Search

Recent research has played a pivotal role in advancing our understanding of cloisonné enamel production in China during the 19th and 20th centuries. However, Christian workshops, whether operating under missionary subcontracting or owned by the Catholic Church, have yet to be accurately identified and contextualized. This article delves into three significant contexts. Firstly, it identifies and contextualizes the Christian connections and interactions of the Decheng private cloisonné workshop, involving the French Lazarist Bishop Alphonse Favier, in Beijing. Secondly, it identifies the cloisonné workshop stablished by the Lazarists in the Beitang complex in Beijing and elucidates the role it played. Finally, this paper presents new evidence concerning cloisonné Christian objects crafted by the Tushanwan Jesuit workshop in Shanghai. Some of the primary works of these three workshops are identified for the first time. Additionally, this paper shows that certain cloisonné crosses, some of them thought to be originally Japanese, including those referred to as Namban, were, in fact, crafted in Beijing during the 1920s. These preliminary results will contribute to placing Chinese Christian cloisonné within the history of Chinese Art and its interactions at a global level in the context of evangelization in China, the production of the so-called export art, and the processes of indigenization carried out by the Lazarists and the Jesuits. [ABSTRACT FROM AUTHOR]

The usual conception of traditional Chinese art tends to forget the existence of a rich cultural legacy of Christian origin that has been reflected in the manufacture of ritual objects for the convert communities and European missionaries in China. Among the most used techniques, cloisonné stands out, with important liturgical or decorative pieces treasured by missionaries and collectors, many of them in Western museums today. This work tries to make an approximation to some of those ritual objects used by the Christian Chinese communities that reflect the great influence that the Western artistic models had in the conception of art as a result of the cultural hybridization between both worlds. [ABSTRACT FROM AUTHOR]