1015:
962:
573:
1031:
27:
1000:
933:
896:
728:
596:
638:
818:
782:
988:
616:
798:
911:
762:
169:
549:
1370:
192:
1389:
468:
354:
1354:
1086:
744:
55:
1077:. Fabergé developed a style of raised and contoured metal shapes rising from the base plate, which were filled, though more thinly than in most cloisonné (effectively painted), leaving the metal edges clear. This is usually called cloisonné or "raised cloisonné", though the appropriateness of the term might be disputed, as in other types of cloisonné the surface is smooth, which is not the case with these.
1094:
262:, are frequently described as using "enamel", many scholars doubt the glass paste was sufficiently melted to be properly so described, and use terms such as "glass-paste". It seems possible that in Egyptian conditions the melting point of the glass and gold were too close to make enamel a viable technique. Nonetheless, there appear to be a few actual examples of enamel, perhaps from the
1152:
completely before firing, which is done by putting the article, with its enamel fillings, in a kiln. The enamel in the cloisons will sink down a lot after firing, due to melting and shrinkage of the granular nature of the glass powder, much as sugar melting in an oven. This process is repeated until all cloisons are filled to the top of the wire edge.
1131:
to adhere the cloison wires has fallen out of favor due to its difficulty, with the exception of some "purist contemporary enamellists" who create fine watch faces and high quality very expensive jewelry. Instead of soldering the cloisons to the base metal, the base metal is fired with a thin layer of clear enamel. The
1014:
1130:
wire pattern may consist of several intricately constructed wire patterns that fit together into a larger design. Solder can be used to join the wires, but this causes the enamel to discolour and form bubbles later on. Most existing
Byzantine enamels have soldered cloisons, however the use of solder
517:
is a related enameling technique which uses clear enamels and no metal backplate, producing an object that has the appearance of a miniature stained glass object - in effect cloisonné with no backing. Plique-a'-jour is usually created on a base of mica or thin copper which is subsequently peeled off
392:
began again to use much thinner wire more freely to allow much more complex designs to be used, with larger and less geometric compartments, which was only possible using enamel. These were still on relatively small objects, although numbers of plaques could be set into larger objects, such as the
297:
pieces mostly use garnet cloisonné, but this is sometimes combined with enamel in the same piece. A problem that adds to the uncertainty over early enamel is artefacts (typically excavated) that appear to have been prepared for enamel, but have now lost whatever filled the cloisons. This occurs in
720:
In
Byzantine pieces, and even more in Chinese work, the wire by no means always encloses a separate color of enamel. Sometime a wire is used just for decorative effect, stopping in the middle of a field of enamel, and sometimes the boundary between two enamel colors is not marked by a wire. In the
658:(1425–35), which however show a full use of Chinese styles suggesting considerable experience in the technique. It was initially regarded with suspicion by Chinese connoisseurs, firstly as being foreign, and secondly as appealing to feminine taste. However, by the beginning of the 18th century the
113:
or affixing silver or gold as wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonné enamel objects are worked on with enamel powder made into a paste, which
1146:
Vitreous enamels in the different colors are ground to fine powders in an agate or porcelain mortar and pestle, then washed to remove the impurities that would discolor the fired enamel. The enamel is made from silica, niter, and lead oxide to which metallic oxides are added for coloring. These
345:
brooch with glass-paste in the gallery. Thick ribbons of gold were soldered to the base of the sunken area to be decorated to make the compartments, before adding the stones or paste. In the
Byzantine world the technique was developed into the thin-wire style suitable only for enamel described
1151:
which is ground again before application. Each color of enamel is prepared this way before it is used and then mixed with a very dilute solution of gum tragacanth. Using fine spatulas, brushes or droppers, the enameler places the fine colored powder into each cloison. The piece is left to dry
440:
backgrounds, and the saint illustrated here. The wires and enamels are then added as before. The outline of the design will be apparent on the reverse of the base plate. The transition between the two techniques occurs around 900 in
Byzantine enamel, and 1000 in the West, though with important
486:, where the spaces for the enamel to fill are created by making recesses (using various methods) into the base object, rather than building up compartments from it, as in cloisonné. This happened during the 11th century in most centres in Western Europe, though not in Byzantium; the
541:
models, and other applications, though in these the metal base is normally cast with the compartments in place, so the use of the term cloisonné, though common, is questionable. That technique is correctly referred to by goldsmiths, metalsmiths and enamellists as champlevé.
932:
105:, glass and other materials were also used during older periods; indeed cloisonné enamel very probably began as an easier imitation of cloisonné work using gems. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments (
1125:
and is usually about .010 x .040 inches in cross section. It is bent into shapes that define the colored areas. The bends are all done at right angles, so that the wire does not curve up. This is done with small pliers, tweezers, and custom-made jigs. The
961:
572:
221:, and the earliest enamel all used the cloisonné technique, placing the enamel within small cells with gold walls. This had been used as a technique to hold pieces of stone and gems tightly in place since the 3rd millennium BC, for example in
2063:
322:, as well as glass and enamel, with small thick-walled cloisons. Red garnets and gold made an attractive contrast of colours, and for Christians the garnet was a symbol of Christ. This type is now thought to have originated in the
653:
in the 13–14th centuries; the first written reference is in a book of 1388, where it is called "Dashi ware". No
Chinese pieces clearly from the 14th century are known, the earliest datable pieces being from the reign of the
426:("full" enamel, literally "full melt") technique where the whole of a gold base plate is to be covered in enamel. The edges of the plate are turned up to form a reservoir, and gold wires are soldered in place to form the
1167:
wire when the enamel is molten, producing a concave appearance. Convex cloissoné is produced by overfilling each cloison, at the last firing. This gives each color area the appearance of slightly rounded mounds. Flat
721:
Byzantine plaque at right the first feature may be seen in the top wire on the saint's black sleeve, and the second in the white of his eyes and collar. Both are also seen in the
Chinese bowl illustrated at top right.
833:, Japanese cloisonné enamel reached a technical peak, producing items more advanced than any that had existed before. The period from 1890 to 1910 was known as the "Golden age" of Japanese enamels. An early centre of
436:("sunk" enamel, literally "sunk melt") technique the parts of the base plate to hold the design are hammered down, leaving a surrounding gold background, as also seen in contemporary Byzantine icons and mosaics with
126:
techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewellery, and by then always using enamel. This was used in Europe, especially in
121:
In antiquity, the cloisonné technique was mostly used for jewellery and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloison walls. In the
1172:
is the most common. After all the cloisons are filled the enamel is ground down to a smooth surface with lapidary equipment, using the same techniques as are used for polishing cabochon stones. The top of the
895:
727:
506:
surrounding bare metal. In turn champlevé was replaced by the 14th or 15th century by painted enamels, once techniques were evolved that allowed the enamel to be painted onto a flat background without running.
1581:. There are disputes as to whether, or when, such materials were fired with the object, or fired separately first and then cut into pieces to be inlaid like gems. It seems both methods may have been used. See
298:
several different regions, from ancient Egypt to Anglo-Saxon
England. Once enamel becomes more common, as in medieval Europe after about 1000, the assumption that enamel was originally used becomes safer.
251:, thicker strips form the cloisons, which remain small. In Egypt gemstones and enamel-like materials sometimes called "glass-paste" were both used. Although Egyptian pieces, including jewellery from the
595:
1454:
In French "cloison" is a general word for "compartment" or "partition" or "cell", in
English the word is normally only used in the specialized context of cloisonné work, and apparently dentistry (
1315:
548:
1551:
781:
2010:
We doubt if any form of the enameller's art can equal the work executed in Japan, which is distinguished by great freedom of design, and the most exquisite gradations of color.
