Cloisonné enamel craftsmanship generally consists of several steps: design, shaping the base, wiring, applying enamel, firing, polishing, and gilding. This technique involves using soft flat copper wires to create various patterns, which are then welded onto a metal base. The spaces within these patterns are filled with enamel glaze, and the piece undergoes processes like firing, polishing, and gilding. The result is a stunning object with brilliant colors from the enamel and a dazzling sheen from the gilding, giving the piece an exquisite and luxurious appearance.

The cloisonné enamel technique was introduced to the Qing Palace from abroad and was combined with traditional Chinese metalworking methods. After evolving over several dynasties, it reached its peak during the Qianlong period, leaving behind a large number of precious enamel treasures.

The application of cloisonné enamel in the Qing Palace can be broadly divided into six categories: court regalia and ceremonial items, Buddhist temple supplies, daily necessities, decorative items, writing implements, and funeral offerings.  In this blog, we will mainly focus on the ceremonial palace items.

The main halls of the imperial palace were crucial to political life in the Qing Dynasty. All national ceremonies, daily court meetings, and major banquets took place there. In these palaces, where the emperor presided over grand ceremonies, feasts, and handled state affairs, there was a throne symbolizing the supreme power and dignity of the emperor. Behind the throne, there was a screen, and on either side or in front of it, decorative elements like the “太平有象” (symbolizing peace), Luduan (a mythical creature), Red-crowned cranes, Incense holders, and Incense burners were displayed.

 

The “太平有象” pattern is a traditional Chinese auspicious design, symbolizing peace and abundant harvests. The word “ping” (瓶), meaning vase, is a homophone for “peace (平),” so the design often features an elephant carrying a treasure vase, with flowers inserted in the vase as decorative elements.

These fixed decorative items, which complement the throne, are collectively referred to as ceremonial objects, distinguishing them from general decorative items. Most of these ceremonial items from the Qianlong period were made using cloisonné enamel craftsmanship, highlighting the Qing court’s admiration for and importance placed on cloisonné enamel pieces.

The Records of the Palace Work in the Qing Dynasty mentions that the ceremonial objects for the three main halls — the Taihe Hall, Zhonghe Hall, and Baohe Hall — were made in the sixth year of the Qianlong reign and continued to be used until the end of the Qing dynasty.

Cloisonné enamelware, with its copper base, is both functional and visually stunning. The vibrant enamel glazes and gleaming gold plating complement the grandeur of the palaces, creating a harmonious blend of solemnity and luxury. These items greatly highlighted the prosperity of the Qianlong period and showcased the high level of craftsmanship in the palace cloisonné enamel art. This is why cloisonné enamel was used extensively in the decoration of the Qing court’s grand halls.

In addition, there is a special set of items mentioned in the Qing court archives from the Qianlong period known as the “Three Incense Bottle” (炉瓶三事). This set primarily consists of a incense burner, an incense box, and an incense chopstick bottle (the term “chopsticks” is often used here in reference to the items used in incense rituals). The incense burner is used for lighting incense, the incense box is for storing the incense, and the chopstick bottle contains a pair of chopsticks and a scoop. Sometimes, however, a small plate and a small jar would also be included, making the set consist of five pieces in total.

The peak of incense culture in China occurred during the Ming and Qing dynasties, with its most notable feature being the standardization of incense tools and the formalization of the “Three Incense bottle”. In the 53rd chapter of Dream of the Red Chamber by Cao Xueqin, it is written, “In the flower hall, Jia Mu set up ten or more tables. Beside each table, there was a small stand with the three incense bottle, burning the imperial gift of lily palace incense.” This passage shows that the use of incense tools, including the three incense items, had become a popular trend at banquets across China during the Qing Dynasty.

By this time, the “Three Incense Bottle” had become a refined term for incense tools. They were widely used as decorative items in the Qing court. According to the Records of the Palace Work in the Qing Dynasty, the number of incense burners produced during this period exceeds the thousands. The materials and styles used were far more varied than in previous dynasties, including ceramics, gold, silver, copper, gilt, inlaid gold and silver, metal-finished enamel, jade from Hetian and Xiuyan, emerald, lapis lazuli, crystal, agate, tiger’s eye, turquoise, amber, glass, rosewood, red sandalwood, huanghuali wood, lacquer, and more, all of which were used to create these incense items.

The four characters in “Three Incense Bottle” (炉瓶三事) all carry auspicious and meaningful wishes. The word “炉” (lú) sounds like “胪” (lú) or “路” (lù), symbolizing success in the imperial examination or smooth journeys. “瓶” (píng), which sounds like “平” (píng), represents peace, safety, and the harmony of the world. The number “三” (sān) is symbolic of the creation of all things (三生万物), Three Stars of Fortune, Prosperity, and Longevity (福禄寿三星), and the three successes in examination (三元及第), all of which carry positive expectations. Finally, “事” (shì) signifies good fortune, everything going as planned, and smooth affairs. In essence, the combination of incense tools in the “Three Incense Items” expresses people’s hopes for a happy and prosperous life. It was a widely cherished traditional motif of the time.