During the 1950s the struggling Beijing cloisonne workshops
that managed to survive the disasters of the late 1930s and 40s were revived
and reorganized with support from the new Chinese Communist Party government. The biographies of older artist Jin Shiquan
and young art student Qian Meihua provide details, summarized in the timeline
in the last slide and quoted in text copies at the end of this post (translated
from Chinese into English by Google Lens, don’t blame me for the errors).
Qian Meihua’s biography is a particularly gripping account of
the obstacles she faced and the heroism she displayed in her determination to
follow her dying teacher Lin Huiyin’s plea to save the art of Chinese
cloisonne.
Chang Shana’s autobiography also provides details about the excitement generated by the 1952 exhibit of the Buddhist mural art in the grottos of the Dunhuang caves. Available at the Internet Archive https://archive.org/details/huangshayulantia0000chan/mode/2up
These inscribed pieces are a mix. Only the undated industry
and agriculture plate cites the designer (architect Zhu Danian). Chang Shana’s
biography only cites the 1951 designs for the 1952 Asia-Pacific Conference,
although we know that she and Qian Meihua designed other works inspired by the
Dunhuang caves. Only one dated piece appears to be the work of an older artist
from Republic-era workshops – the 1953 plate with the rock garden blossoms,
buds, butterflies, and a back design of millefleur motifs, worked with surety
and skill. That said, it was probably the older artists and artisans who actually worked the designs, as it seems unlikely that architects, painters, and art students possessed the necessary skills to do the wirework, enameling, and polishing.
During the early 1950s there seems to have been a mix of experimental, private, and cooperative workshops, perhaps operating under the mantle of the state Beijing Special Arts and Crafts Company established in 1950, before the final consolidation of these workshops into the Beijing Enamel Factory in 1958, and the Beijing Cloisonne Factory as part of the Peking Arts & Crafts Factory in 1960.
[Clicking on a slide will enlarge it. Opening in a new tab will enlarge it a bit more. Tip o' the hat to those who provided pictures!]
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| https://www.tsinghua.org.cn/info/1951/20156.htm |
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| https://live2makan.com/2023/07/26/__trashed-2/ |
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| https://archive.org/details/huangshayulantia0000chan/mode/2up |
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| https://www.liveauctioneers.com/item/174367299_a-chinese-cloisonne-dish-with-floral-design-beijing-tezhong-gongyi-gongsi-brugge-wvl |
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| https://www.shanghaimuseum.net/mu/frontend/pg/lib1/antique?page=4&viewType=cover&libTypeSort=&libAgeSort=&libTypes=LIB_TYPE_0020%2F0001&libAges=&searchText= |
JIN SHIQUAN BOOK PAGES 35-36, 38
In the early days after the peaceful liberation of Beiping
(Beijing), many experts raised the issue of reviving special traditional
handicrafts. In the summer of 1919 [1949], Fei Xiaotong, then a professor at
Tsinghua University, spent a month and a half of his summer vacation organizing
his students, with the assistance of the municipal government, to conduct a
survey on the current state of special handicrafts in Beiping. At the same
time, architects Liang Sicheng and Lin Huiyin also paid close attention to
Beiping's special handicrafts and devoted themselves to their research.
On August 31, 1949, the Beiping Municipal Government's
Bureau of Industry and Commerce invited representatives from various sectors,
including importers and exporters of the Beiping Special Handicrafts
Association, the Women's Federation, banks, and industrial research institutes,
as well as renowned experts such as Fei Xiaotong, Liang Sicheng, Wang Shixiang,
Lin Chongyuan, Xu Beihong, Gao Zhuang, Ma Dayou, Wu Zuoren, Ma Heng, and Han
Shouxuan, to a symposium. At the symposium, participants shared their opinions
on the current state and future of Beiping's special handicrafts. At the
symposium, it was decided that 30% of the participants would...
A research institute for special handicrafts in Beiping was
formed, consisting of nine people including Xiao Tong, Xu Beihong, Han
Shouxuan, Zhu Lida, Wang Shen, Qin Qifang, representatives from industry and
commerce, and representatives from banks.
Soon after, in 1950, the Beijing Special Arts and Crafts
Company was established, and under the advocacy of Professor Liang Sicheng of
Tsinghua University, a cloisonné enamel creation research group and
experimental factory were set up.
Before 1949, due to the decline of the industry, cloisonné
enamel products suffered from numerous drawbacks. Many products were crudely
made, using inferior materials and workmanship; some were so light they could
float on water, the glaze surface had many pinholes, and the filigree patterns
were stiff and lifeless. To change this situation and revitalize cloisonné
enamel, banks provided loans, and Liang Sicheng organized faculty and students
from the Department of Architecture at Tsinghua University to assist in
designing patterns, enabling some artisans to resume production. With
government support and expert intervention, the quality of cloisonné enamel
products improved significantly, and inferior products disappeared from the
market.
After 1949, more than 20 artists personally participated
in the design of cloisonné patterns, making cloisonné one of the earliest
traditional special handicrafts to have dedicated creative designers.
