Cloisonne, the art of applying brass wires to the surface of a copper or bronze object and filling the spaces with enamel, has become an important Chinese contribution to world art, even though it was originally introduced to China by Arabs in the 14th century. The reign of Emperor Ching Tai (1450-1457) of the Ming Dynasty is particularly noted for cloisonne products. The Chinese refer to cloisonne, which usually has a blue cast, as Ching Tai Blue.

In recent years, the art of cloisonne has been revived in Taiwan. Ingenious artists use modern machinery to make a variety of creative jewelry and vessels. Cloisonne shops have been opened one after another. Fashion-conscious women like to wear a piece of Ching Tai Blue to show their good taste. Departing tourists often buy cloisonne objects as gifts for their friends and relatives.

The art prospered immediately after it was introduced to China, because the people at that time had mastered metallurgical and enameling techniques. These are important in making cloisonne. Enamel is as smooth as jade, brilliant as jewel, and white as porcelain, so it is liked by the people.

During the reign of Emperor Chien Lung of the Ching Dynasty, the art was further refined and large quantities of beautiful cloisonne products were made by both government and private shops. As quality subsequently declined, however, so also did the importance of cloisonne.

Revival: More than 10 years ago, Kuo Ming-chiao, a prominent artist in Taiwan, worked out a new way to make cloisonne. Kuo became interested in the art when he was holding a painting exhibition in Germany 12 years ago, and saw a number of cloisonne vessels on display. He deplored why the Chinese masterpieces could be seen only in a foreign country, not in China.

Since a large cloisonne object may change shape during heating, Kuo began by making small articles. He was immersed in the art and often worked until dawn. After more than 300 days, he succeeded in developing a new process which is different from that adopted by the World Cloisonne Association. Not only does this method cut production costs, but it also allows vases as tall as two feet to be made.

First, Kuo shapes copper wires into different patterns and fuses them on a copper or bronze object. Then, he fills the spaces with enamel of different colors.

After the holes in the various patterns are filled, the object is fired in a kiln. With each firing, the enamel shrinks, so the crevice has to be filled with more enamel and fired again until the hole is completely filled. Then, the product is polished, and the edges of the vessel and the surface of the copper wires gilded.

Challenges: In the manufacturing process, each step calls for skilled techniques. The wires must be fused to the enamel firmly, and the temperature must be appropriate so that the copper object will not lose shape. Like stained glass, the enamel must show different layers of color. After the maker has mastered the production techniques, he can express his artistry in the shape of the object and the patterns on its surface.

After cloisonne was introduced to China, it began to assume a Chinese flavor. The colors are less glaring than those from other areas, reflecting the stoical character of the Chinese people. Cloisonne products also differ according to the dynasty in which they were made.

Cloisonne products made in Taiwan are not generally replicas of those made in past dynasties, but rather reflect the thinking and preferences of modern society. According to Kuo Ming-chiao, modern products still incorporate flowers and leaves as their main patterns, but some abstract themes have been added.

Because enamel and copper respond to high temperatures differently, the enamel is apt to come loose. Overcoming such technical limitations to create new platters has been one of the challenges Kuo has faced.

In ancient times, cloisonne products were limited to vases and platters. Now, whole table sets are made. Cloisonne necklaces have become popular among women today. At a cost of US$5.5 each, several pieces can be purchased to match different dresses. In ancient times, the object on which enamel was fixed was shaped by hand, so each piece was subtly different. Now that machinery has been introduced to cut down costs, the variation in shapes is limited. Overcoming this drawback poses another challenge.

Combination art: Both the shapes and patterns of cloisonne pieces, Kuo Ming-chiao says, express the beauty of Chinese art. The out-standing vases of ancient times, for instance, owe their beauty to their curved surfaces. If the necks of vases were a shade thicker or thinner, for instance, the appearance of these vases would be impaired.

Cloisonne is a combination art, involving the principles of chemistry, physics, painting and engraving. A host of difficulties will be encountered before a breakthrough can be achieved in any of these areas. To overcome the physical differences between enamel and copper, and to match the hands and mind, have always been the main goals of cloisonne artists. Practitioners of old scored great achievements in these areas and modern artists are trying to emulate them.

As an artist, Kuo Ming-chiao is adept at designing patterns, and has found his true vocation in developing the cloisonne art. He has established a factory in the suburbs of Taipei and a shop in the downtown area. Demand for products is always greater than supply.

Many people have followed Kuo Ming-chiao into the cloisonne business, but most of them are just merchants and cannot be considered as artists. Nevertheless, the commercialization they have encouraged has brought cloisonne products to the attention of the public. Without their efforts, examples of the art would be confined to old pieces collecting dust in curios shops.

[Picture Caption]

This cloisonne vase by Kuo Ming-chiao is rich in color and elegant in outline. The edges are gilded.

1. Cloisonne products have become familiar objects in daily life. This is a table set including two platters, setting for a bottle of wine, seven napkin holders, a toothpick holder, and salt and pepper shakers. 2. Kuo spent more than a month making this ornamental platter with a diameter of 24 inches. 3. Kuo Ming-chiao has been making cloisonne articles for more than 10 years. His products are often selected as gifts to be presented to important visitors. 4. The making of cloisonne involves seven processes, including fusing and grinding. 5. Enamel of different colors is ground into powder, which is mixed with water before being used to fill the spaces between the wires on copper objects.

Cloisonne necklaces have become favorites of fashion-conscious women. 3 & 4. Various kinds of cloisonne ornaments made in Taiwan.

Cloisonne products have become familiar objects in daily life. This is a table set including two platters, setting for a bottle of wine, seven napkin holders, a toothpick holder, and salt and pepper shakers.

Kuo spent more than a month making this ornamental platter with a diameter of 24 inches.

Kuo Ming-chiao has been making cloisonne articles for more than 10 years. His products are often selected as gifts to be presented to important visitors.

The making of cloisonne involves seven processes, including fusing and grinding.

Enamel of different colors is ground into powder, which is mixed with water before being used to fill the spaces between the wires on copper objects.

Cloisonne necklaces have become favorites of fashion-conscious women.

Cloisonne necklaces have become favorites of fashion-conscious women.

Various kinds of cloisonne ornaments made in Taiwan.

Various kinds of cloisonne ornaments made in Taiwan.