Golden Techniques II: Art of the Chinese Goldsmiths
Gold is dazzling and valuable. Gold objects are often presented as gifts on occasions such as weddings. But have you ever wondered how gold objects are made? There are a rich variety of crafting techniques that can be traced way back into the past. Let's explore some of them together!
How is gold wire made?
Do you know:
Gold is highly malleable. How can we turn a piece of gold into a fine wire?
(Pause for a moment and think. Watch the video on the next slide for the research findings.)
Hammering and Twisting
Drawing
How are gold wires used?
Do you know:
What are the applications of gold wire in ornaments?
(Get creative, and think of multiple ways to use gold wires!)
Beast and Bird Design Full ViewArt Museum, The Chinese University of Hong Kong
Beast and Bird Design | Eastern Jin | Chengxuntang Collection
Let’s take a closer look at the pieces we’ve just seen.
One has the double-phoenix design,
while the other has the winged beast design.
Beast and Bird Design PhotomicrographArt Museum, The Chinese University of Hong Kong
A closer examination by the Scanning Electron Microscope (SEM) reveals regular spiral traces on these gold wires, indicating that they were twisted and rolled from longer pieces of gold. (Photomicrograph provided by Tang Man Wai and Lai Wing Fai from Conservation Office, LCSD)
Beast and Bird Design Full ViewArt Museum, The Chinese University of Hong Kong
Gold wires framed the pattern outlines on the sheet ornaments, and the frame would be filled with small gold beads. This is an especially popular technique from the Han to Tang dynasties. Think about the process and difficulties that may be encountered by the craftsmen when they were soldering gold beads and wires onto gold sheets.
Pair of Gold Filigree Flower Baskets (Qing)Art Museum, The Chinese University of Hong Kong
Pair of Gold Filigree Flower Baskets | Qing | Chengxuntang Collection
Speaking of bonding techniques, the “Leisi filigree” is one of the most delicate techniques which gold wires are pinched and welded to form an openwork design.
This pair of flower baskets were made by welding flattened gold wires together, and all sides of it are decorated in pearls.
During the Qing dynasty, royalties and nobilities liked to use gold and jewels to make bonsai and vases for interior decoration. The hoops on top of the pair of flower baskets suggest that it might be hanging ornaments.
Gold Pendant with Flower Design and Turquoise Bead (Yuan – Early Ming)Art Museum, The Chinese University of Hong Kong
Gold Pendant with Flower Design and Turquoise Bead | Yuan – Early Ming | Chengxuntang Collection
Soldering is also used in making this piece, but gold wires are made into large numbers of loops and are soldered one by one into a long chain. This technique is called “loop-in-loop”.
This gold chain has a double-layer structure, meaning that each loop has two other loops passing through it. It is so closely interlocked that even if a single ring is broken, the whole chain will not break apart.
Pendants in the shapes of gold flowers and gui (ornamental jade) were popular during the Song to Ming dynasties, while the turquoise and gold chain reflect the style of ethnic groups from the North. The two combine to form new styles.
How are the gold loops soldered and connected? What are the structures of the “loop-in-loop” techniques? Let’s watch the video to learn more.
Head over to the Art Museum’s YouTube Channel to learn more about “Single-wire braiding”, the second chain-making method in the video. Now, let’s see another piece braided from gold wires – Diji.
Gold Hair Bun Cover in Shape of a Coronet Gold Hair Bun Cover in Shape of a Coronet (Late Ming)Art Museum, The Chinese University of Hong Kong
Gold Hair Bun Cover in Shape of a Coronet | Late Ming | Chengxuntang Collection
From its shape and the small openings at the bottom, can you guess how this artefact is used?
Right! There are two openings at the bottom. It allows hairpins to be inserted through and secure the hair bun.
Gold Hair Bun Cover in Shape of a Coronet BottomArt Museum, The Chinese University of Hong Kong
Diji was first mentioned in Yuanqu opera lyrics and was originally referring to the hair bun only. The term was later referred to hair bun covers. After the mid-Ming dynasty, it evolved into braiding from gold and silver wires.
Gold Hair Bun Cover in Shape of a Coronet Gold Hair Bun Cover in Shape of a Coronet (Late Ming)Art Museum, The Chinese University of Hong Kong
Look closely. The gold wires are long and thin, and consistent in thickness, reflecting the mature wire drawing technique in the Ming dynasty.