On May 19, 1951, the Beijing Special Crafts Company hosted a
professional conference on special crafts. The cloisonné industry discussed
issues such as developing domestic sales. Teachers from the Department of
Architecture at Tsinghua University presented a report entitled "A Year's
Summary of Cloisonné New Pattern Design Work," which was published in the
*Guangming Daily* on August 13 of the same year. The summary pointed out
that in terms of creative design, one should first learn from veteran
craftsmen, leveraging their technical and material expertise to save labor and
materials. A good work should consider form, pattern, and color in a
coordinated manner. Besides beautiful patterns, a beautiful form and
appropriate color complements the design. Form is often prioritized in
creation, requiring an object to produce a simple, complete, and clear effect
at first glance. Form determines function, so it should be considered the primary
and foremost determining factor in creation. Secondly, color and luster are
important, and finally, the pattern. Patterns are not empty; they must be
attached to a certain form and have an inseparable organic relationship with
it. They must have a certain color and luster, which are the concrete imagery
of the pattern. Therefore, all three elements must achieve a unified effect.
Thanks to the participation of artists, the shapes and
patterns of cloisonné were quickly improved. With the support of the government
and a favorable development environment, the workers were also very
enthusiastic about improving the quality of cloisonné craftsmanship.
The newly established People's Republic of China, in dire
need of rebuilding, required diverse talents to participate in its
construction. At that time, traditional handicrafts were a pillar of the
country's export revenue, and relying solely on artists and existing industry
personnel was far from sufficient to improve the industry's situation. The
nation needed to reorganize the artisans who had switched professions before
liberation, giving them opportunities to showcase their talents and using their
skills to contribute to the construction of the new China. Only with more
skilled technicians could the declining traditional Chinese handicrafts be
revitalized and flourish.
Therefore, in December 1952, the First Enamel Cooperative
was established in Beijing, absorbing veteran cloisonné artisans who had left
the industry. Because the returning artisans all possessed exceptional
skills, and through the concerted efforts of artists and craftsmen…
In the early days after liberation, some excellent cloisonné
works emerged, which were loved by consumers at home and abroad.
After the founding of the People's Republic of China, the
number of countries establishing diplomatic relations with China increased, and
the foreign affairs activities of leaders at all levels became more frequent.
As a result, the demand for cloisonné products, as national gifts and export
products, also rose. Therefore, in 1954, in response to the call of the
municipal government to "recruit artisans, preserve skills, train
apprentices, and fundamentally develop the capital's special handicrafts,"
the Second Enamel Cooperative was established. Subsequently, in 1956, the Third
Enamel Production Cooperative was established, and 12 private workshops were
united to form a joint public-private enamel factory. The number of
employees increased from 122 in 1952 to more than 1,100.
With the expansion of production
scale, in January 1958, the First, Second, and Third Enamel Production
Cooperatives merged to form the Beijing Cloisonné Factory; the joint
state-private enamel factory and the state-owned cloisonné experimental factory
merged to form the Beijing Enamel Factory. At this time, the number of people
employed in the Beijing cloisonné industry reached more than 2,700.
When the cloisonné factory was established in 1958,
traditional arts and crafts were the mainstay of China's export earnings.
Visiting countries with diplomatic relations with China would often tour the
various arts and crafts production units. At that time, the factories were
scattered; for example, the cloisonné factory was in Beitaipingzhuang, the
ivory carving factory in Qianmen, the official lantern factory in Huashi, the
jade factory in Longtanhu, and the filigree factory in Tongxian… This dispersed
location made reception and security work quite cumbersome, and the foreign
visitors were also tired. In view of this situation, the state believed it was
necessary to establish a comprehensive arts and crafts factory so that visiting
guests could see all the different types of arts and crafts and their processes
in one place. Therefore, in 1960, the cloisonné factory was renovated, and the
Third Construction Company building, located south of Beitaipingzhuang Bridge,
was converted into the "Beijing Arts and Crafts Factory." Each floor…
To set up a production line for each craft, management cadres, technical
backbones, and production workers were transferred to the factory. As a result,
the arts and crafts factory gathered a group of elite backbones, such as the
old craftsmen Jin Shiquan, Qiao Defu, Qin Huaisen, and Zhang Dianhong from the
original cloisonné factory… Subsequently, graduates from various art colleges
were also assigned to the Beijing Arts and Crafts Factory as fresh blood and
follow-up forces…
For a considerable period after its establishment, the Beijing Arts and Crafts Factory was designated as a foreign affairs unit by the state, open only to foreign guests.
-----------------------------------------------------------------------------------------------------------------------------
Qian Meihua Book Bio pages
QIAN MEIHUA, MASTERS OF CHINESE ARTS AND CRAFTS
Figure 1-1 Portrait of Master Qian Meihua in her youth
Figure 1-2 Group photo with leaders of Beijing Arts and
Crafts Group Corporation, Qian Meihua is first from the left in the front row.
A heartfelt word of advice, a sincere dedication, and a
lifelong commitment – this
is a true reflection of Master Qian Meihua's artistic life. In the contemporary
development of cloisonné enamelware, Qian Meihua is an
indispensable name. She is a landmark figure in the contemporary inheritance of
this traditional Chinese craft, exerting a significant influence on its modern
development and enabling it to flourish (Figure 1-1).
