1.THE PROBLEMS FACING THE INHERITANCE OF CLOISONNE
In the 1980s, with the support from the goverment, the largest domestic Cloisonne factory -- Beijing Arts and Crafts Factory, was in a good condition, domestic and foreign customers came to buy Cloisonne works constantly. However, with the factory staff were poached by foreign enterprises with high salaries, the state no longer does underwriting. After the failure in price war between domestic and foreign Cloisonne manufacturers, Chinese Cloisonne factories were almost extincted. Although there were still some manufacturing factories of Cloisonne in the countryside, the scales were small, and the quality was rough. The inheritance of Cloisonne seemed to be hopeless. As “The First Person of The Cloisonne Production”, Master Zhang made the determination to save the bleak situation. He convened old colleagues from Beijing Arts and Crafts Factory to set up factories to produce Cloisonne.However the complicated process and high costs made their targets limited to a minority of consumers.Without the support from the government, Master Zhang was left alone with weak power, and he do not have powerful measures. Therefore, as the essence of tradit ional Chinese culture, Cloisonne faces uncountable difficulties during its own development progress. The writer believes the following are the reasons which cause the problems of the inheritance of Cloisonne.
A. The state no longer does underwriting, without its support, itrsquo;s difficult for manufacturers to find the market. Because natural minerals,precious stones, precious metals are used in the production of Cloisonne, itrsquo;s destined to be costly. As for the crafts process, the requirements of complicated filigree, dotting blue and firing processes are very strict and labor-costing. These two reasons result in the unacceptable price for the public. Therefore, the target customers are greatly limited.
B. Because of the limitations of the targets, masters are not able to concentrate on the creation and research of Cloisonne, further more, they encounter many obstacles in the inheritance of the crafts. Without adequate financial support, itrsquo;s easy for craft masters to be stretched in artistic creation, due to the consideration of marketing background. In that case , the artistic value will definitely decrease a lot which is catastrophic to the developmet of Cloisonne.
C. Due to the factors like the cost, sales and other issues, now in Cloisonne production, masters rarely use precious metals such as gold, silver and other precious materials. Also ,
suitable alternative materials for glaze have not been found yet. Therefore, there is a great gap among Cloisonne handicrafts on the market -- cheap and roughly manufactured works with no collection or aesthetic value; while works with exquisite craftsmanship are so expensive that they are difficult to be accepted by the public.As a result, Cloisonne is getting away from modern peoples life. Cloisonne handicrafts are led into mass production. Currently, most Cloisonne handicrafts are roughly made, lack of innovation and creativity, just blind imitation to classic
styles. Complicated patterns and colors are no longer favored ,instead, concise and fashionable styles are occupying peoplersquo;s aesthetics.Also itrsquo;s difficult to arouse consumersrsquo; desire to buy the crafts with high price and low practicability. As a consequence, it is difficult to integrate Cloisonne handicrafts into modern peoplersquo;s lives. However, with thousands of years development in China , and the huge development future of Cloisonne, we must consider how to find a way for Cloisonne craftmanship.
2.THE INHERITANCE AND DEVELOPMENT OF CLOISONNE
In todayrsquo;s embarrassing situation of the development of Cloisonne, we recognize that the measures to save the predicament should include:
A. Control the cost of Cloisonne handicrafts according to the requirements of the market orientation.
Cost-control is only not about reducing every single cost of the crafts, the focus should be on the quality. For example, reduce the production of large objects,instead, make some small, exquisite goods for daily usage. So it will has certain practicality. And to improve its performance ratio so as to promote the purchase desire of consumers and also meet their demands.
B. Develop the production of Cloisonne jewelry and adopt more exquisite crafts so as to make appropriate choices about pattern innovation.
To let Cloisonne jewelry come into the modern peoplersquo;s lives. In order to adapt to the fast-paced city life, nowadays, on the grounds that most of modern people are endowed with the aesthetic standard- simplicity and fashion, also the same goes for clothing and accessories .Thus, if there is no change or innovation which adapted to classical Cloisonne patterns, and it will be very difficult to be acknowledged by the modern people. So, there should be some trade-offs and certain innovations on the basis of integrating fashion elements on traditional patterns, color collocation of Cloisonne so that it can really integrate into our lives.