999:
674:(1450–57), although 19th century or modern pieces are far more common. The Chinese industry seems to have benefited from a number of skilled Byzantine refugees fleeing the
281:
to the ancient Celts, but they essentially used the champlevé technique. Subsequently, enamel was just one of the fillings used for the small, thick-walled cloisons of the
420:
Two different techniques in
Byzantine and European cloisonné enamel are distinguished, for which the German names are still typically used in English. The earliest is the
381:
cut to fit like the gems. Sometimes compartments filled with the different materials of cut stones or glass and enamel are mixed to ornament the same object, as in the
139:, but had then spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and
615:
2592:
1959:
874:
761:
1842:
This was improved further in the second of the 17th
Century when copper--a more pliable metal--replaced bronze as the metal for both bases and cloisons.
987:
1069:
by the end of the 14th century, now using champlevé. Cloisonné barely returned until the 19th century, when it was used in revivalist styles by the
1101:
with dropper after sintering cloisons. Upon completion the piece will be fired, then ground (repeating as necessary) then polished and electroplated
1513:
910:
537:
fillings for the cloisons. A version of cloisonné technique is often used for lapel badges, logo badges for many objects such as cars, including
1685:
The date of the change is uncertain, partly because Early Byzantine enamels were much forged in 19th century Russia, rather confusing historians.
678:
in 1453, although based on the name alone, it is far more likely China obtained knowledge of the technique from the middle east. In much Chinese
518:(mica) or etched away with acid (copper). In the Renaissance the extravagant style of pieces effectively of plique-à-jour backed onto glass or
26:
2621:
1388:
1030:
1713:
377:
include much garnet cloisonné, some using remarkably thin slices, enabling the patterned gold beneath to be seen. There is also imported
1673:
498:. Champlevé allowed increased expressiveness, especially in human figures, and was also cheaper, as the metal base was usually just
2304:
2221:
1369:
464:
effect by using two plates superimposed on each other, the upper one with the design outline cut out and the lower one left plain.
417:. The area to be enamelled was stamped to create the main depression, pricked to help the enamel adhere, and the cloisons added.
1742:
2460:
2428:
686:("Jingtai blue ware"), refers to this, and the Jingtai Emperor. Quality began to decline in the 19th century. Initially heavy
1566:
2567:
2456:
2424:
2359:
2326:
2205:
2178:
2151:
2122:
2086:
1898:
1535:
2545:
2914:
525:
Other ways of using the technique have been developed, but are of minor importance. In 19th century Japan it was used on
2668:
2399:
2278:
1226:
and Byzantine plaques, dating from the 8th to 12th centuries, said to be the largest enamelled work of art in the world.
409:. Some objects combined thick and thin cloisons for varied effect. The designs often (as at right) contained a generous
1930:
1639:
1327:
263:
2363:
452:
work, but the enamel covers the whole plaque except for thick outlines around the figures and inscriptions, as in the
2585:
2571:
2559:
2541:
2448:
2416:
2395:
2351:
2318:
1476:
1159:
are most often seen: concave, convex, and flat. The finishing method determines this final appearance. With concave
2629:, Department of Asian Art, in Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–2004
2600:
2330:
1626:
698:
vessels were used, and the wire glued on before firing. The enamels compositions and the pigments change with time.
666:
workshop among the many Imperial factories. The most elaborate and highly valued Chinese pieces are from the early
1891:
Japonisme and the rise of the modern art movement : the arts of the Meiji period : the Khalili collection
1311:
1963:
829:
The Japanese also produced large quantities from the mid-19th century, of very high technical quality. During the
2257:
Bàràny-Oberschall, Magda de, "Localization of the Enamels of the Upper Hemisphere of the Holy Crown of Hungary",
952:
1105:
First the object to be decorated is made or obtained; this will normally be made by different craftspeople. The
2512:
2494:
2378:
2290:
645:
enamel and gilt bronze; the design was loosely based on Zhou Dynasty inlaid bronzes of the 5th–4th centuries BC
310:
spread to surrounding cultures and a particular type, often known as "garnet cloisonné" is widely found in the
118:. If gemstones or colored glass are used, the pieces need to be cut or ground into the shape of each cloison.
2404:
1319:
889:(七宝焼). Japanese enamels were regarded as unequalled thanks to the new achievements in design and colouring.
705:
is sometimes confused with Canton enamel, a type of painted enamel on copper that is more closely related to
2530:
Catalogue of the Byzantine and Early Medieval Antiquities: Jewelry, Enamels, and art of the Migration Period
1342:. Researchers have used the collection to establish a chronology of the development of Japanese enamelling.
1109:
usually used for making the body is copper, since it is cheap, light and easily hammered and stretched, but
3659:
1268:
1163:
the cloisons are not completely filled. Capillary action causes the enamel surface to curve up against the
225:, and then Egypt. Enamel seems likely to have developed as a cheaper method of achieving similar results.
1943:
Namikawa Yasuyuki and Japanese Cloisonné The Allure of Meiji Cloisonné: The Aesthetic of Translucent Black
2596:
1353:
1323:
1307:
1303:
1250:
939:
358:
637:
3674:
3125:
2371:
Splendors of Meiji : treasures of imperial Japan : masterpieces from the Khalili Collection
1062:
817:
1510:
1005:
846:
822:
743:
448:
show a unique transitional phase, where the base plaque has hammered recesses for the design, as in
329:
and to have initially reached the Migration peoples as diplomatic gifts of objects probably made in
3679:
3669:
2961:
2783:
244:
1889:- Japanese spirit, Western techniques: Meiji period arts for the West". In Irvine, Gregory (ed.).
3592:
2685:
2661:
1230:
34:, from his daughter's grave, using shaped stones rather than enamel. Cloisonné inlays on gold of
2966:
2633:
An Interview with Contemporary Enamel Artist Laura Zell Demonstrating Basic Cloisonné Techniques
1318:
in Kyoto is dedicated to the technique. A collection of 150 Chinese cloisonné pieces is at the
2470:
2443:, various authors, Harvard University Press reference library, Harvard University Press, 1999,
675:
494:
of around 1156, contains both types, but the inner cloisonné sections were probably gifts from
147:
2498:
2168:
2076:
1523:
168:
3492:
2522:
2195:
2112:
1837:
1832:
606:
482:
In medieval Western Europe cloisonné enamel technique was gradually overtaken by the rise of
445:
402:
143:
enamel objects using Chinese-derived styles were produced in the West from the 18th century.
797:
3664:
3329:
2986:
2632:
717:. This is painted on freehand and so does not use partitions to hold the colours separate.
382:
326:
311:
240:
158:
8:
3324:
1291:
252:
184:
1070:
1042:
483:
17:
2733:
2713:
2654:
2264:
2001:
191:
82:
1335:
978:
866:
3180:
2763:
2581:
2563:
2555:
2537:
2508:
2490:
2452:
2444:
2420:
2412:
2384:
2374:
2355:
2347:
2322:
2314:
2286:
2201:
2174:
2147:
2140:
2118:
2082:
1993:
1926:
1904:
1894:
1854:
1712:
Bàràny-Oberschall, 122–123; Lasko, 8—he prefers ""full" enamel" and ""sunk" enamel";
1582:
1531:
1472:
1425:, a similar technique for dying cloth, with pools of dye between ridges of temporary
1331:
1282:
1239:
1223:
1219:
1074:
923:
858:
810:
710:
625:
487:
2626:
901:
Matching Pair of Cloisonné Vases, c. 1800–1894, from the Oxford College Archives of
3090:
2919:
2873:
2793:
2259:
1946:
1578:
1563:
1415:, where the glass is melted onto the object, is also done without separating wires.
902:
881:. The Namikawa Yasuyuki Cloisonné Museum is specifically dedicated to it. In Japan
706:
378:
307:
286:
123:
1302:
Collections of Japanese cloisonné enamels are held at major museums including the
514:
472:
3185:
3120:
2931:
2904:
1738:
1703:
Ross, 99, describing what appear to be trainee pieces in bronze, never completed.