Ninghai County, located on the eastern coast of Zhejiang
Province, is a remote area, yet the names of Ye Mengding, Fang Xiaoru, and Rou
Shi are well-known. At the end of the 19th century, a prominent figure in
modern Chinese art was born here: the renowned painter Pan Tianshou. His
advocacy of "innovation through tradition" had a significant impact
on contemporary Chinese painting and art education. Thirty years later, another
contemporary Chinese craftswoman was born in Ninghai—Qian Meihua. Twenty years
after that, Qian Meihua entered the National Academy of Art, where Pan Tianshou
was then the principal. As she stepped into the halls of art, her journey in
crafts quietly began. Over the next 60 years, Qian Meihua dedicated her life to
making significant contributions to the development of contemporary Chinese
arts and crafts (Figures 1-2).
Section 1 The Difficulties of Growing Up
Born in 1927, Qian Meihua lived during a time of war and
turmoil in China. Therefore, her childhood was devoid of the joy and fun that
children typically experience. Due to poverty and the constant threat of
disaster and war, her family was frequently displaced, forced to flee their
home and travel with her parents. Her parents originally ran a small general
store in Ningbo, mainly selling fabrics. A fire, started by a neighbor's
carelessness while smoking, destroyed their shop. To support the family, her father
had no choice but to lead them to Shanghai in search of a better future.
However, even in the bustling metropolis of Shanghai, her father couldn't find
work and had to rely on his craft, making bakelite switches to earn a living.
Even this simple life was precarious. The Japanese invasion of China forced the
family to relocate several times, twice fleeing to Ningbo, and even seeking
refuge in the mountains of their hometown before eventually returning to
Shanghai. Throughout these turbulent years, Qian Meihua's childhood was filled
with hardship and suffering.
1. The miracle of life
In 1931, five-year-old Qian Meihua fled to Shanghai with her
parents and siblings. Unfortunately, a smallpox epidemic was raging in the
middle and lower reaches of the Yangtze River, and Qian Meihua and her
eleven-year-old sister both contracted the disease. Under the limited medical
resources of the time, smallpox was a highly contagious disease with an
extremely high mortality rate. According to contemporary records, only one or
two out of ten children under the age of ten who contracted the disease survived.
As a result, the 11-year-old sister succumbed to the disease and died young. Qian Meihua, however, miraculously survived. After being rushed to the hospital, she was miraculously saved. Although her life was saved, the smallpox virus had damaged her eyes, rendering her blind. The doctors at the hospital tried everything, but to no avail. Desperate, her parents sought help from a quack doctor, hoping against hope, and asked him to treat Qian Meihua's eyes. This very doctor saved Qian Meihua's life. He mixed wood ash and applied it to her eyes. After a short time, Qian Meihua miraculously regained her sight.
Although Qian Meihua's eyesight was miraculously restored,
the disease still caused serious damage to her eyes. Although she could see,
she had obvious symptoms similar to cataracts, and her vision was very poor.
Even after surgery in adulthood, it could not be completely cured.
Qian Meihua's eye condition caused significant difficulties
in her studies and work, causing her to start school and enter the workforce
several years later than her peers. Furthermore, due to her poor eyesight, she
often had to exert more effort than others to complete the same tasks. Since
daytime hours were insufficient, she continued studying and working at night to
compensate for the reduced efficiency. This was especially true after she began
designing and producing cloisonné enamelware, which required extremely fine
craftsmanship. Qian Meihua's vision became blurry beyond five or six meters,
necessitating the use of a high-powered magnifying glass, severely reducing her
work efficiency. She frequently had to work overtime until late at night,
compensating for the slower pace with an even greater workload to ensure timely
and high-quality completion of tasks.
2. Qianyi Family
Qian Meihua's father was skilled at making pipes and
fountain pens, her mother was skilled at making blue-and-white printed fabrics,
her brother was a master pen maker, and her sister was proficient in
embroidery. Immersed in the family's handicraft atmosphere, Qian Meihua
developed a strong interest in traditional handicrafts and a remarkable ability
to learn them.
Under the subtle influence of her family, Qian Meihua not
only loved painting, but also learned dyeing and embroidery skills from her
mother and sister, which became an indispensable part of her life later on.
III. The Long Road to Education
In China during the 1930s and 40s, it was a blessing for a
child from a poor family to be able to go to school. Despite their difficult
financial situation, Qian Meihua's parents still worked hard to support her
education. In a childhood filled with hardship, going to school was incredibly
fortunate for Qian Meihua, who had endured numerous trials. However, due to
various factors such as disasters, war, and illness, Qian Meihua's primary
school education was intermittent; she attended schools in Ningbo and Shanghai.
Figure 1-3 Qian Meihua (first from left in the front row) at the East China Branch of the Central Academy of Fine Arts
Figure 14. Qian Guanzuo's work photo
Figure 15. Group photo in front of Mr. Liang Sicheng's
residence: Qian Meihua (square), Liang Neibing (scarf), and Chang Shahui
(left).
Figure 1-6 A group photo commemorating the 100th anniversary
of Lin Huiyin's birth: Qian Meihua (first from right), Liang Zaibing (second
from left), Chang Shana (second from left), and Zhong Liansheng (left).