C. The government should provide Cloisonne artists and some factories with preferential policies and intellectual property protection.
The state can make short-term or long-term investments in Cloisonne crafts according to whether the works are normal goods for sale or collections with artistic value. In the meantime, Cloisonne craft masters can both gain profits and carry on the artistic creation. More importantly, they are no longer influenced by the sales problem, their skills can be inherited accordingly.
D. Developing new materials can reduce the cost, meanwhile guarantee the quality of Cloisonne crafts.
The high price of precious metal materials makes people step back easily; also the traditional glaze which is used to make Cloisonne is con
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1.THE PROBLEMS FACING THE INHERITANCE OF CLOISONNE景泰蓝工艺面对的传承问题
In the 1980s, with the support from the goverment, the largest domestic Cloisonne factory -- Beijing Arts and Crafts Factory, was in a good condition, domestic and foreign customers came to buy Cloisonne works constantly. However, with the factory staff were poached by foreign enterprises with high salaries, the state no longer does underwriting. After the failure in price war between domestic and foreign Cloisonne manufacturers, Chinese Cloisonne factories were almost extincted. Although there were still some manufacturing factories of Cloisonne in the countryside, the scales were small, and the quality was rough. The inheritance of Cloisonne seemed to be hopeless. As “The First Person of The Cloisonne Production”, Master Zhang made the determination to save the bleak situation. He convened old colleagues from Beijing Arts and Crafts Factory to set up factories to produce Cloisonne.However the complicated process and high costs made their targets limited to a minority of consumers.Without the support from the government, Master Zhang was left alone with weak power, and he do not have powerful measures. Therefore, as the essence of tradit ional Chinese culture, Cloisonne faces uncountable difficulties during its own development progress. The writer believes the following are the reasons which cause the problems of the inheritance of Cloisonne.
在20世纪80年代，在政府的支持下，国内最大的景泰蓝工厂——北京工艺美术厂状况良好，国内外客户不断前来购买景泰蓝作品。然而，随着工厂员工被高薪外企挖走，国家不再包销。国内外景泰蓝厂商价格战失败后，中国景泰蓝工厂几乎绝迹。虽然农村还有景泰蓝的一些制造厂，但规模小，质量粗糙。景泰蓝的继承似乎没有希望了。作为“景泰蓝生产第一人”，张师傅决心挽救这一惨淡局面。他召集了北京工艺美术厂的老同事们建厂生产景泰蓝，但由于工艺复杂、成本高，他们的目标仅限于少数消费者，没有政府的支持，张师傅就孤军奋战，没有强有力的措施。因此，景泰蓝作为中国传统文化的精髓，在自身的发展过程中面临着不可忽视的困难。笔者认为，造成景泰蓝传承问题的原因主要有以下几个方面。
A. The state no longer does underwriting, without its support, itrsquo;s difficult for manufacturers to find the market. Because natural minerals,precious stones, precious metals are used in the production of Cloisonne, itrsquo;s destined to be costly. As for the crafts process, the requirements of complicated filigree, dotting blue and firing processes are very strict and labor-costing. These two reasons result in the unacceptable price for the public. Therefore, the target customers are greatly limited.
A、国家不再包销，没有它的支持，厂家很难找到市场。因为景泰蓝的生产中使用了天然矿物、宝石、贵金属，所以注定要付出昂贵的代价。在工艺流程上，对复杂的花丝、点蓝、烧成工艺要求非常严格，人工成本也很高。这两个原因导致了公众无法接受的价格。因此，目标客户非常有限。
B. Because of the limitations of the targets, masters are not able to concentrate on the creation and research of Cloisonne, further more, they encounter many obstacles in the inheritance of the crafts. Without adequate financial support, itrsquo;s easy for craft masters to be stretched in artistic creation, due to the consideration of marketing background. In that case , the artistic value will definitely decrease a lot which is catastrophic to the developmet of Cloisonne.