1570:
1517:
1480:
1412:
870:
787:
Chinese enameled and gilt candlestick from the 18th or 19th century, Qing dynasty
737:, 1736–1795. Shrine: Cloisonné enamel on copper alloy; Figure is copper with gems
714:
671:
582:
414:
370:
347:
294:
173:
128:
98:
77:
1089:
Adding cloisons according to the pattern previously transferred to the workpiece
682:
blue is usually the predominant colour, and the Chinese name for the technique,
3538:
3482:
3470:
3399:
3043:
2981:
2533:
1734:
1206:
1182:
659:
655:
508:
495:
330:
2758:
1275:
1188:
Further information on the artist and inventor of Contemporary Cloisonné:
1177:
wire is polished so it is flush with the enamel and has a bright lustre. Some
3653:
3613:
3543:
3502:
3170:
2924:
2909:
2858:
2282:
1997:
1908:
534:
394:
389:
270:
2578:"The Work of Angels", Masterpieces of Celtic Metalwork, 6th-9th centuries AD
2388:
1790:
1587:
Enamelling: A Comparative Account of the Development and Practice of the Art
135:. By the 14th century this enamel technique had been replaced in Europe by
89:
objects with colored material held in place or separated by metal strips or
3638:
3633:
3628:
3580:
3533:
3363:
3309:
3095:
2976:
2936:
2828:
1212:
1189:
842:
749:
667:
519:
476:
323:
282:
196:
132:
59:
47:
1405:
136:
3586:
3575:
3465:
3304:
3254:
3249:
3165:
3007:
2883:
2833:
2708:
2703:
2475:
1288:
1264:
1038:
944:
830:
734:
602:
559:
410:
338:
266:(beginning 1070 BC) on. But it remained rare in both Egypt and Greece.
222:
31:
2005:
589:
with garnets, amethysts, and colored glass, and some cloisons now empty.
467:
3409:
3354:
3229:
3142:
3100:
3002:
2951:
2888:
2863:
2738:
2467:
On-site Analysis of Chinese Cloisonné Enamels from 15th to 19th century
2268:
1830:
Eckens, Marie (September 1982). "The True Art of Cloisonne". Antiques.
1339:
1136:
1085:
1054:
437:
398:
374:
353:
342:
290:
278:
3110:
2637:
2489:, eds. Paul T. Nicholson, Ian Shaw, 2000, Cambridge University Press,
3555:
3548:
3419:
3414:
3394:
3319:
3244:
3238:
3219:
3115:
3056:
2971:
2868:
2803:
2778:
2768:
2698:
2677:
1941:
Toyoro Hida, Gregory Irvine, Kana Ooki, Tomoko Hana and Yukari Muro.
1676:
British Museum Google Arts & Culture app. Retrieved 2 April 2019.
1236:
1122:
1034:
621:
578:
563:
491:
337:
was made in the same periods with similar results – compare the gold
315:
218:
86:
43:
35:
456:
technique (see the gallery below for examples of this technique and
3623:
3597:
3523:
3450:
3389:
3379:
3374:
3334:
3274:
3264:
3224:
3206:
3195:
3190:
3105:
3061:
2946:
2941:
2878:
2818:
2808:
2773:
2748:
2723:
2718:
1066:
555:
274:
228:
The earliest undisputed objects known to use enamel are a group of
162:
102:
39:
2311:
Symbols of Excellence: Precious Materials as Expressions of Status
1420:
3618:
3528:
3440:
3349:
3314:
3299:
3284:
3269:
3259:
3132:
3066:
3017:
2956:
2813:
2788:
2753:
1330:
includes 107 cloisonné enamel art works, including many works by
1185:
with a thin film of gold, which will not tarnish as silver does.
1143:
wire to the clear enamel. The gum burns off, leaving no residue.
772:
694:
bodies were used, and the wires soldered, but later much lighter
530:
526:
503:
248:
229:
2641:
54:
3518:
3424:
3384:
3359:
3294:
3279:
3175:
3160:
3155:
3071:
3022:
3012:
2728:
2693:
1426:
1139:. When the gum has dried, the piece is fired again to fuse the
1114:
1093:
838:
806:
695:
687:
499:
430:. The enamel design therefore covers the whole plate. In the
406:
319:
233:
180:
110:
1733:
Earlier Western examples are few but include the cover of the
3497:
3487:
3477:
3460:
3455:
3445:
3404:
3234:
3214:
3150:
3082:
2823:
2798:
2743:
2022:
1106:
967:
916:
862:
850:
691:
650:
586:
154:
2646:
2471:
http://onlinelibrary.wiley.com/doi/10.1002/jrs.2516/abstract
2110:
2078:
English Medieval Industries: Craftsmen, Techniques, Products
1483:, a rather more restricted definition than some sources use.
3369:
3344:
3339:
3289:
3051:
1148:
1110:
1098:
1061:
was perhaps the only centre. The industry stopped with the
1058:
624:
slaying the dragon, 12th century cloisonné enamel on gold,
444:
The plaques with apostles of around the latter date on the
306:
The Byzantines perfected a unique form of cloisonné icons.
176:
157:, often with more of the latter. The 11th or 12th-century
115:
94:
90:
649:
From Byzantium or the Islamic world the technique reached
236:, dated to the 12th century BC, and using very thin wire.
217:
Cloisonné first developed in the jewellery of the ancient
1455:
854:
538:
2622:
Cloisonné Articles and Tutorials at The Ganoksin Project
2482:, Penguin History of Art (now Yale), 1972 (nb, 1st edn.)
318:" peoples of Europe, who used gemstones, especially red
2337:
The enamels of China and Japan, champlevé and cloisonné
2222:"Meiji No Takara – Treasures of Imperial Japan: Enamel"
2137:
1394:
Detail showing pattern and partially completed cloisons
951:
enamel in history at the time and was exhibited at the
529:
vessels with ceramic glazes, and it has been used with
2074:
1418:
981:(c. 1900), translucent plique-a-jour enamel on silver.
153:
refers to walls built with a regular mix of stone and
1053:
developed from Byzantine models during the period of
2469:, Journal of Raman Spectroscopy 41 (2010) 780–790.
2465:Kırmızı Burcu, Colomban Philippe, Béatrice Quette,
2373:. St. Petersburg, FL: Broughton International Inc.
346:below, which was imitated in Europe from about the
333:, then copied by their own goldsmiths. Glass-paste
203:
or "sunk" technique and the new thin-wire technique
2441:Late antiquity: a guide to the postclassical world
2139:
1641:Dark-age Britain: Studies Presented to E. T. Leeds
1147:ingredients are melted together, forming a glassy
670:, especially the reigns of the Xuande Emperor and
2554:, 4th edn, University of California Press, 1999,
2409:Sutton Hoo: the excavation of a royal ship-burial
2263:, Vol. 31, No. 2 (Jun., 1949), pp. 121–126,
2104:
1408:, enamelling into hollows made in a metal surface
1020:Owari Cloisonne Enamel Octagon by Takemasa Tamura
993:Pair of Two-fold Screens 1900–1905, Nagoya, Japan
605:showing the unique transitional technique of the
3651:
877:became one of the leading companies of Japanese
471:French 16th-century mirror-back, with cloisonné/
2193:
2166:
2068:
1057:, and has mainly survived in religious pieces.
2197:Jewelrymaking Through History: An Encyclopedia
2111:Felicia Liban; Louise Mitchell (6 July 2012).
1893:. New York: Thames & Hudson. p. 177.
1625:Late Antiquity, 464. See here for scientific
2662:
1135:wire is glued to the enamel surface with gum
2200:. Greenwood Publishing Group. pp. 88–.
2131:
1962:. Victoria and Albert Museum. Archived from
1674:Purse lid from the ship-burial at Sutton Hoo
1278:, last pagan king of the Franks, died c. 481
2505:The Oxford Companion to the Decorative Arts
2344:China: a historical and cultural dictionary
1737:, the foot-reliquary of St Andrew made for
460:work). Some 10th-century pieces achieve a
2669:
2655:
1503:The Earliest Cloisonne Enamels from Cyprus
522:was developed, but was never very common.