Figure 1-7 Qian Meihua (left), Sun Junlian (middle), and
Chang Shana (right)
She had studied there, but had to drop out several times due
to fleeing from war. After finishing primary school in Shanghai, she continued
her studies at Shanghai Girls' High School.
When Qian Meihua was eight years old, her father passed
away, plunging the family into hardship. Her brother, 102 years her senior, had
to give up his plans to attend university and went to Shanghai after graduating
from high school to make a living, supporting the family and continuing his
sister's education. Her brother was also very skillful, having previously
worked with their father making fountain pens. After arriving in Shanghai, he
first resumed the work his father had done, making bakelite light switches. He
rented a small house in a poor neighborhood and started a family workshop. Due
to the good quality of his products, business gradually improved. Four or five
years later, he switched to producing ballpoint pens. Relying on the excellent
quality of his products, they became a well-known brand, and the business grew
larger and larger, eventually developing into a sizable national enterprise –
Huafeng Ballpoint Pen Factory.
With her brother's reliable and stable financial support,
Qian Meihua was able to concentrate on completing her studies. In 1946, Qian
Meihua graduated from high school. Having loved drawing since childhood, Qian
Meihua wanted to apply to the National Academy of Art, but her qualifications
were still far from meeting the requirements. Therefore, she entered the
Shanghai Academy of Fine Arts, where Mr. Liu Haisu was the principal, and
studied in the preparatory course for a year.
In 1947, Qian Meihua was admitted to the National Academy of
Arts, majoring in dyeing and weaving (Figure 1-3). The hardships of her work
spurred her to study even harder. Her introverted and unassuming nature
fostered good interpersonal relationships, allowing her to focus wholeheartedly
on her professional studies. Through several years of diligent effort and
academic progress, Qian Meihua was selected by the Beijing Special Arts and
Crafts Company, which was recruiting students (Figure 1-4). After graduating
from university in 1951, Qian Meihua was assigned to the Beijing Special Arts
and Crafts Company as a pattern researcher. In September of the same year, she
was selected by the company to study at the Department of Architecture of
Tsinghua University, under the tutelage of renowned scholars Liang Sicheng and
Lin Huiyin (Figures 1-5~1-7).
Section 2 Famous Teachers’ Teachings
Although she only studied under two renowned masters for a short period of two or three years—a mere fleeting moment in Qian Meihua's entire artistic career—these two or three years determined her life trajectory and are of great significance.
I. First introduction to cloisonne
It was the summer of 1950, at a national trade fair in
Hangzhou, that Qian Meihua, still a student, first saw cloisonné enamelware.
Although it was only a brief encounter, the charm and allure of the cloisonné
craft left a lasting and unforgettable impression on her. She has worked in the
cloisonné industry for decades.
After designing, she recalled the feeling of first encountering cloisonné, and Qian Meihua was still deeply moved. In her opinion, even words like "perfect" and "exquisite" were insufficient to describe the beauty created by the cloisonné craft.
As if by some twist of fate, Qian Meihua's life became
inextricably linked with the cloisonné enamel craft from that year onward.
Not long after, Qian Meihua encountered cloisonné products
again. That year, she was selected to join an arts and crafts group organized
by Mr. Liang Sicheng and Ms. Lin Huiyin, dedicated to the research of cloisonné
production. At the group's first meeting, Ms. Lin Huiyin showed everyone a
cloisonné vase she had bought at the Haiwang Village Ancient Culture Market.
The vase was from the famous, long-established cloisonné brand, "Lao
Tianli." Ms. Lin then spoke to the students about the history and
characteristics of cloisonné craftsmanship. That day, Qian Meihua took her
first step in her arduous pursuit of knowledge in the world of cloisonné.
2. Saving endangered crafts
In the early days of the People's Republic of China,
everything was in ruins and needed to be rebuilt. On the one hand, there was
the need to develop the national economy; on the other hand, there was the need
to save Beijing's traditional crafts, which were on the verge of extinction.
After a comprehensive investigation, Mr. Liang Sicheng and Ms. Lin Huiyin
selected cloisonné enamel, a craft with unique techniques and complex
processes, as their experimental subject. They established an arts and crafts
group specifically to study the production of cloisonné enamel. Group members
included Mo Zongjiang, Li Zongjin, Gao Zhuang, Wang Xun, Chang Shana who had
just returned from the United States, and Qian Meihua and Sun Junlian, who were
then studying at the East China Branch of the Central Academy of Fine Arts.
Under the guidance of Ms. Lin Huiyin, Qian Meihua and others visited numerous small workshops scattered throughout the southeastern suburbs of Beijing, maintaining cloisonné production. Besides investigating the production conditions of these workshops, they repeatedly visited each one to learn the techniques of each step of the cloisonné process from the experienced workers. Through continuous practice, Qian Meihua gradually became familiar with the complete process of cloisonné, including wire inlay, enameling, firing, polishing, and gilding. However, understanding and mastering the techniques was merely a material preparation and could not save the endangered cloisonné craft. The predicament of cloisonné development lay in the monotony of its products and outdated patterns. Based on Ms. Lin's teachings and guidance, Qian Meihua and others, on the one hand, organized and explored traditional patterns; on the other hand, they innovated cloisonné designs in terms of shape, color, and pattern, promoting the essence of tradition while infusing it with the spirit of the new era. The work of the arts and crafts group effectively revitalized this traditional craft, leading to a resurgence of cloisonné.
