景泰蓝_漆器_英文

null Cloisonne and Lacquerware Cloisonne and LacquerwareCloisonneCloisonneAs a shining pearl in the art and craft world, cloisonne is one of the four famous crafts (the other three are carved lacquerware, jade and ivory) in Beijing. It enjoys worldwide fame, with its long history, elegant sculpting, thunder-and-lightning color and varied patterns. Cloisonne articles offer exquisite decorations for houses, popular gifts as presents for relatives and friends, and awards and souvenirs as praise and honor. the original of Cloisonne Cloisonne of Different Times Procedure of Cloisonne-making Cloisonné Discriminating the original of Cloisonnethe original of CloisonneCloisonne, also named enamel, is a special craft combining porcelain and copper. Created during the reign of Jingtai of the Ming Dynasty (1368-1644), it was only made in blue at first, so it was named 'Jingtai blue'. Cloisonne objects were commonly seen and well developed during the Jingtai and Chenghua reigns of the Ming Dynasty. For a period after that, they were still made but without improvement and couldn't be compared in quality with those made before. In Qianlong's reign of the Qing Dynasty (1644 - 1911), cloisonne objects were again made in a great number and variety, and they were just second to those of the Jingtai and Chenghua times. After that, cloisonne items become just old fashioned copper vessels.Cloisonne Of Different TimesCloisonne Of Different TimesThe best cloisonne was made in the Ming Dynasty, with good quality copper. Most of them were made with red copper looking a little thick and heavy and the colored glaze used natural minerals, looking bright and lifelike. Cloisonne of that time used primitive filigree, had thick gilt, and had air bubbles in the colored glaze. Cloisonne of the Qing Dynasty used delicate colors, graceful filigree, and fine glazes with no air bubbles. Besides, the scope was enlarged beyond the sacrificial/household wares into vases, folding screens, incense burners, tables, chairs, chopsticks, and bowls. Meanwhile, varied patterns were used, but they are not as vivid as those of the Ming Dynasty. In the Republican Period of China, the quality of cloisonne became inferior to those of former times. Most of the cloisonné objects were made roughly without innovation. At present, the techniques of making cloisonne have been improved immensely and all kinds of cloisonne crafts are made. They have become the best present for relatives and friends nationally and internationally. Procedure of Cloisonne-makingProcedure of Cloisonne-makingThe five main steps are as follows： First, model hammering – Cutting and hammering the red copper pieces into different shapes。accordingly, and then joining each part together into the required shape under high temperature to form the model.nullSecond, filigree nipping – nipping and patching the thin brass wires into delicate patterns, and then pasting them on to the model to form different partitions, finally heating it to 900 degrees centigrade (1652 F) to weld the patterns firmly to the modelnullThird, enamels filling – after covering the model with patterns of filigree and rearranging the filigrees, enamels are painted into the partitions of the filigrees. After fusing the powdery glaze with a heat of 800 degrees centigrade (1472 F), it is taken out and the process is repeated three or four times until the surface becomes smooth. nullFourth, surface polishing – using grit, brimstone, and charcoal in order; the rough glaze is rubbed down. Each of the partitions of the object has to be filled with glaze, fused, and polished time and time again. In addition, those filigrees standing above the glaze also have to be ground and rubbed down finally with charcoal and drawknife so the whole surface becomes smooth. It does need patience and care.nullFifth, Gilding – after acid cleaning, decontamination, and sand scouring the semi-finished article is put into a tank filled with gilding liquid, an electric current is then put through the tank. Several minutes later, when the liquid has gold adhered on the surface of the metal part of the cloisonne, it is taken out. After washing and drying, a bright-colored dazzling craft of cloisonne will appear.Cloisonne DiscriminatingCloisonne DiscriminatingThe best cloisonne was made in the Ming Dynasty, but you have to check it carefully and in detail. The main characteristics of the Ming Dynasty's cloisonne are as follows: Material – perfectly clear Capability – similar to the glass Filigree – brass Surface – a little bit rough with air bubbles Color – most are glossy green, some are bright red, bright purple, dark blue, silvery white, light greenish blue and dark yellow. Qing Dynasty's cloisonne objects are less bright, visually, and red copper filigree is used. The best are mostly in yellow and white. LacquerwareLacquerwareLacquerware are objects decoratively covered with lacquer. The lacquer is sometimes inlaid or carved. Lacquerware includes boxes, tableware, buttons and even coffins painted with lacquer in cultures mostly in the Eastern HemisphereHistory Of LacquerwareHistory Of LacquerwareEvidence indicates that the practice of lacquering objects began over 4000 years ago, where it was used to coat common objects like furniture, and personal items like earrings and combs. This type of lacquering was more functional in nature, as the lacquer added sturdiness and smoothness to the objects. It was an important technique however; important enough for lacquer tradesmen to form a guild called Urushi-he to help develop their techniques. At the same time, Chinese artisans were developing lacquering techniques along more artistic lines, they added color to their lacquer and were using lacquer to make items more aesthetically pleasing. These techniques were introduced to Japan in the 5th and 6th centuries, and Japanese craftsmen not only incorporated Chinese lacquering techniques into their works, but also improved and matured them into a true art form. nullnullOne improvement the Japanese created was the technique of Makie (gold and silver lacquer finishes). Makie was a very high-caliber artistic form that surpassed any artistic techniques developed by the Chinese up to that point. Because most objects were still being made from wood and not ceramic (glaze had not been developed yet), Makie techniques became an extremely popular method of adding both beauty and sturdiness to common household objects such as tables and utensils. Items with Makie finishes were especially sought after by the upper class. Thus, lacquer ware objects quickly became much more than common household items. They evolved into highly sophisticated art pieces and status symbols. The Process of Creating Lacquer ware The Process of Creating Lacquer ware Lacquer comes from the sap of the tree species, Rhus Veniciflua, commonly known as the Varnish Tree. This tree can be found throughout China and Japan, but it originated in Central Asia. It is a member of the Anacardiaceae family, and shares relations with the cashew, mango and pistachio tree. Harvesting lacquer from the Varnish Tree is relatively simple: The technique varies depending on what region of Asia you are in, but generally, in Japan, five to ten horizontal cuts are made in the tree’s trunk parallel to one another. As the sap oozes out of these cuts, it is scraped and collected. nullAfter being treated to remove impurities, the lacquer sap is called crude lacquer. Crude lacquer is used as a primer on most lacquer ware. To increase the quality of the crude lacquer, it is heated between 35 and 45 degrees Celsius. It is then known as Kurome lacquer. Another type of lacquer can be created when crude lacquer is heated at 60 degrees Celsius, this is called Hosezu lacquer and will not dry and harden. Hosezu lacquer is mixed into Kurome lacquer to help speed up or slow down the drying process. The speed of the drying process can vary, depending on lacquer quality, heat and humidity. Color can then be added to the lacquer by mixing oil or color pigments, and then it can be used as a top layer, giving the object a sturdy and glossy shine. If color is not added, the natural state of lacquer gives the object a transparent, rich brown hue. null