Cloisonné (Jingtailan 景泰蓝)

Cloissoné Vase, Late Qing dynasty.
Enamelled metalwork, usually bowls or vases, in which the colors of a design are separated by fine metal wires soldered onto the surface of a metal object. The cells are filled with powdered enamel after which the object is heated until the enamels melt into the cells. The whole piece is then sanded and polished to an even surface after which the cloison wires is frequently gilded.
Image courtesy of Michael Hoy © 2025

Cloisonné is a decorative art technique where copper or brass objects are covered with colored enamels fused within fine metal wire cells. The term cloisonné comes from the French cloison, meaning “partition.” The wires (usually copper, silver, or brass) are bent and soldered onto the metal surface to form small compartments (cloisons), which are then filled with powdered enamel. The object is fired in a kiln so that the enamel melts and fuses into the cells. After cooling, the surface is ground and polished smooth, and the metal wires are often gilded to enhance the appearance.

The technique is believed to have originated in China during the Yuan dynasty (1279–1368) and flourished under the Ming dynasty, particularly during the reign of the Jingtai Emperor (1449–1457). The Chinese name Jingtailan (景泰蓝) meaning "Jingtai blue," comes from this period, with lan referring to the blue enamel background that was often used on these pieces. Production with similar technique continued well into the late Qing period.

The main and most important historical center of cloisonné production in China was Beijing (Peking), where imperial workshops under the Imperial Household Department (Zaobanchu) produced the finest pieces for the court and temples. After 1949, cloisonné workshops were re-established in Beijing, and “Beijing cloisonné” (Jingtailan) remains the official term for Chinese cloisonné today.

By the 19th century, secondary production centers developed in Canton (Guangzhou), Tianjin, and later Shanghai, mainly serving the export market. These later workshops maintained the traditional technique but often display brighter enamels and lighter metalwork.

It is generally difficult to date cloisonné precisely, since the technique has changed little over the centuries. Assessment relies mainly on form, enamel texture, and decorative motifs, although these could have been replicated at any time depending on market demand. Modern enamels tend to appear more uniform due to improved grinding of metal oxides.

In modern commercial cloisonné, the traditional soldered wirework is often replaced by a cast metal body where the ridges separating the colors are integrated into the casting itself. This makes production faster and eliminates the need for hand-soldered wires, making this ware technically speaking a Champlevé.

Small dents or enamel losses are common due to the softness of the brass or copper body and the brittleness of the enamel surface. These minor damages rarely detract from either the decorative or historical value of a genuine late Qing piece.