In April 1951, Mr. Chang Shuhong
presented his years of research and excavation findings in Dunhuang in Beijing.
An exhibition of Dunhuang cultural relics was held. Upon learning of the exhibition, Liang Sicheng and Lin Huiyin immediately organized their students, including Qian Meihua, to visit it at the Meridian Gate of the Forbidden City. The fantastical and magnificent Dunhuang murals deeply captivated every visitor. The beautiful and elegant colors, images, lines, and patterns presented in the Dunhuang murals broadened Qian Meihua's horizons, opening up a rich source of inspiration for her and profoundly influencing her later research and development in cloisonné patterns and glazes. Forms and elements of Dunhuang art can be seen in many of Qian Meihua's works. For example, she borrowed images of Buddhas and Bodhisattvas in "Longevity Vase" and "Dunhuang Plate," and referenced the coffered ceiling style in "Peace Ode Treasure Mirror" from the Dunhuang murals; these elements were also frequently used in the design of table lamps, clocks, and other items (Figures 1-8 to 1-10).
Figure 1-8 Dunhuang murals
Figure 1-9 Qian Meihua provides guidance on the enameling
process.
Figure 1-10 Table Lamp
1-11 Qian Meihua (second from right), Chang Shana (second
from left), and Sun Qide (first from left)
Figure 1-12 20: A 1950s line scholars and Chang Shana
(right) sketching at Suohua.
Figure 1-13 Qian Leihua's working principle
Figure 1-14 Pattern of algae scales in Dunhuang murals
Following her teacher's guidance in reviving the cloisonné
craft, Qian Meihua gained not only knowledge of cloisonné production techniques
but, more importantly, a deeper understanding of cloisonné pattern design
principles. Through their "One-Year Summary of New Cloisonné Pattern
Design Work," the arts and crafts group elucidated the principles of
cloisonné pattern design. When we examine Qian Meihua's designs, we can sense
that she has consistently adhered to these design principles throughout her
craft career.
Teachers Liang Sicheng and Lin Huiyin provided Qian Meihua
with intensive training in modeling, as she majored in textile design in
university, focusing on graphic design. However, the design and creation of
arts and crafts required strong modeling skills as a foundation. Although Lin
Huiyin was in poor health and bedridden for a long time, she still insisted on
teaching Chang Shana, Qian Meihua, and Sun Junlian every week. The three girls
cherished each class opportunity, worrying about their teacher's health while
eagerly seeking knowledge from her. After each class, Professor Lin would
provide them with a list of various reference books; they conscientiously
followed her advice and continued to study at the library in the evenings,
often staying until closing time before reluctantly leaving (Figures 1-11 and
1-12).
Mr. Rong used the proverb "an iron pestle can be ground
into a needle" to encourage Qian Meihua to be willing to endure
loneliness, be indifferent to fame and fortune, persevere, and work diligently
in her study and research of cloisonné enamelware. He emphasized that only by
fully relying on and utilizing the wisdom and collaboration of the collective
can this traditional craft be developed and elevated. Qian Meihua recalled Mr.
Liang personally mending socks (when faced with setbacks, Mr. Liang would often
experience the perseverance of water dripping on stone through the meticulous
process of needlework, tempering his will). She was deeply moved by her
teacher's actions of cultivating willpower through ordinary and trivial means
in adversity and hardship. In the years that followed, Qian Meihua often
emulated her mentor's approach to refine herself.
Combining the rescue efforts for the endangered cloisonné enamel craft with the design of new patterns, Lin Huiyin shared her years of research on decorative patterns from various dynasties in China with her students for study and analysis. Through practical guidance, she helped students understand the origins and backgrounds of various traditional patterns, as well as the influence of different social environments on their development, and comprehend the cultural connotations they embody (Figure 1-13). In this interactive exchange, Qian Meihua gained a deeper, more vivid, and systematic understanding of traditional Chinese patterns, gradually deepening her comprehension of traditional Chinese culture and its enduring cultural traditions. Mr. Liang's frequent guidance often brought Qian Meihua moments of sudden enlightenment. She recalled an instance where Mr. Liang jokingly asked Hua Luogeng about the number of ears a rabbit has. Mr. Liang cited the patterns of the caisson ceilings in the Dunhuang murals (Figure 1-14), leaving a profound impression on Qian Meihua and enabling her to more deeply appreciate the artistic cultivation and cultural wisdom of the ancient Chinese.
Later, she jokingly asked the reporter who interviewed her
about the color of the crane's tail. Her studies at Tsinghua University not
only broadened Qian Meihua's knowledge and depth, but more importantly, greatly
improved her cultural and artistic cultivation.
3. Designing national gifts
During her studies under Ms. Lin Huiyin, every practical
experience greatly promoted Qian Meihua's professional development.
