1. Cloisonné

Introduction

Cloisonné, also known as "copper-bodied wire inlaid enamel", is named for its primarily blue enamel colors (peacock blue and sapphire blue), and for flourishing during the Jingtai reign of the Ming Dynasty.

Artistic Characteristics

The final prosperous period for cloisonné was the Qianlong era of the Qing Dynasty. Large cloisonné production techniques advanced rapidly, with significantly increased output of large screens, thrones, and difficult high-level works. In the 39th and 47th years of Qianlong's reign, two batches of twelve large enamel Buddhist stupas over 230cm tall were fired and placed in palace Buddhist halls - an unprecedented feat. The Qianlong era also innovatively incorporated ancient calligraphy and paintings onto cloisonné wares, like reproducing the famous "Ode to the Nomad Flute" hand scroll depicting horses by the Tang painter Han Gan. Colors were skillfully shaded and dotted to mimic the brushwork effects, even imitating inscriptions and seals, with lifelike renderings of figures and horses.

Forms and Patterns

The Qianlong Emperor had a penchant for archaic objects, often demanding ancient bronze vessel shapes like zun, yi, ding, fou, and gu be used for cloisonné forms and patterns. Wares modeled on various animals also increased notably, adding rhinoceros, elephant, sheep, rabbit and rooster forms beyond the traditional Ming styles of lions and cranes.

Cloisonné craft reached an advanced level in the Qianlong era, with wares applied across many aspects of palace life. Patterns became more varied, incorporating painting's shading techniques to enhance artistic expression. More enamel colors appeared like black and pink. Copper bodies were expertly shaped, with evenly spaced inlaid wires and glossy, fully-filled enamels. Some works used the raised wire outlining technique quite innovatively, showcasing the pinnacle of Chinese copper-bodied wire inlaid enamel craft.

2. Jade Carving  

Introduction

Over jade carving's long development, the Ming and Qing dynasties saw the establishment of regional schools: the Southern jade school centered in Suzhou and Yangzhou, and the Northern jade school centered in Beijing. In the Qing, many excellent Southern jade artisans came to Beijing, combining the strengths of both schools into Beijing's jade craft.

Qing Dynasty Jade

The apogee was during the Kangxi, Yongzheng and especially Qianlong reigns, where the Qianlong Emperor's 60-year reign saw jade varieties, quantities, styles and exquisite carving skills reach unprecedented heights. This was especially evident in the carving of large jade pieces. From 1763-1769, the Imperial Workshops carved a 5,000-jin (over 3 tons) cloud and dragon-patterned monumental vase, the first attempt at carving colossal jades in the Qing, accumulating experience for later grand works. Immense jade mountains like the "Travelers Among Streams and Mountains" and "Great Yu Controlling the Flood" were then successively completed. Such titanic accomplishments required key factors like access to abundant jade sources. After suppressing the Dzungar and Hui rebellions in 1784 and 1788, Qing control stabilized over those jade-producing regions, receiving jade as tributary payments each spring and autumn, as recorded in poetry: "Jade gathered from Yuwu, spring and autumn tribute, transported as tax to the imperial capital."

3. Ivory Carving

Introduction  

Ivory carving was once called the "Imperial Craft", with products mainly serving as imperial tributes. Beijing ivory carvings excel at figures of ladies, elders, Buddhas, vessels and flora.  Early ivory figure carvings had minimal dynamic poses, earning the moniker "rod figures".

Artistic Characteristics

While inheriting traditional techniques, Beijing ivory carving continually innovated with group sculptural compositions and comprehensive applications of carving styles like relief, openwork and the round. This enabled creation of monumental ivory art. Like jade, grand scales often best embodied the supreme artistry of ivory carving.