense burner. They are in vibrant colors of red, white, blue, green, yellow, and dark purple, and they ...Missing: Jingtailan censer
[54]
Yasuyuki Namikawa: A master of cloisonne color and design
Feb 7, 2017 · Predominantly white, it is decorated with just a single band of green leaves and blue flowers. "Namikawa Yasayuki and Japanese Cloisonne," a ...
[55]
VASE WITH WATERFALL OVER ROCKS - Ashmolean Museum
Vase with waterfall over rocks, Namikawa Yasuyuki (1845–1927) 1910–1915. Metal with shakudō and inlaid with silver wire cloisonné enamel 24.9 x 6.2 x 8.5 cmMissing: intricate | Show results with:intricate
[56]
Chasse of Champagnat - French - The Metropolitan Museum of Art
The Chasse of Champagnat, a French reliquary from ca. 1150, features Christ, saints, and evangelist symbols. It comes from the church of Saint-Martial, ...Missing: century narrative
[57]
Reliquary Châsse by French 12th Century - National Gallery of Art
A free-standing, gold, enameled, rectangular box has a triangular top like the roof of a house, and the box rests on a short, square foot in each corner.Missing: 13th narrative
[58]
Silver and Gold: Antiquity to Modern - Society of American Silversmiths
An example from Mycenae has a cylindrical grip of openwork gold flowers with lapis lazuli ... gold cloisonné work inlaid with garnets, a popular style ...Missing: BCE | Show results with:BCE
[59]
Minoan Jewellery - World History Encyclopedia
Sep 21, 2012 · They were also inlaid with lapis lazuli, glass or coloured stones placed within gold cells - known as cloisonné. Remove Ads. Advertisement.
[60]
Wearable art in Byzantium - Smarthistory
Precious gems—such as sapphires, amethysts, and emeralds—were imported ... Marriage Belt, Byzantine, late 6th–early 7th century, gold, 4.8 x 75.5 cm ...
[61]
https://www.1stdibs.com/buy/art-deco-cloisonne/
[62]
https://artdecocollection.com/lighting/
[63]
A GILT SILVER INLAID BOX AND COVER, QING DYNASTY (1644 ...
The box is in the shape of a ruyi. The top is inset in coral, mother-of-pearl and semi-precious stones with a central shou character surrounded by five bats wu ...
[64]
Art Deco Cloisonne - 21 For Sale on 1stDibs
Shop our art deco cloisonne selection from top sellers and makers around the world. Global shipping available.
[65]
Lighting - Art Deco Collection
French Art Deco Chandelier with Original Glass Shades This striking French Art Deco chandelier, dating to the 1930s, is a rare example of imaginative metalwork.Missing: cloisonné 20th century
[66]
Icons and Iconoclasm in Byzantium - The Metropolitan Museum of Art
Aug 1, 2009 · Icons (from the Greek eikones) are sacred images representing the saints, Christ, and the Virgin, as well as narrative scenes such as Christ's ...Missing: Russian | Show results with:Russian
[67]
Flower of Perfection: The Lotus in Buddhist Art - Buddhistdoor Global
Nov 27, 2015 · Arguably the most important symbol in Buddhism, the lotus not only represents spiritual purity, but also serves as a reminder that all beings are capable of ...Missing: cloisonné | Show results with:cloisonné
[68]
[PDF] Large print guide – Room 95: Chinese Ceramics - British Museum
In AD 1432 a court official supervised the production of 443,500 wares with different dragon and phoenix designs. Dragons symbolise the power and authority ...
[69]
[PDF] The Metropolitan Museum of Art Bulletin, v. 33, no. 1 (Spring, 1975)
Byzantine art, as was the technique of cloisonne enamel (employed here for the birds in the center). This pendant would have been framed by strands of ...
[70]
[PDF] Existence of Arabesque in Islamic Architecture
To many in the Islamic world, they concretely symbolize the infinite, and therefore uncentralized, nature of the creation of the one God (Allah). Furthermore, ...Missing: cloisonné | Show results with:cloisonné
[71]
[PDF] Medieval Art: A Resource for Educators
Compare the Pentecost plaque to the Djumati enamels (image 10). Do the different enameling techniques of cloisonné and champlevé create differ- ent ...
[72]
Netsuke: From Fashion Fobs to Coveted Collectibles
Nov 1, 2009 · Most netsuke can be held in the palm of one's hand, rendering it a perfect souvenir of sojourns to what was then an “exotic East.” Compact and ...Missing: motifs | Show results with:motifs
[73]
History Of Chinese Cloisonne | Appraisals & Valuations
Nov 9, 2021 · Colors were limited with turquoise blue the most prominently used, mainly as a background. At that time cloisonne became know as JINGTAI LAN, ' ...<|separator|>
[74]
Understanding Byzantine Iconography: Colors, Images, and ...