1952 was an exceptionally busy and fulfilling year for Qian
Meihua. Under Mr. Lin's leadership, the Arts and Crafts Group undertook a
series of important tasks. In October, the Asia-Pacific Peace Conference was
held in Beijing. To celebrate the first anniversary of the signing of the
Sino-Soviet Treaty of Friendship (the Soviet Union sent a cultural and artistic
delegation to China), the Arts and Crafts Group was tasked with designing gifts
for the conference delegates and delegation members.
The gifts fall into four main categories: one is silk
printed headscarves and women's vests combining embroidery and goldwork,
specially designed and made for the conference (Figure 1-15); another is
traditional Chinese handicrafts, including cloisonné products, inlaid
lacquerware, silver filigree ornaments, ivory carvings, and embroidered
handkerchiefs; another is various finely printed albums, containing Dunhuang
murals, folk New Year paintings, folk paper-cut window decorations, and
paintings by artists; and the third is literary classics.
Figure 1-15 Silk scarf
According to the division of labor, Chang Shana was responsible for designing the table lamp to be given to the male group leaders, while Qian Meihua designed the table lamp to be given to the female group leaders (Figure 1-16). In addition, Qian Meihua, Chang Shana, and Sun Junlian also designed gifts such as friendship scarves, filigree dove brooches, and gold lacquer boxes.
The gift designs incorporated the new pattern designs
achieved by the arts and crafts group. The patterns reflected both China's long
and profound cultural traditions and the vibrant spirit of the new era. The
scarves and vests featured white doves, symbols of peace, adorned with
traditional patterns of flowers, birds, figures, antique objects, and geometric
shapes, exhibiting a rich oriental artistic style. The colors were vibrant and
the style unique. The silk patterns drew inspiration from the ceiling patterns
of the Northern Wei Dynasty in the Dunhuang Thousand Buddha Caves, and through
the exchange and fusion of different cultures (such as Greece, Persia, and
India), the patterns and colors were used to highlight the doves of peace,
expressing the meaning of peace, friendship, exchange, cooperation, and common
development. The traditional handicrafts designs comprehensively utilized
patterns from Han Dynasty jade artifacts, Northern Wei Dynasty caisson ceiling
patterns from the Dunhuang Grottoes, decorative patterns from the Sui and Tang
Dynasties, brocade patterns from the Song Dynasty, and patterns from Ming and
Qing Dynasty porcelain. Combined with the shapes and colors of the objects,
they expressed both a dignified and elegant temperament and a lively and
charming appeal.
The gifts were welcomed and appreciated by representatives
from various countries, which is the best affirmation of the hard work and
brilliant creativity of the arts and crafts team. When Qian Meihua and others'
design achievements were displayed in the South Hall of the Beijing Hotel,
Figure 1-16 Table Lamp
[Goldfish!]
Figure 1-27 Qian Shan (left) and Shen Congwen (center) in a photo.
Collection 1-18: Cloisonné enamelware from the Ming and Qing
dynasties that has been stored away for a period of time.
The gifts received high praise from Mr. Guo Moruo, who
visited the site. He lauded them as "the first batch of novel gifts with
national style in New China".
4. Valuable experience
To help Qian Meihua achieve greater success in her studies
and work, Mr. Liang Sicheng introduced her to Mr. Shen Congwen, a renowned
writer and historian working at the Museum of the Chinese Revolution (now the
National Museum of China). Qian Meihua always remembered Mr. Liang Sicheng's
words to her: "When you go to the city, recommend Shen Congwen." At
that time, Mr. Shen was primarily engaged in research on ancient Chinese
clothing and historical culture. Qian Meihua frequently consulted with Mr. Shen
and attended his lectures (Figure 1-17). Upon learning that Qian Meihua was
involved in cloisonné design and creation, Mr. Shen suggested that she visit
the Forbidden City more often, specifically pointing out that the palace
possessed many cloisonné artifacts, which were the best models for her study.
Mr. Shen also specially helped her make connections with the Forbidden City,
creating favorable conditions for her to enter without a ticket. This opened up
a rich and colorful treasure trove of knowledge for Qian Meihua; during her
studies at the Forbidden City, she was able to access many exquisite
collections that were not on public display. Qian Meihua seized this rare
learning opportunity, working tirelessly to make the most of every minute and
second, hoping to absorb as much knowledge as possible.
Qian Meihua's learning experience at the Palace Museum was
unforgettable. She had the opportunity to directly view the Ming and Qing
dynasty cloisonné masterpieces housed there. Cloisonné is a complex craft, and
its production was beyond the capabilities of ordinary people.
It wasn't until the Xianfeng era of the Qing Dynasty that
the imperial monopoly on cloisonné production was broken. Therefore, the vast
majority of surviving cloisonné pieces are housed in the Palace Museum (Figure
1-18). Due to limited resources, cloisonné artifacts were kept in the Treasure
Gallery at that time and were not open to the public. To make the most of this
rare learning opportunity, after negotiation, Qian Meihua asked the Palace
Museum staff to lock her inside the Treasure Gallery. She would go in early in
the morning and not come out until evening. Qian Meihua often recalls those
days of extremely difficult conditions yet exceptionally fruitful results, and
she is amazed at how she had such courage, being alone in such a vast palace.