502:and if gold was used, it was generally to
2593:"Japanese Cloisonné: the Seven Treasures"
2487:Ancient Egyptian Materials and Technology
2301:Glass on Metal, the Enamellist's Magazine
2187:
2170:An Opening: Twelve Love Stories about Art
2160:
1507:Glass on Metal, the Enamellist's Magazine
849:the leading producer. Later centres were
65:enamel bowl, using nine colours of enamel
1714:British Museum on using the German names
1328:Khalili Collection of Japanese Meiji Art
1222:, a large gold altarpiece with over 100
1092:
1084:
1029:
821:Production process of an enamel vase by
816:
796:
636:
466:
352:
190:
167:
53:
25:
1743:Imperial Crown of the Holy Roman Empire
1552:Pectoral and Necklace of Sithathoryunet
301:
16:For the They Might Be Giants song, see
3652:
2580:, 1989, British Museum Press, London,
2114:Cloisonné Enameling and Jewelry Making
2064:Example in the Cleveland Museum of Art
1884:
1829:
1637:
1521:
641:An 18th-century Chinese wine pot with
2650:
2411:, 2nd Edition, Seafarer Books, 1988,
2368:
2313:, Cambridge University Press, 1986,
2117:. Courier Corporation. pp. 92–.
1853:Osborne, 201–202; Nillson, Jan-Brik,
341:fitting with garnets (right) and the
195:Byzantine cloisonné enamel plaque of
76:
2638:About TAMURA SHIPPO Cloisonne Enamel
1501:Osborne, 331; Michaelides, Panicos,
1471:, p. xliii, 2004, Greenwood Press,
1215:, a 9th-century Anglo-Saxon ornament
2275:An Introduction to Medieval Enamels
1644:. Methuen – via Google Books.
511:was a great centre for both types.
13:
2173:. Wakefield Press. pp. 104–.
1878:
1316:Namikawa Yasuyuki Cloisonné Museum
1041:, opaque raised cloisonné enamel,
264:Third Intermediate Period of Egypt
109:in French) to the metal object by
23:Enamelling technique used on metal
14:
3691:
2615:
2075:John Blair; Nigel Ramsay (1991).
1550:Clark, 67-68. For an example see
1530:. Psychology Press. p. 259.
1257:
1121:wire is made from fine silver or
1080:
277:, and was perhaps carried by the
101:has been used, but inlays of cut
2138:Glenice Lesley Matthews (1984).
2081:. A&C Black. pp. 127–.
1960:"Japanese Cloisonné Manufacture"
1638:Harden, Donald Benjamin (1956).
1387:
1368:
1352:
1312:Los Angeles County Museum of Art
1013:
998:
986:
960:
931:
909:
894:
780:
760:
742:
726:
614:
594:
571:
547:
212:
179:(knife) hilt fitting, gold with
2239:
2214:
2095:
2057:
2048:
2039:
2015:
1977:
1952:
1947:The Mainichi Newspapers Co, Ltd
1935:
1915:
1869:
1860:
1847:
1823:
1814:
1805:
1796:
1784:
1775:
1766:
1757:
1748:
1727:
1718:
1706:
1697:
1688:
1679:
1666:
1657:
1648:
1631:
1619:
1610:
1274:The 5th century grave goods of
562:. Gold, pearls, with cloisonné
2396:Gardner's Art Through the Ages
2142:Enamels, Enameling, Enamelists
1925:p.122, p.132. Heibonsha, 2014
1601:
1592:
1557:
1544:
1528:Encyclopedia of Ancient Greece
1495:
1486:
1461:
1448:
1439:
1297:
873:and won many awards. In Kyoto
369:The dazzling technique of the
1:
2676:
2251:
1811:Sullivan, 239; Dillon, 58-59.
1320:G.W. Vincent Smith Art Museum
1229:the eyes of the 10th century
1117:or other metals may be used.
558:Brooch, c. 800, found in the
357:Plaque from the 10th-century
269:The technique appears in the
256:
2437:, Taylor & Francis, 1956
1253:from late 19th century Japan
953:World's Columbian Exposition
865:(renamed from Edo) resident
388:From about the 8th century,
273:of the northern and central
114:then needs to be fired in a
7:
1986:The Decorator and Furnisher
1522:Wilson, Nigel, ed. (2006).
1419:
1399:
1194:
775:burner, 17th-18th centuries
10:
3696:
2597:Victoria and Albert Museum
1754:Bàràny-Oberschall, 122-123
1378:artwork of Korea (namjung
1345:
1324:Springfield, Massachusetts
1308:Metropolitan Museum of Art
1304:Victoria and Albert Museum
1251:Khalili Imperial Garniture
1187:
940:Khalili Imperial Garniture
359:Cross of Otto and Mathilde
207:
15:
3606:
3568:
3511:
3433:
3204:
3141:
3080:
3042:
3035:
2995:
2897:
2851:
2844:
2684:
2485:Ogden, Jack, "Metal", in
2335:Cosgrove, Maynard Giles,
1885:Irvine, Gregory (2013). "
1281:The 5th-century Germanic
1199:
1063:Mongol invasion of Russia
1025:
869:exhibited their works at
2194:Rayner W. Hesse (2007).
2167:Stephanie Radok (2012).
2146:. Chilton Book Company.
1984:"Japanese Art Enamels".
1433:
792:
632:
411:background of plain gold
365:cloisonné enamel on gold
3171:Nickel silver (alpacca)
1231:Golden Madonna of Essen
97:. In recent centuries,
2503:Osborne, Harold (ed),
1589:, 7-10, 1907, Batsford
1469:Architecture of Greece
1271:), and several others.
1205:The 8th-century Irish
1102:
1090:
1046:
1006:Ando Cloisonné Company
847:Ando Cloisonné Company
826:
823:Ando Cloisonné Company
814:
676:Fall of Constantinople
646:
479:
403:Saint Mark's Cathedral
366:
204:
188:
148:Byzantine architecture
66:
51:
3512:Other natural objects
2523:Oxford History of Art
2339:, London, Hale, 1974.
1833:Orange Coast Magazine
1791:Cleveland mirror-back
1763:Campbell, 13 figure 7
1310:in New York, and the
1096:
1088:
1045:, Russia, before 1896
1033:
885:enamels are known as
857:, and Kyoto resident
820:
800:
733:Chinese shrine for a
640:
607:Holy Crown of Hungary
475:backed onto glass or
470:
446:Holy Crown of Hungary
413:, as in contemporary
356:
232:rings from Graves in
199:, c. 1100, using the
194:
171:
57:
29:
2987:Wire wrapped jewelry
2967:Repoussé and chasing
2295:Carpenter, Woodrow,
1467:Darling, Janina K.,
566:, enamel, and glass.
383:Sutton Hoo purse-lid
373:dress fittings from
327:Eastern Roman Empire
312:Migration Period art
302:Byzantium and Europe
239:In the jewellery of
187:, partially cleaned.
159:Pammakaristos Church
3660:Artistic techniques
3529:Ebonite (vulcanite)
2576:Susan Youngs (ed),
2550:Sullivan, Michael,
2480:Ars Sacra, 800–1200
2433:Harden, Donald B.,
2369:Earle, Joe (1999).
2346:, Routledge, 1998,
2226:Khalili Collections
1554:Metropolitan Museum
1292:Treasure of Gourdon
1246:and champlevé work.
253:Tomb of Tutankhamun
185:Staffordshire Hoard
2874:Jewellery designer
2519:Early Medieval Art
2273:Campbell, Marian.
1627:materials analysis
1583:Day, Lewis Foreman
1569:2018-01-15 at the
1516:2009-04-12 at the
1103:
1091:
1049:The first Russian
1047:
827:
815:
647:
581:6th-century eagle-
480:
441:earlier examples.
