Cloisonne has long been a cloisonné that has jumped out of the narrow circle of the "Cloisonne Era".
It has evolved into a kind of traditional handicraft with the name of our nation.
"Cloisonne enamel" has become the synonym for cloisonné or the specific name in the entire field of enamel art.
This should also be regarded as something that only appeared at the end of the 19th century or the beginning of the 20th century.
That is to say, all cloisonné enamel works of art produced according to the cloisonné making process should be called cloisonné.
The concept here is completely separated from the "Jingtai Era", but the entire development process of cloisonné art from the enlightenment period to the mature and prosperous period (including the future).
Cloisonné enamel products in each period of this development process should be called cloisonné.
As for the different product standards in each development period, this is an inevitable reflection of the development process of cloisonne.
"Cloisonne" is like a beautiful woman, she should be called "Cloisonne" both before and after naming her.
Only in this way can it be consistent with the development history of cloisonne culture in my country!
Only by understanding what cloisonné is, what cloisonné enamel is, and what painting enamel is can we truly do these things well.
Therefore, after making these two slightly difficult works, Chen Wenzhe changed the technique again.
You can't just make enamelware, so this time the bonsai craftsmanship he made was a little more complicated.
The "Meishou Changchun" ruby Meishou Changchun bonsai also comes from the mid-Qing Dynasty, but it was made by the manufacturing office. This kind of thing must be an old collection of the Qing palace.
It has a total height of 38.5 cm, a basin height of 9 cm, and a basin diameter of 22-14.5 cm.
The rectangular basin is made of chiseled gold with rectangular corners. The upper part of the basin is open and the lower part is convergent, slightly in the shape of a bucket.
The edge of the mouth is chiseled with Ruyi patterns, and the lower edge of the mouth is convex with Ruyi cloud patterns. The belly of the basin is ground with ten thousand-character thunder pattern brocade, and the word "Shou" is convexly chiseled with 22 characters.
The main scenery in the pot is a plum blossom tree, with a gold-plated copper trunk, emerald leaves, ruby petals, sapphire heart, and golden stamens, which is vivid in mood.
The tree is lined with lake stones made of lapis lazuli and white jade, inlaid with precious stones such as Ganoderma lucidum, jade leaves, coral beads, evergreen, dotted green leaves, agate camellia and grass.
This gem potted plant is full of vitality and well-proportioned.
Just talking about the craftsmanship, it must be very complicated.
It's just a plum blossom tree, a gold-plated copper trunk, emerald leaves, ruby petals, a sapphire heart, and golden stamens. These are very troublesome to make.
Add to this the lake stones made of lapis lazuli and white jade, gem-inlaid Ganoderma lucidum, jade leaves, coral beads, evergreen, green leaves, agate camellia and grass, etc. These are too troublesome to make, and the most important thing is labor-intensive.
Of course, the Qing Palace Construction Office was not afraid of wasting time, because this was their responsibility.
Therefore, things like this were not uncommon in the Qing palace, and were produced during the Yongzheng and Qianlong periods.
For example, the Magu Xianshou bonsai was created by the Manufacturing Office during the Yongzheng period.
The overall height is 37 cm, the basin height is 13.5 cm, and the basin diameter is 24-21 cm.
The square rosewood base is decorated with bamboo patterns on the four edges, and the center of the front wall of the base is inlaid with a square white jade plate decorated with double dragons, fortune, longevity and fortune.
The four edges of the seat are inlaid with burnt blue leaves, lace with rubies and pearls, and a malachite mountain stands in the center.
A red coral phoenix stands alone on top of it, with its head held high and its neck extended, spreading its wings and ready to fly.
In addition, there is a Magu made of beeswax standing on the back of the phoenix, with beautiful eyebrows, quiet and dignified, wearing a topknot, draped with green ribbons inlaid with rubies on her shoulders, and holding a tourmaline peach.
The main scene is surrounded by pine trees inlaid with gold and pearls, and longevity stones and ganoderma lucidum inlaid with gold and rubies.
Not talking about the characters, just the accessories around me, I know that it is very troublesome to make.