B、由于对象的局限性，大师们无法集中精力于景泰蓝的创作和研究，在景泰蓝工艺的传承上也遇到了许多障碍。如果没有足够的资金支持，由于市场背景的考虑，手工艺人很容易在艺术创作上捉襟见肘。在这种情况下，景泰蓝的艺术价值肯定会大大降低，这对景泰蓝的发展是灾难性的。
C. Due to the factors like the cost, sales and other issues, now in Cloisonne production, masters rarely use precious metals such as gold, silver and other precious materials. Also ,
suitable alternative materials for glaze have not been found yet. Therefore, there is a great gap among Cloisonne handicrafts on the market -- cheap and roughly manufactured works with no collection or aesthetic value; while works with exquisite craftsmanship are so expensive that they are difficult to be accepted by the public.As a result, Cloisonne is getting away from modern peoples life. Cloisonne handicrafts are led into mass production. Currently, most Cloisonne handicrafts are roughly made, lack of innovation and creativity, just blind imitation to classic
styles. Complicated patterns and colors are no longer favored ,instead, concise and fashionable styles are occupying peoplersquo;s aesthetics.Also itrsquo;s difficult to arouse consumersrsquo; desire to buy the crafts with high price and low practicability. As a consequence, it is difficult to integrate Cloisonne handicrafts into modern peoplersquo;s lives. However, with thousands of years development in China , and the huge development future of Cloisonne, we must consider how to find a way for Cloisonne craftmanship.
C、由于成本、销售等因素的影响，现在在景泰蓝生产中，师傅们很少使用金、银等贵金属和其他贵材料。并且，目前还没有找到合适的釉料替代材料。因此，市面上景泰蓝手工艺品有很大的差距——廉价粗制滥造，没有收藏价值和审美价值；而工艺精湛的作品价格昂贵，很难被大众接受，景泰蓝正因此远离现代人的生活。景泰蓝手工艺品被引入批量生产。目前景泰蓝手工艺品大多是粗制滥造，缺乏创新和创意，只是盲目模仿经典风格。复杂的图案和色彩不再受青睐，简洁时尚的款式占据了人们的审美空间，也很难激起消费者购买价格高、实用性差的工艺品的欲望。因此，景泰蓝手工艺品很难融入现代人的生活。然而，随着中国几千年的发展，景泰蓝的巨大发展前景，我们必须思考如何找到一条景泰蓝手工艺之路。
2.THE INHERITANCE AND DEVELOPMENT OF CLOISONNE景泰蓝的继承与发展
In todayrsquo;s embarrassing situation of the development of Cloisonne, we recognize that the measures to save the predicament should include:
在景泰蓝发展的尴尬局面下，我们认识到挽救困境的措施应该包括：
A. Control the cost of Cloisonne handicrafts according to the requirements of the market orientation.
Cost-control is only not about reducing every single cost of the crafts, the focus should be on the quality. For example, reduce the production of large objects,instead, make some small, exquisite goods for daily usage. So it will has certain practicality. And to improve its performance ratio so as to promote the purchase desire of consumers and also meet their demands.
A、根据市场定位的要求控制景泰蓝工艺品的成本：成本控制不仅仅是降低工艺的每一个单项成本，重点应该放在质量上。例如，减少大物件的生产，相反，制造一些小而精致的日常用品。因此具有一定的实用性。并提高其性能比，以促进消费者的购买欲望，满足其需求。
B. Develop the production of Cloisonne jewelry and adopt more exquisite crafts so as to make appropriate choices about pattern innovation.
To let Cloisonne jewelry come into the modern peoplersquo;s lives. In order to adapt to the fast-paced city life, nowadays, on the grounds that most of modern people are endowed with the aesthetic standard- simplicity and fashion, also the same goes for clothing and accessories .Thus, if there is no change or innovation which adapted to classic
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