367:
348:Carolingian period
205:
189:
172:Early 7th century
78:[klwazɔne]
67:
52:
3647:
3646:
3564:
3563:
3434:Organic gemstones
3031:
3030:
2627:Chinese Cloisonné
2568:978-0-520-21877-2
2552:The arts of China
2544:, 9780884023012,
2528:Ross, Marvin C.,
2525:, 2002, Oxford UP
2497:, 9780521452571,
2457:978-0-674-51173-6
2425:978-0-85036-241-1
2407:, Barbara Green,
2360:978-0-7007-0439-2
2342:Dillon, Michael,
2327:978-0-521-30264-7
2207:978-0-313-33507-5
2180:978-1-74305-043-9
2153:978-0-8019-7285-0
2124:978-0-486-13600-4
2101:Matthews, 146-147
2088:978-1-85285-326-6
1900:978-0-500-23913-1
1537:978-0-415-97334-2
1332:Namikawa Yasuyuki
1283:Treasure of Pouan
1240:Stavelot Triptych
1235:The 12th century
1220:Khakhuli triptych
924:Namikawa Yasuyuki
859:Namikawa Yasuyuki
811:Namikawa Yasuyuki
711:Chinese porcelain
707:overglaze enamels
488:Stavelot Triptych
415:Byzantine mosaics
183:cloisonné inlay.
151:cloisonné masonry
83:ancient technique
3687:
3675:Jewellery making
3091:Britannia silver
3040:
3039:
2849:
2848:
2671:
2664:
2657:
2648:
2647:
2611:
2609:
2608:
2599:. Archived from
2517:Nees, Lawrence,
2435:Dark-age Britain
2392:
2309:Clark, Grahame,
2297:Cloisonné Primer
2260:The Art Bulletin
2246:
2243:
2237:
2236:
2234:
2232:
2218:
2212:
2211:
2191:
2185:
2184:
2164:
2158:
2157:
2145:
2135:
2129:
2128:
2108:
2102:
2099:
2093:
2092:
2072:
2066:
2061:
2055:
2052:
2046:
2043:
2037:
2036:
2034:
2033:
2019:
2013:
2012:
1992:(5): 170. 1893.
1981:
1975:
1974:
1972:
1971:
1956:
1950:
1939:
1933:
1921:Yūji Yamashita.
1919:
1913:
1912:
1882:
1876:
1873:
1867:
1864:
1858:
1851:
1845:
1844:
1827:
1821:
1818:
1812:
1809:
1803:
1800:
1794:
1788:
1782:
1779:
1773:
1772:Osborne, 332-334
1770:
1764:
1761:
1755:
1752:
1746:
1731:
1725:
1722:
1716:
1710:
1704:
1701:
1695:
1692:
1686:
1683:
1677:
1670:
1664:
1661:
1655:
1652:
1646:
1645:
1635:
1629:
1623:
1617:
1614:
1608:
1605:
1599:
1596:
1590:
1579:Egyptian faience
1561:
1555:
1548:
1542:
1541:
1499:
1493:
1490:
1484:
1465:
1459:
1452:
1446:
1443:
1424:
1391:
1372:
1356:
1287:The 6th-century
1263:The Pectoral of
1155:Three styles of
1071:House of Fabergé
1043:House of Fabergé
1017:
1002:
990:
964:
935:
913:
903:Emory University
898:
784:
764:
746:
730:
618:
598:
575:
551:
484:champlevé enamel
379:millefiori glass
308:Byzantine enamel
287:Migration Period
261:
258:
243:, including the
124:Byzantine Empire
80:
75:
18:Cloisonné (song)
3695:
3694:
3690:
3689:
3688:
3686:
3685:
3684:
3680:Vitreous enamel
3670:Decorative arts
3650:
3649:
3648:
3643:
3602:
3560:
3549:Spondylus shell
3507:
3429:
3200:
3186:Stainless steel
3137:
3121:Sterling silver
3081:Precious metal
3076:
3044:Precious metals
3027:
2991:
2893:
2840:
2680:
2675:
2618:
2606:
2604:
2591:
2381:
2254:
2249:
2244:
2240:
2230:
2228:
2220:
2219:
2215:
2208:
2192:
2188:
2181:
2165:
2161:
2154:
2136:
2132:
2125:
2109:
2105:
2100:
2096:
2089:
2073:
2069:
2062:
2058:
2053:
2049:
2044:
2040:
2031:
2029:
2023:"TAMURA SHIPPO"
2021:
2020:
2016:
1983:
1982:
1978:
1969:
1967:
1958:
1957:
1953:
1940:
1936:
1920:
1916:
1901:
1883:
1879:
1874:
1870:
1865:
1861:
1857:, Gotheburg.com
1855:"Canton enamel"
1852:
1848:
1828:
1824:
1819:
1815:
1810:
1806:
1801:
1797:
1789:
1785:
1781:Campbell, 38-40
1780:
1776:
1771:
1767:
1762:
1758:
1753:
1749:
1739:Egbert of Trier
1732:
1728:
1723:
1719:
1711:
1707:
1702:
1698:
1693:
1689:
1684:
1680:
1672:Ness, 110–114;
1671:
1667:
1662:
1658:
1653:
1649:
1636:
1632:
1624:
1620:
1615:
1611:
1606:
1602:
1597:
1593:
1571:Wayback Machine
1562:
1558:
1549:
1545:
1538:
1518:Wayback Machine
1505:, article from
1500:
1496:
1491:
1487:
1466:
1462:
1453:
1449:
1444:
1440:
1436:
1413:vitreous enamel
1402:
1395:
1392:
1383:
1373:
1364:
1357:
1348:
1336:Namikawa Sosuke
1306:in London, the
1300:
1260:
1202:
1197:
1192:
1083:
1065:but revived in
1028:
1021:
1018:
1009:
1003:
994:
991:
982:
979:Namikawa Sōsuke
965:
956:
936:
927:
914:
905:
899:
867:Namikawa Sōsuke
795:
788:
785:
776:
765:
756:
747:
738:
731:
715:enamelled glass
672:Jingtai Emperor
635:
628:
619:
610:
599:
590:
576:
567:
552:
304:
259:
245:pectoral jewels
215:
210:
165:is an example.