Nov 12, 2023 · Blue: Representing the heavens, eternity, and divinity. Red: Symbolizing the divine life and sacrifice, often associated with Christ's blood.Color Palette · Images And Their Meanings · Symbolism And Composition
[75]
cloisonné (enamelling) - British Museum
Scope note: The term 'cloisonné' is used in two contexts: enamelling and for the setting of garnets and other stones in cloisons on metalwork.
[76]
mandala | British Museum
Cloisonné enamel 'mandalas' were particularly popular under the Emperor Qianlong for use in the Tibetal-style palaces at the Manchu summer resort of Jehol ( ...
[77]
https://www.britishmuseum.org/collection/object/A_1991-0328-1
[78]
Médaillon en émail cloisonné sur l'or : saint Démétrios
Saint Démétrios, identifié par l'inscription, est représenté en buste. Nimbé, il tient une croix dans la main droite. La paume de sa main gauche est tournée ...
[79]
https://collections.louvre.fr/en/ark:/53355/cl010099251
[80]
https://collections.vam.ac.uk/search/?q=cloisonne
[81]
https://www.vam.ac.uk/__data/assets/pdf_file/0003/179319/Cloisonne_announcement_press_release.pdf
[82]
<i>Shippo</i> Cloisonné: The Colors that Decorate Metalware
Apr 12, 2016 · Cloisonné, or shippo in Japanese, is a technique in which colorful glazes are baked onto a metal object, creating a glass-like layer on its ...Missing: yaki | Show results with:yaki
[83]
Museums of the Moscow Kremlin: ARMOURY CHAMBER
There are specimens of famous niello work, the technique of cloisonne enamel revived by the Ovchinnikov firm, chasing, plique-a-jour (stained glass) enamel.
[84]
The Armoury: Kremlin - Caroun
Cloisonne (partitioned) enameling is considered to be major achievement of Byzantine craftsmen, in the period of flourishing art, 10-12th centuries. Small ...
[85]
Opening of the Carl Fabergé Memorial Rooms
29 December 2015 saw the opening of the Carl Fabergé Memorial Rooms – a new permanent display in the General Staff Building.
[86]
Carl Fabergé & Feodor Rückert. Masterpieces of Russian Enamel
The key exhibits of the display are numerous and typologically different art pieces produced by the eminent Moscow 'enamel artist' Feodor Rückert (1851-1918)
[87]
Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900
This exhibit showcases the aesthetic, technical, and cultural achievements of Chinese enamel wares during the transformative Ming and Qing dynasties.
[88]
Embracing Color: Enamel in Chinese Decorative Arts, 1300–1900
This exhibit showcases the aesthetic, technical, and cultural achievements of Chinese enamel wares during the transformative Ming and Qing dynasties.
[89]
infrared thermography for detecting delamination in Chinese ...
Mar 28, 2025 · Cloisonné enamels, as well as corroded bronzewares, can be modeled as a two-layer structure, with a slow heat transfer material over a fast heat ...Missing: vulnerabilities | Show results with:vulnerabilities
[90]
[PDF] Understanding how silver objects tarnish - à www.publications.gc.ca
For a given concentration of hydrogen sulfide, silver tarnishes faster as the RH climbs. As a result, silver is best stored in dry conditions (below 50%. RH).
[91]
[PDF] Copper and Bronze in Art: Corrosion, Colorants, Conservation
The Getty Conservation Institute works internation ally to advance conservation in the visual arts. The. Institute serves the conservation community through.
[92]
No 5: Enamelled Metals by Dana Norris ACR - The Chantry Library
Enamels are inherently vulnerable to high humidity, fluctuations in temperature, vibration and physical stress. The majority of publications on the conservation ...
[93]
Agent of deterioration: light, ultraviolet and infrared - Canada.ca
May 17, 2018 · Learn how to avoid, detect, report and treat the damage caused by ultraviolet and infrared light.Missing: cloisonné | Show results with:cloisonné
[94]
Application of X-ray technique on the study of Cloisonné enamel in ...
X-ray technology can be applied to non-destructive test of the structure and composition of enamel, and help researchers to acquire the information behind ...
[95]
[PDF] testing coatings for enameled metal artifacts
This research aims to test the efficiency of coating materials to protect Champlevé enameled silver and copper artifacts. Enameled copper and silver coupons ...
[96]
China state media calls on British Museum to return artefacts - BBC
Aug 28, 2023 · A call for the British Museum to return Chinese artefacts after the recent alleged theft of about 2,000 items is heating up social media in ...Missing: cloisonné | Show results with:cloisonné