Anyway, Chen Wenzhe would do it slowly if he had time.
Therefore, since I have become Yongzheng’s treasure, I cannot let go of Qianlong’s.
After all, things like gems simply piled together are not beautiful.
However, after polishing it and making it into a gem bonsai, it would be so beautiful.
Especially under the light, it is really colorful.
After Yongzheng's work was completed, it was Qianlong's turn.
This treasure of Qianlong's reign is called "Sui Sui Ping An". It is a double-eared golden vase with pine trees and flowers. It came from the manufacturing office and was collected by the Qing Palace.
The overall height is 64 cm, the bottle height is 22.5 cm, the bottle diameter is 8.8-6.2 cm, and the abdominal diameter is 14.4-10.8 cm.
He has the characteristics of the Qianlong era, that is, he spares no effort to make it magnificent!
The foundation of this treasure is a chiseled gold square bottle with two ears and a live ring.
The edge of the mouth is decorated with a kidnapper pattern, the neck of the bottle is chiseled with a pattern, and the two sides are inlaid with animal mask patterns and live rings.
The four sides of the bottle are chiseled with rope-patterned borders, and the whole body is chiseled with money patterns and brocade. The bottle is clearly divided into three parts: the neck, the belly, and the foot with thunder stripes.
The bottle body is inlaid with chiseled patterns on all sides, and the bottle neck is inlaid with Ganoderma lucidum and orchid patterns on all sides.
The base of the vase is inlaid with lotus patterns, the front of the vase is inlaid with bamboo, and the back is inlaid with peach branches.
Both sides are inlaid with patterns of chrysanthemums, dragonflies, orchids and flying birds.
The main scene in the vase is a pine tree with jasper leaves, and beeswax wisteria flowers hanging among the trees.
Under the tree are lined sapphire leaves, hibiscus petals of roses and white magnolias.
After doing this, Chen Wenzhe couldn't help but breathe a sigh of relief.
The main reason is that you need to be careful when doing it, and you are afraid that you will accidentally make a mistake. In this case, your previous efforts may be wasted.
“Make something simple!”
Although the filigree inlay process has a good error tolerance, the raw materials used now are all precious stones. If you are not careful, the loss will be huge.
Although Chen Wenzhe is now as wealthy as anyone in the country, he still cannot afford unnecessary waste.
There were a large number of gems piled up in front of me, and they had been prepared according to the various bonsais in the Treasure Pavilion, and even some of the gems had been processed.
These gemstones are all processed for the purpose of making bonsai. They can no longer be used for anything else but to continue to make bonsai.
Therefore, even if he wanted to stop at this time, he could only finish these designed works.
"There are five or six more things to do, so take your time!"
Chen Wenzhe first made a "Zhixian Birthday Celebration", this time using a sapphire chrysanthemum petal basin.
To put it simply, this is a narcissus bonsai, made in the mid-Qing Dynasty.
The overall height is 30 cm, and the basin diameter is 18-13 cm.
The sapphire chrysanthemum petal washbasin has four corners carved into the shape of a double-leaf chrysanthemum. The chrysanthemum is inlaid with rubies and green material. The lower belly of the basin is also carved with leaf patterns, and the top is inlaid with green material and interlaced with gold lines as veins.
There are lake stones made of lapis lazuli in the basin, and five narcissus plants are planted with ivory leaves, carved ivory as the root, white jade as the flower, and topaz as the heart.
Not many gems are used, and the image is not complicated.
Then, he used a large number of gems to make some stone flower bonsais.
This kind of bonsai is easier to make.
The agate-carved peach basin has an abstract shape. The wall of the basin is embossed with peach branches and leaves, and the bottom of the basin is supported by a dyed-tooth peach pattern base.
In the basin, a landscape is placed on the wooden support. The taller one is Tianzhu and the lower one is Narcissus.
The red fruit at the top of Tianzhu is made of coral beads, while the narcissus flowers are made of white jade and the leaves are made of sapphire.
Also planted one plant of Dianthus caryophylla and two plants of peach blossom as a lining.