99:vitreous enamel
85:for decorating
73:
24:
21:
12:
11:
5:
3693:
3683:
3682:
3677:
3672:
3667:
3662:
3645:
3644:
3642:
3641:
3636:
3631:
3626:
3621:
3616:
3611:
3610:Related topics
3607:
3604:
3603:
3601:
3600:
3595:
3590:
3584:
3578:
3572:
3570:
3566:
3565:
3562:
3561:
3559:
3558:
3553:
3552:
3551:
3541:
3536:
3531:
3526:
3521:
3515:
3513:
3509:
3508:
3506:
3505:
3500:
3495:
3490:
3485:
3480:
3475:
3474:
3473:
3468:
3458:
3453:
3448:
3443:
3437:
3435:
3431:
3430:
3428:
3427:
3422:
3417:
3412:
3407:
3402:
3397:
3392:
3387:
3382:
3377:
3372:
3367:
3357:
3352:
3347:
3342:
3337:
3332:
3327:
3322:
3317:
3312:
3307:
3302:
3297:
3292:
3287:
3282:
3277:
3272:
3267:
3262:
3257:
3252:
3247:
3242:
3232:
3227:
3222:
3217:
3211:
3209:
3202:
3201:
3199:
3198:
3193:
3188:
3183:
3178:
3173:
3168:
3163:
3158:
3153:
3147:
3145:
3139:
3138:
3136:
3135:
3130:
3129:
3128:
3118:
3113:
3108:
3103:
3098:
3093:
3087:
3085:
3078:
3077:
3075:
3074:
3069:
3064:
3059:
3054:
3048:
3046:
3037:
3033:
3032:
3029:
3028:
3026:
3025:
3020:
3015:
3010:
3005:
2999:
2997:
2993:
2992:
2990:
2989:
2984:
2982:Wire sculpture
2979:
2974:
2969:
2964:
2959:
2954:
2949:
2944:
2939:
2934:
2929:
2928:
2927:
2922:
2917:
2907:
2901:
2899:
2895:
2894:
2892:
2891:
2886:
2881:
2876:
2871:
2866:
2861:
2855:
2853:
2846:
2842:
2841:
2839:
2838:
2837:
2836:
2831:
2821:
2816:
2811:
2806:
2801:
2796:
2791:
2786:
2781:
2776:
2771:
2766:
2761:
2756:
2751:
2746:
2741:
2736:
2731:
2726:
2721:
2716:
2711:
2706:
2701:
2696:
2690:
2688:
2682:
2681:
2674:
2673:
2666:
2659:
2651:
2645:
2644:
2635:
2630:
2624:
2617:
2616:External links
2614:
2613:
2612:
2588:
2574:
2548:
2534:Dumbarton Oaks
2526:
2515:
2501:
2483:
2473:
2463:
2438:
2431:
2401:
2393:
2379:
2366:
2340:
2333:
2307:
2293:
2283:V&A Museum
2271:
2253:
2250:
2248:
2247:
2238:
2213:
2206:
2186:
2179:
2159:
2152:
2130:
2123:
2103:
2094:
2087:
2067:
2056:
2047:
2038:
2014:
1976:
1951:
1945:, pp.182-188,
1934:
1931:978-4582922172
1914:
1899:
1877:
1868:
1859:
1846:
1822:
1813:
1804:
1795:
1783:
1774:
1765:
1756:
1747:
1745:; Lasko, 84-85
1735:Lindau Gospels
1726:
1717:
1705:
1696:
1687:
1678:
1665:
1656:
1647:
1630:
1618:
1609:
1600:
1591:
1575:Ceramics Today
1564:Egyptian Paste
1556:
1543:
1536:
1509:, April 1989,
1494:
1485:
1460:
1447:
1437:
1435:
1432:
1431:
1430:
1416:
1409:
1401:
1398:
1397:
1396:
1393:
1386:
1384:
1374:
1367:
1365:
1358:
1351:
1347:
1344:
1299:
1296:
1295:
1294:
1285:
1279:
1272:
1259:
1258:Gems and glass
1256:
1255:
1254:
1247:
1233:
1227:
1216:
1209:
1207:Ardagh Chalice
1201:
1198:
1196:
1193:
1082:
1081:Modern process
1079:
1027:
1024:
1023:
1022:
1019:
1012:
1010:
1004:
997:
995:
992:
985:
983:
966:
959:
957:
947:, the largest
937:
930:
928:
915:
908:
906:
900:
893:
794:
791:
790:
789:
786:
779:
777:
766:
759:
757:
748:
741:
739:
732:
725:
660:Kangxi Emperor
656:Xuande Emperor
634:
631:
630:
629:
620:
613:
611:
600:
593:
591:
577:
570:
568:
553:
546:
509:Limoges enamel
496:Constantinople
331:Constantinople
303:
300:
260: 1325 BC
214:
211:
209:
206:
93:, normally of
22:
9:
6:
4:
3:
2:
3692:
3681:
3678:
3676:
3673:
3671:
3668:
3666:
3663:
3661:
3658:
3657:
3655:
3640:
3637:
3635:
3632:
3630:
3627:
3625:
3622:
3620:
3617:
3615:
3614:Body piercing
3612:
3609:
3608:
3605:
3599:
3596:
3594:
3591:
3588:
3585:
3582:
3579:
3577:
3574:
3573:
3571:
3567:
3557:
3554:
3550:
3547:
3546:
3545:
3542:
3540:
3537:
3535:
3532:
3530:
3527:
3525:
3522:
3520:
3517:
3516:
3514:
3510:
3504:
3503:Tortoiseshell
3501:
3499:
3496:
3494:
3491:
3489:
3486:
3484:
3481:
3479:
3476:
3472:
3469:
3467:
3464:
3463:
3462:
3459:
3457:
3454:
3452:
3449:
3447:
3444:
3442:
3439:
3438:
3436:
3432:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3393:
3391:
3388:
3386:
3383:
3381:
3378:
3376:
3373:
3371:
3368:
3365:
3361:
3358:
3356:
3353:
3351:
3348:
3346:
3343:
3341:
3338:
3336:
3333:
3331:
3328:
3326:
3323:
3321:
3318:
3316:
3313:
3311:
3308:
3306:
3303:
3301:
3298:
3296:
3293:
3291:
3288:
3286:
3283:
3281:
3278:
3276:
3273:
3271:
3268:
3266:
3263:
3261:
3258:
3256:
3253:
3251:
3248:
3246:
3243:
3240:
3236:
3233:
3231:
3228:
3226:
3223:
3221:
3218:
3216:
3213:
3212:
3210:
3208:
3203:
3197:
3194:
3192:
3189:
3187:
3184:
3182:
3179:
3177:
3174:
3172:
3169:
3167:
3164:
3162:
3159:
3157:
3154:
3152:
3149:
3148:
3146:
3144:
3140:
3134:
3131:
3127:
3124:
3123:
3122:
3119:
3117:
3114:
3112:
3109:
3107:
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3088:
3086:
3084:
3079:
3073:
3070:
3068:
3065:
3063:
3060:
3058:
3055:
3053:
3050:
3049:
3047:
3045:
3041:
3038:
3034:
3024:
3021:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
3001:
3000:
2998:
2994:
2988:
2985:
2983:
2980:
2978:
2975:
2973:
2970:
2968:
2965:
2963:
2960:
2958:
2955:
2953:
2950:
2948:
2945:
2943:
2940:
2938:
2935:
2933:
2930:
2926:
2923:
2921:
2918:
2916:
2913:
2912:
2911:
2908:
2906:
2903:
2902:
2900:
2896:
2890:
2887:
2885:
2882:
2880:
2877:
2875:
2872:
2870:
2867:
2865:
2862:
2860:
2859:Bench jeweler
2857:
2856:
2854:
2850:
2847:
2843:
2835:
2832:
2830:
2827:
2826:
2825:
2822:
2820:
2817:
2815:
2812:
2810:
2807:
2805:
2802:
2800:
2797:
2795:
2792:
2790:
2787:
2785:
2782:
2780:
2777:
2775:
2772:
2770:
2767:
2765:
2762:
2760:
2757:
2755:
2752:
2750:
2747:
2745:
2742:
2740:
2737:
2735:
2732:
2730:
2727:
2725:
2722:
2720:
2717:
2715:
2712:
2710:
2707:
2705:
2702:
2700:
2697:
2695:
2692:
2691:
2689:
2687:
2683:
2679:
2672:
2667:
2665:
2660:
2658:
2653:
2652:
2649:
2643:
2642:TAMURA SHIPPO
2639:
2636:
2634:
2631:
2628:
2625:
2623:
2620:
2619:
2603:on 2009-02-23
2602:
2598:
2594:
2589:
2587:
2586:0-7141-0554-6
2583:
2579:
2575:
2573:
2569:
2565:
2561:
2560:0-520-21877-9
2557:
2553:
2549:
2547:
2543:
2542:0-88402-301-X
2539:
2535:
2531:
2527:
2524:
2520:
2516:
2514:
2510:
2507:, 1975, OUP,
2506:
2502:
2500:
2496:
2492:
2488:
2484:
2481:
2477:
2474:
2472:
2468:
2464:
2462:
2458:
2454:
2450:
2449:0-674-51173-5
2446:
2442:
2439:
2436:
2432:
2430:
2426:
2422:
2418:
2417:0-85036-241-5
2414:
2410:
2406:
2405:Charles Green
2402:
2400:
2397:
2394:
