Page 12 - Bonhams Ming and Qing Cloisonne Hong Kong December 2, 2021

COLOUR / IMPACT

Cloisonné enamel production was first introduced to China during ‘mixed colours’, as termed by Sir Harry Garner, referring to two or
the late Yuan dynasty in the 14th century. By the early Ming period, more colours mixed together to create a third colour. This technique
in the early 15th century, it already reached an exceptional level of was used from as early as the Yuan dynasty, and can be seen in the
maturity, displaying powerful designs and colours, magnificently combination of yellow and green and occasionally also with red. A
executed, from smaller vessels to large ones. This is best exemplified further technique employed during the early Ming period, used to
in the important pair of ‘dragon’ jars and covers, Xuande mark and create additional colours, was superimposing enamels, i.e. placing a
of the period, made under the auspices of the Yuyongjian, a division transparent layer, either purple of dark green, on an opaque layer of
of the Imperial Household, which are in the British Museum, London, white or yellow. Additionally, the effect of various colour combinations
and in the Uldry Collection, in Museum Rierberg in Zurich. and the design could also be enhanced by the use of more than
one colour within the same wire-cell, as is beautifully shown in the
Cloisonné enamel production was largely monopolized by the cloisonné enamel box and cover, Xuande marks and of the period, in
Imperial Court, aristocracy and senior ranking individuals, due to the Qing Court Collection, illustrated in Compendium of Collections
the costly and technically complex production, and the Court’s in the Palace Museum: Enamels 1, Beijing, 2011, no.57. Additional
taste and affluence, as well as its ability to utilise human resources. colours can be observed from the mid-Ming period, including brown,
and white-pink combined of red and white enamels.
Already in The Essential Criteria of Antiquities (Gegu Yaolun),
published by Cao Zhao in 1388, he comments on the ‘colourful The visual impact of cloisonné enamel wares, with their vibrant and
designs’ and noting five colours (although at least seven can be bold colours would have offered the beholder a powerful sensory
noted: turquoise blue, dark blue, white, yellow, red, purple and impression. This impact would have been further emphasised by
dark green). It is this colourfulness, combined with the durable the rich gilding on the wires forming each cloison, as well as the gilt
nature of the metal and enamelled body, which makes cloisonné metal rims, and often base and interior of the vessel.
unique to other mediums. This durability also distinguishes it from
other decorated wares such as porcelain, or organic materials such The importance of cloisonné enamel wares and their esteem in the
as lacquer. Colour played an important role in the Imperial Court Ming and Qing Imperial Court is evident from the secondary use
in communicating hierarchy and power. This was most clearly of earlier cloisonné vessels in later ones. Rather than discarding
demonstrated in the colour of Imperial robes permitted to certain older vessels, the Ming and Qing craftsmen at the Court often
ranks of individuals, but also in porcelain in types of coloured incorporated earlier sections with contemporary ones, as can be
vessels allocated to certain ranks within the Imperial family. seen in a number of examples in the Qing Court Collection; see
Compendium of Collections in the Palace Museum: Enamels 1,
In 1456, Wang Zuo published an expanded revision to Cao Zhao’s Beijing, 2011, nos.1 and 6. Additionally earlier pieces were often
publication, noting ‘The pieces produced for the Imperial Palace are further embellished during the 17th and 18th century with later gilt-
delicate, sparkling, and lovely’. It is therefore evident that cloisonné bronze mounts, handles and feet, adding to their visual impact.
enamel wares were highly in demand by the Ming Court, a demand
which continued onto the Qing Court. The forms of vessels often The enamelled colours seen today in the present lots on offer, are
mirrored those produced in porcelain. However, porcelain was the same observed by members of the Ming and early Qing Court,
decorated during the 14th century in relatively limited number of when they were first produced. Whilst the gilding may have in
colours, including blue and white, copper-red and celadon, which some instances worn away with centuries of appreciation, today
in the early to the mid-Ming period expanded to also include we can still admire the impact of the true colours in the present
enamelled yellow, red, green, turquoise, ochre and aubergine. as in the past.

Contrastingly, cloisonné enamel was decorated as early as the
Yuan dynasty in turquoise blue, dark blue, purple, yellow, red, white,
dark and paler green. This colour scheme was further expanded by Asaph Hyman

10 | BONHAMS