At that time, she was probably only focused on copying all the patterns, and
didn't care about anything else. She brought her own water and dry food,
sometimes substituting tomatoes and other fruits for water. Summer was
bearable, but winter was the hardest. The gallery was extremely cold; her hands
and feet quickly froze, and the brushes and paints she used also froze. She
could only thaw the frozen brush tips slightly by constantly breathing on them.
Plagued by an eye condition,
Qian Meihua had to exert several times the effort of an average person.
Therefore, she often spent over ten days at a time immersed in the cloisonné
enamelware gallery. As the saying goes, "Heaven rewards diligence,"
and Qian Meihua's hard work paid off handsomely. Through copying and research,
she accumulated a wealth of firsthand materials, becoming thoroughly familiar
with and mastering the application of traditional cloisonné patterns.
Furthermore, she unearthed and compiled many long-lost shapes and patterns.
Figure 1-19 Okuya and Sasa at the exhibition.
Figure 1-20 Qian Wei (first from right) and the design and
production staff with the award-winning work, White Shadow.
January 21 - Qian Xianzuo and Chang Na take a photo together
while watching Sun Laolian's performance.
This has laid a solid foundation for the inheritance,
development and innovation of cloisonné enamel craftsmanship.
After starting work at the factory, Qian Meihua not only
persisted in her own studies but also organized the factory's designers and
workers to attend lectures by Mr. Shen Congwen. She remembered Mr. Liang's
teachings: the development and improvement of traditional crafts (especially
complex crafts like cloisonné) must be based on collaborative efforts and
collective improvement. Therefore, she insisted on ensuring the healthy and
sustainable development of cloisonné craftsmanship by improving the overall quality
of design and production personnel (Figures 1-19 and 1-20).
Through systematic study and research of traditional
patterns, Qian Meihua became thoroughly familiar with the formal principles of
traditional Chinese patterns, applying them with ease and skill in the process
of development and innovation. Based on summarizing and synthesizing her
research results, Qian Meihua wrote the paper "The Styles of Cloisonné Art
Throughout the Ages," which won the gold medal at the Second National
Congress of Literary and Art Workers and was later included in the "World
Academic Library." In the 1960s, Qian Meihua compiled China's first
cloisonné textbook, "Cloisonné Creation and Design," and also
participated in the compilation of reference books such as "Cloisonné
Patterns" by the Beijing Special Arts Factory.
Chapter 3: No Regrets Decision
Faced with two major choices, Qian Meihua made her decision
without hesitation each time, steadfastly moving forward on her path in the
world of crafts.
I. Choosing Cloisonné
In 1952, the Central People's Government decided to reform
the higher education model, which had been established and inherited from the
Republic of China era, by referring to the Soviet model. This involved
adjusting the departmental structures of universities nationwide to establish a
new higher education system. After the adjustment, Tsinghua University, which
had previously been a comprehensive institution, retained only its engineering
college; its arts, sciences, law, and medicine colleges were split up and
merged into other universities. The fate of the arts and crafts group was
inevitably affected. Chang Shana and Wang Xun were transferred to the Central
Academy of Fine Arts, and Sun Junlian was transferred to the China Council for
the Promotion of International Trade (Figure 1-21). Mr. Liang Sicheng was very
concerned about the students' future. He asked Qian Meihua where she was going
and whether she also wanted to go to the Department of Applied Arts at the
Central Academy of Fine Arts. The usually taciturn Qian Meihua told her mentor
her idea: to go to the cloisonné factory to continue designing and producing
cloisonné. Mr. Liang Sicheng and Ms. Lin Huiyin were very pleased to hear this.
In 1953, Qian Meihua finished her studies at Tsinghua University and, according
to her wishes, was assigned to the Beijing Cloisonné Experimental Factory to
engage in design work.
II. Bedside Instructions: The Responsibility of a
Craftsman's Life
In the spring of 1955, Qian Meihua received a letter from her mentor, Mr. Liang Sicheng, informing her of the arrival of Mr. Liang and Mr. Lin.
Figure 1-22 Qian Meihua and her work "Flowerpot" (reduced version)
Figure 1-73 Drilling Meihua's working principle
In a group photo of designers from Class 1-24 in Beijing,
Qian Meiren is third from the right in the front row.
Both teachers were hospitalized due to illness. Qian Meihua
immediately went to Tongren Hospital to visit them. From Mr. Liang Sicheng,
Qian Meihua learned that Ms. Lin Huiyin's condition had worsened, and she had
been hospitalized in the autumn of 1954 due to a sudden deterioration in her
illness. Upon meeting Mr. Liang Sicheng, Qian Meihua first reported on her
studies and work since graduation, and then introduced the positive development
of traditional arts and crafts in Beijing over the past few years. Afterwards,
Qian Meihua quietly entered Ms. Lin Huiyin's ward. Ms. Lin's frail and
emaciated figure, ravaged by illness, far exceeded Qian Meihua's expectations,
deeply saddening her. Ms. Lin still inquired with concern about her work and
life during the years they had been apart. In Qian Meihua's memory, although
Ms. Lin was extremely weak, the unwavering spirit revealed in her bright eyes
deeply moved her. Upon learning that her efforts had helped Beijing's
traditional arts and crafts achieve healthy development, Ms. Lin Huiyin was
gratified. She slowly said to Qian Meihua beside her, "Cloisonné is a
national treasure; it must not be lost in the new China." Although her
mentor's tone was weak, every word was etched deeply into Qian Meihua's heart.