2390:
2386:
2382:
2376:
2372:
2367:
2365:
2361:
2357:
2353:
2352:0-7007-0439-6
2349:
2345:
2341:
2338:
2334:
2332:
2328:
2324:
2320:
2319:0-521-30264-1
2316:
2312:
2308:
2306:
2303:, June 1995,
2302:
2298:
2294:
2292:
2288:
2284:
2280:
2276:
2272:
2270:
2266:
2262:
2261:
2256:
2255:
2242:
2227:
2223:
2217:
2209:
2203:
2199:
2198:
2190:
2182:
2176:
2172:
2171:
2163:
2155:
2149:
2144:
2143:
2134:
2126:
2120:
2116:
2115:
2107:
2098:
2090:
2084:
2080:
2079:
2071:
2065:
2060:
2051:
2042:
2028:
2027:TAMURA SHIPPO
2024:
2018:
2011:
2007:
2003:
1999:
1995:
1991:
1987:
1980:
1966:on 2015-10-03
1965:
1961:
1955:
1948:
1944:
1938:
1932:
1928:
1924:
1918:
1910:
1906:
1902:
1896:
1892:
1888:
1881:
1872:
1863:
1856:
1850:
1843:
1839:
1835:
1834:
1826:
1820:Dillon, 58-59
1817:
1808:
1799:
1793:(illustrated)
1792:
1787:
1778:
1769:
1760:
1751:
1744:
1740:
1736:
1730:
1721:
1715:
1709:
1700:
1691:
1682:
1675:
1669:
1660:
1651:
1643:
1642:
1634:
1628:
1622:
1613:
1604:
1595:
1588:
1584:
1580:
1576:
1573:article from
1572:
1568:
1565:
1560:
1553:
1547:
1539:
1533:
1529:
1525:
1519:
1515:
1512:
1508:
1504:
1498:
1489:
1482:
1478:
1477:9780313321528
1474:
1470:
1464:
1457:
1451:
1442:
1438:
1428:
1423:
1422:
1417:
1414:
1410:
1407:
1404:
1403:
1390:
1385:
1381:
1377:
1371:
1366:
1362:
1355:
1350:
1349:
1343:
1341:
1337:
1333:
1329:
1325:
1321:
1317:
1313:
1309:
1305:
1293:
1290:
1286:
1284:
1280:
1277:
1273:
1270:
1266:
1262:
1261:
1252:
1248:
1245:
1241:
1238:
1234:
1232:
1228:
1225:
1221:
1217:
1214:
1210:
1208:
1204:
1203:
1191:
1186:
1184:
1183:electroplated
1180:
1176:
1171:
1166:
1162:
1158:
1153:
1150:
1144:
1142:
1138:
1134:
1129:
1124:
1120:
1116:
1112:
1108:
1100:
1095:
1087:
1078:
1076:
1072:
1068:
1064:
1060:
1056:
1052:
1044:
1040:
1036:
1032:
1016:
1011:
1007:
1001:
996:
989:
984:
980:
976:
975:Shōtai Shippō
972:
969:
963:
958:
954:
950:
946:
942:
941:
934:
929:
925:
921:
918:
912:
907:
904:
897:
892:
891:
890:
888:
884:
880:
876:
872:
868:
864:
860:
856:
852:
848:
844:
840:
836:
832:
824:
819:
812:
808:
804:
799:
783:
778:
774:
770:
763:
758:
754:
751:
745:
740:
736:
729:
724:
723:
722:
718:
716:
712:
708:
704:
699:
697:
693:
689:
685:
681:
677:
673:
669:
665:
661:
657:
652:
644:
639:
627:
623:
617:
612:
608:
604:
597:
592:
588:
584:
580:
574:
569:
565:
561:
557:
550:
545:
544:
543:
540:
536:
532:
528:
523:
521:
516:
515:Plique-à-jour
512:
510:
505:
501:
497:
493:
489:
485:
478:
474:
473:plique-à-jour
469:
465:
463:
459:
455:
451:
447:
442:
439:
435:
434:
429:
425:
424:
418:
416:
412:
408:
404:
400:
396:
391:
390:Byzantine art
386:
384:
380:
376:
372:
364:
360:
355:
351:
349:
344:
340:
336:
332:
328:
325:
321:
317:
313:
309:
299:
296:
292:
288:
284:
280:
276:
272:
271:Koban culture
267:
265:
254:
250:
246:
242:
241:ancient Egypt
237:
235:
231:
226:
224:
220:
213:Ancient world
202:
198:
193:
186:
182:
178:
175:
170:
166:
164:
160:
156:
152:
149:
144:
142:
138:
134:
130:
125:
119:
117:
112:
108:
104:
100:
96:
92:
88:
84:
79:
71:
64:
61:
56:
49:
45:
41:
37:
33:
28:
19:
3639:Wearable art
3634:Phaleristics
3629:Metalworking
3534:Gutta-percha
3310:Lapis lazuli
3096:Colored gold
2977:Stonesetting
2605:. Retrieved
2601:the original
2577:
2572:Google books
2551:
2546:Google books
2529:
2518:
2504:
2499:google books
2486:
2479:
2476:Lasko, Peter
2466:
2461:Google books
2440:
2434:
2429:Google books
2408:
2370:
2364:Google books
2343:
2336:
2331:Google Books
2310:
2300:
2296:
2274:
2258:
2241:
2229:. Retrieved
2225:
2216:
2196:
2189:
2169:
2162:
2141:
2133:
2113:
2106:
2097:
2077:
2070:
2059:
2054:Osborne, 680
2050:
2045:Osborne, 677
2041:
2030:. Retrieved
2026:
2017:
2009:
1989:
1985:
1979:
1968:. Retrieved
1964:the original
1954:
1942:
1937:
1922:
1917:
1890:
1886:
1880:
1871:
1862:
1849:
1841:
1831:
1825:
1816:
1807:
1798:
1786:
1777:
1768:
1759:
1750:
1729:
1724:Campbell, 11
1720:
1708:
1699:
1690:
1681:
1668:
1663:Green, 87-88
1659:
1650:
1640:
1633:
1621:
1616:Osborne, 331
1612:
1607:Osborne, 331
1603:
1594:
1586:
1574:
1559:
1546:
1527:
1506:
1502:
1497:
1492:Osborne, 331
1488:
1481:google books
1468:
1463:
1458:, "Cloison")
1450:
1445:Osborne, 331
1441:
1379:
1375:
1363:enamel beads
1360:
1301:
1243:
1242:, combining
1213:Alfred Jewel
1190:Tom Ebersold
1178:
1174:
1169:
1164:
1160:
1156:
1154:
1145:
1140:
1132:
1127:
1118:
1104:
1050:
1048:
974:
970:
948:
945:Meiji period
938:
919:
886:
882:
878:
871:World's fair
843:Owari Domain
834:
828:
802:
768:
752:
750:Qing dynasty
719:
702:
700:
683:
679:
668:Ming Dynasty
663:
648:
642:
601:Plaque with
524:
520:rock crystal
513:
481:
477:rock crystal
461:
457:
453:
449:
443:
432:
431:
427:
422:
421:
419:
387:
368:
362:
334:
324:Late Antique
305:
283:Late Antique
268:
238:
227:
216:
200:
197:St Demetrios
150:
145:
140:
133:Ottonian art
120:
106:
69:
68:
62:
60:Ming Dynasty
48:lapis lazuli
30:Pectoral of
3665:Chinese art
3576:Art jewelry
3400:Tiger's eye
3305:Labradorite
3255:Chrysocolla
3250:Chrysoberyl
3166:Mokume-gane
3143:Base metals
2915:centrifugal
2884:Silversmith
2759:Ferronnière
2709:Belt buckle
2704:Belly chain
2590:"V&A":
1887:Wakon Yosai
1654:Youngs, 173
1577:. See also
1520:. See also
1411:Polychrome
1298:Collections
1289:Merovingian
1276:Childeric I
1265:Tutankhamun
1039:silver gilt
1008:, (c. 1910)
926:(1845–1927)
922:Enamel, by
887:shippō-yaki
845:, with the
841:during the
813:(1845–1927)
735:Bodhisattva
603:Saint Peter
560:Netherlands
533:and modern
462:senkschmelz
458:vollschmelz
454:vollschmelz
450:senkschmelz
433:Senkschmelz
423:Vollschmelz
371:Anglo-Saxon
363:Vollschmelz
339:Anglo-Saxon
295:Anglo-Saxon
223:Mesopotamia
201:senkschmelz
174:Anglo-Saxon
129:Carolingian
32:Senusret II
3654:Categories
3410:Tourmaline
3355:Prasiolite
3230:Aventurine
3101:Crown gold
3003:Draw plate
2952:Metal clay
2889:Watchmaker
2879:Lapidarist
2864:Clockmaker
2739:Collar pin
2734:Chatelaine
2607:2009-08-30
2513:0198661134
2495:0521452570
2380:1874780137
2291:0112903851
2252:References
2245:Earle, 254
2032:2022-03-16
1970:2015-10-29
1875:Earle, 252
1836:. p.