Belt Hook with Gold and Silver Inlay and Embedded Turquoise SideArt Museum, The Chinese University of Hong Kong
Belt Hook with Gold and Silver Inlay and Embedded Turquoise | Late Warring States | De-Neng-Tang Collection
Gold can also be used along with other materials in decorating accessories. This piece from the Warring States period is a belt hook, which is for fastening belts. It works just like a modern-day belt buckle.
Experimental replica of a belt hook Full ViewArt Museum, The Chinese University of Hong Kong
This experimental replica provided by the Chow Tai Fook Master Studio shows the wearing method of a belt hook.
Experimental replica of a belt hook SideArt Museum, The Chinese University of Hong Kong
Belt Hook with Gold and Silver Inlay and Embedded Turquoise FrontArt Museum, The Chinese University of Hong Kong
Styles of belt hooks can vary. Those decorated with precious materials can especially reflect the styles, tastes, and status of the noble, just like wearing expensive watches and cufflinks today. Can you find the traces of gold wires on this piece?
Apart from those golden lines, the circular patterns are also formed by gold wires!
Belt Hook with Gold and Silver Inlay and Embedded Turquoise PhotomicrographArt Museum, The Chinese University of Hong Kong
We can observe how the gold wires coil together under the inspection with a high-power optical microscope. (Photomicrograph provided by Tang Man Wai and Lai Wing Fai from Conservation Office, LCSD)
Belt Hook with Gold and Silver Inlay and Embedded Turquoise FrontArt Museum, The Chinese University of Hong Kong
The technique of decorating bronze objects with gold wires and plates is called “gold and silver inlaying”.
Bronze Brazier with Gold and Silver Damascene and Beast Face Motif Bronze Brazier with Gold and Silver Damascene and Beast Face Motif (Late Ming)Art Museum, The Chinese University of Hong Kong
Bronze Brazier with Gold and Silver Damascene and Beast Face Motif | Late Ming | Collection of Mr. Lee King Fun, Andrew
At first glance, does this bronze brazier also look like it was made with “silver and gold inlaying” technique? Let’s take a closer look!
Bronze Brazier with Gold and Silver Damascene and Beast Face Motif PhotomicrographArt Museum, The Chinese University of Hong Kong
Under high magnification of the optical microscope, we can see some shallow cross-hatched grooves on its surface. The technique used should be “damascening”! But what’s the difference between inlaying and damascening? (Photomicrograph provided by Tang Man Wai and Lai Wing Fai from Conservation Office, LCSD)
Iron Ding-Shaped Incense burner with Gold Damascene and Bird Motifs (Late Ming | Mark reading “Made in the Xuande Period of Great Ming”)Art Museum, The Chinese University of Hong Kong
Iron Ding-Shaped Incense burner with Gold Damascene and Bird Motifs | Late Ming | Mark reading “Made in the Xuande Period of Great Ming” | Xian Qu Xuan Collection
As mentioned in the video, “damascening” was mostly used on iron objects as iron is harder and deep grooves are more difficult to be carved in. This “bronze” brazier is actually an iron object damascened with gold and silver.
The cover of this brazier is decorated with 12 birds against a background of swirling clouds and flowers and leaves motifs.
This style of densely packed motifs on gold objects is a rare scene in traditional Chinese bronze objects, but is very common in Central Asian Islamic Art.
BrazierArt Museum, The Chinese University of Hong Kong
Ding was a type of traditional sacrificial vessel and was decorated with gold and silver in more recent times to make it more vivid in style. The craftsmanship also incorporated foreign techniques and motif styles, adapting to the resources available at the place of making and advancing with time. From these two braziers/incense burners, we can see the fusion of East-West styles and techniques spanning from ancient to recent times.
The beauty of gold artefacts lies beyond the material itself. The craftsmanship also represented the genius artistry of generations of artisans, which are worth further investigation and to be passed on. For more information, please visit CUHK Art Museum’s website to learn more about our research project, “Ancient Chinese Gold Techniques” fully sponsored by Chow Tai Fook Jewellery Group:
http://www.artmuseum.cuhk.edu.hk/en/exhibition/current/detail/70
The content is developed based on "Golden Techniques II: Art of the Chinese Goldsmiths", an exhibition curated by Dr. Tong Yu, Sam. (Research Associate, Art Museum, The Chinese University of Hong Kong) and organized by Cheung Ka Ching, Caesar Leung, Heidi Wong, Sophia Tam, Jaime Chong and Lincoln Lam.