1741:, and the
1598:Ogden, 166
1340:Ando Jubei
1137:tragacanth
1075:Khlebnikov
1055:Kievan Rus
684:jingtailan
609:(see text)
579:Visigothic
438:gold glass
399:altarpiece
395:Pala d'Oro
375:Sutton Hoo
343:Visigothic
291:Sutton Hoo
289:style. At
279:Sarmatians
146:In Middle
50:, 1880s BC
42:, garnet,
3556:Toadstone
3493:Operculum
3420:Variscite
3415:Turquoise
3395:Tanzanite
3330:Moonstone
3325:Marcasite
3320:Malachite
3245:Carnelian
3220:Amazonite
3207:gemstones
3181:Pinchbeck
3126:Argentium
3116:Shibuichi
3057:Palladium
3036:Materials
2972:Soldering
2962:Polishing
2937:Engraving
2932:Enameling
2898:Processes
2869:Goldsmith
2804:Tie chain
2779:Neck ring
2769:Lapel pin
2678:Jewellery
1998:2150-6256
1909:853452453
1802:Carpenter
1694:Ross, 217
1406:Champlevé
1380:cloisonné
1376:Cloisonné
1361:cloisonné
1244:cloisonné
1179:cloisonné
1175:cloisonné
1170:cloisonné
1165:cloisonné
1161:cloisonné
1157:cloisonné
1141:cloisonné
1133:cloisonné
1128:cloisonné
1123:fine gold
1119:Cloisonné
1051:cloisonné
1035:Tea caddy
971:Cloisonne
949:cloisonné
920:Cloisonne
883:cloisonné
879:cloisonné
835:cloisonné
831:Meiji era
825:in Nagoya
803:cloisonné
769:cloisonné
753:cloisonné
703:cloisonné
680:cloisonné
664:cloisonné
643:cloisonné
622:St George
564:almandine
492:Mosan art
350:onwards.
335:cloisonné
316:barbarian
230:Mycenaean
219:Near East
141:cloisonné
137:champlevé
111:soldering
103:gemstones
87:metalwork
70:Cloisonné
63:cloisonné
44:turquoise
36:carnelian
3624:Gemology
3598:Fineness
3589:(purity)
3524:Bog-wood
3471:Precious
3451:Ammolite
3390:Sunstone
3380:Sodalite
3375:Sapphire
3335:Obsidian
3275:Fluorite
3265:Diopside
3225:Amethyst
3205:Mineral
3196:Tungsten
3191:Titanium
3106:Electrum
3062:Platinum
2947:Kazaziye
2942:Filigree
2920:lost-wax
2819:Toe ring
2809:Tie clip
2784:Pectoral
2774:Necklace
2749:Cufflink
2724:Bracelet
2719:Bolo tie
2699:Barrette
2536:, 2006,
2389:42476594
2277:, 1983,
2231:27 March
2006:25582341
1567:Archived
1524:"Enamel"
1514:Archived
1400:See also
1224:Georgian
1195:Examples
1181:wire is
1067:Novgorod
973:Enamel,
955:in 1893.
875:Namikawa
767:Chinese
701:Chinese
556:Dorestad
428:cloisons
314:of the "
275:Caucasus
249:pharaohs
163:Istanbul
107:cloisons
81:) is an
58:Chinese
40:feldspar
3619:Fashion
3593:Finding
3441:Abalone
3350:Peridot
3315:Larimar
3300:Kyanite
3285:Howlite
3270:Emerald
3260:Diamond
3133:Tumbaga
3111:Shakudō
3067:Rhodium
3018:Mandrel
2957:Plating
2910:Casting
2905:Carving
2814:Tie pin
2789:Pendant
2764:Genital
2754:Earring
2403:Green:
2299:, from
2269:3047226
1923:明治の細密工芸
1866:V&A
1359:Modern
1346:Gallery
1097:Adding
805:enamel
773:incense
771:enamel
626:Georgia
585:, from
535:acrylic
531:lacquer
527:pottery
320:garnets
247:of the
208:History
74:French:
3583:(mass)
3519:Bezoar
3425:Zircon
3385:Spinel
3360:Quartz
3295:Jasper
3280:Garnet
3176:Pewter
3161:Copper
3156:Bronze
3083:alloys
3072:Silver
3023:Pliers
3013:Hammer
2925:vacuum
2852:People
2845:Making
2829:pocket
2729:Brooch
2694:Anklet
2584:
2566:
2558:
2540:
2511:
2493:
2455:
2447:
2423:
2415:
2387:
2377:
2358:
2350:
2325:
2317:
2305:online
2289:
2267:
2204:
2177:
2150:
2121:
2085:
2004:
1996:
1949:, 2017
1929:
1907:
1897:
1534:
1511:online
1475:
1427:resist
1338:, and
1326:. The
1314:. The
1200:Enamel
1115:silver
1026:Russia
839:Nagoya
807:censer
801:Kyoto
696:copper
688:bronze
662:had a
583:fibula
500:copper
407:Venice
397:, the
293:, the
234:Cyprus
181:garnet
3587:Carat
3581:Carat
3569:Terms
3544:Shell
3498:Pearl
3488:Nacre
3478:Ivory
3466:Black
3461:Coral
3456:Copal
3446:Amber
3405:Topaz
3364:smoky
3235:Beryl
3215:Agate
3151:Brass
2996:Tools
2834:strap
2824:Watch
2799:Tiara
2744:Crown
2714:Bindi
2686:Forms
2265:JSTOR
2002:JSTOR
1434:Notes
1429:paste
1421:Yūzen
1269:image
1237:Mosan
1107:metal
968:Tokyo
917:Kyoto
863:Tokyo
851:Kyoto
793:Japan
713:, or
692:brass
651:China
633:China
587:Spain
155:brick
3539:Hair
3370:Ruby
3345:Opal
3340:Onyx
3290:Jade
3052:Gold
3008:File
2794:Ring
2582:ISBN
2564:ISBN
2556:ISBN
2538:ISBN
2509:ISBN
2491:ISBN
2453:ISBN
2445:ISBN
2421:ISBN
2413:ISBN
2385:OCLC
2375:ISBN
2356:ISBN
2348:ISBN
2323:ISBN
2315:ISBN
2287:ISBN
2281:for
2279:HMSO
2233:2020
2202:ISBN
2175:ISBN
2148:ISBN
2119:ISBN
2083:ISBN
1994:ISSN
1927:ISBN
1905:OCLC
1895:ISBN
1532:ISBN
1473:ISBN
1249:The
1218:The
1211:The
1149:frit
1111:gold
1099:frit
1073:and
1059:Kiev
861:and
853:and
837:was
755:dish
554:The
504:gild
285:and
177:seax
131:and
116:kiln
95:gold
91:wire
3483:Jet
3239:red
1456:OED
1322:in
1267:, (
977:by
855:Edo
809:by
709:on
690:or
539:BMW
401:in
361:in
255:of
161:in
3656::
2640:-
2595:.
2570:,
2562:,
2532:,
2521:,
2478:,
2451:,
2427:,
2419:,
2398:,
2383:.
2362:,
2354:,
2329:,
2321:,
2285:,
2224:.
2025:.
2008:.
2000:.
1990:21
1988:.
1903:.
1840:.
1838:96
1585:,
1526:.
1479:,
1334:,
1113:,
1037:,
943:.
490:,
405:,
385:.
257:c.
46:,
38:,
3366:)
3362:(
3241:)
3237:(
2670:e
2663:t
2656:v
2610:.
2459:,
2391:.
2235:.
2210:.
2183:.
2156:.
2127:.
2091:.
2035:.
1973:.
1911:.
1540:.
1382:)
72:(
20:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.