Shortly after her visit ended, on April 1, 1955, Ms. Lin Huiyin passed away.
This meeting became Qian Meihua's farewell to her mentor, and those brief words
became her mentor's final entrustment to her. For more than half a century
afterward, whenever Master Qian Meihua recalled that scene, it remained vivid
and moving, as if it were right before her eyes.
The short instruction lingered in my mind, just as Master
Qian Meihua said decades later: "Every word was etched into my heart...
and ultimately determined my life's pursuit."
3. Fulfill commitments
In 1958, in accordance with the requirements of national
economic development at the time, the Beijing Special Arts and Crafts Company
underwent reorganization, separating the factory from the trading company. That
year, the joint state-private enamel factory and the state-owned cloisonné
experimental factory merged to form the Beijing Enamel Factory. Faced with
drastically different choices, Qian Meihua did not hesitate. Inspired by Mr.
Lin Gaiyin's instructions, she resolutely chose to go to the production line.
She refused the company's offer to stay and volunteered to work in the factory.
Thus, Qian Meihua was transferred to the Beijing Enamel Factory, serving as the
head of the design department (Figures 1-22 and 1-23).
Section Four: A Lifelong Pursuit
From her transfer to the Beijing
Enamel Factory in 1958 until her retirement in 1990, Qian Meihua devoted
herself to the inheritance and development of cloisonné enamel craftsmanship
(Figure 1-24). Even after retirement, she did not stay at home to enjoy her old
age, but continued to make selfless contributions to the development of
cloisonné enamel craftsmanship for twenty years.
Although she dedicated herself to the protection and inheritance of cloisonné enamelware from the time she joined the arts and crafts group, and despite receiving praise and recognition from national leaders and renowned scholars such as Premier Zhou Enlai and Guo Moruo for her numerous designs, despite being the first person in contemporary China to engage in cloisonné enamelware design, and despite possessing profound experience in cloisonné enamelware research and design, Qian Meihua's artistic journey has not been without its challenges. The teachings of Mr. Liang Sicheng still resonate: "Be willing to endure loneliness, be indifferent to fame and fortune, be persevering and self-motivated, and work diligently." Regardless of her circumstances, the development of cloisonné enamelware has always been Qian Meihua's top priority. Supported by this life belief, she has remained steadfast and persistent, influencing and promoting the inheritance and development of cloisonné enamelware through her unremitting efforts and perseverance (Figure 1-25).
I. Update the mindset of practitioners
In traditional cloisonné production, there are no dedicated
designers; apprentices simply follow the master's instructions, and output is
the core of production. Therefore, when Qian Meihua first started working at
the factory, many of the masters didn't understand her decision to visit and
sketch. The management also worried that her visits would affect production
targets. Although Qian Meihua appeared very thin, introverted, and not very
talkative, she was unyielding and argued her case firmly. She believed that the
key to improving production levels lay in quality improvement, and that visits
and learning would enhance the artistic effect of the products, significantly
impacting product quality and efficiency—something that mere output couldn't
compare to. She insisted on organizing workers to visit exhibitions, attend
lectures by artists, and sketch in parks. Qian Meihua's persistence and
determination generated a tremendous appeal.
Image: 25 Qian Guansheng's work materials in his later years (Fusi|
Figure 1-26 Qian Guanhua (right) and Jiang Lianlian (left)
The effects of the visit and learning gradually became apparent. The improvement in cultural and artistic literacy not only did not hinder the completion of production tasks, but also promoted product innovation and quality improvement. Furthermore, under her influence, the factory's workers gradually recognized the necessity of learning and the resulting increase in production levels, forming a positive, conscious, and widespread learning atmosphere.
2. Innovative design
Qian Meihua's efforts have dramatically changed the face of
cloisonné enamelware. She is widely recognized as the foremost professional
cloisonné enamelware designer in contemporary China. Inheriting the
achievements and experience gained by the Arts and Crafts Group in rescuing the
craft, she has promoted the development of this ancient traditional craft in a
new historical period through innovative designs in form, color, and pattern
(Figure 1-26). In her innovation, Qian Meihua emphasizes the learning and
integration of traditional culture while simultaneously promoting the spirit of
the times. She adheres to the basic principles of unity in form, color, and
pattern, highlighting the dignity and simplicity of the forms and emphasizing
the harmony and elegance of the colors. This makes cloisonné enamelware
products complete works of art, suitable for both close-up and distant viewing.
In terms of patterns, she has eliminated the outdated concept of solely
pursuing intricate and elaborate designs, making them more relevant to the
theme and integrated into the overall work. The balance between complexity and
simplicity elevates the pieces beyond mere close-up detail; her innovative use
of traditional patterns imbues the works with vibrant diversity and a lively
spirit.
3. Reform techniques
To achieve the desired design and innovative effects, Qian
Meihua often adjusts her work according to the needs of the creative process
and production.
She proposed innovative ideas for glazes and enameling
techniques, and collaborated with colleagues to develop new glaze colors such
as coral red, emerald green, and ground green. She pioneered various new
techniques, including non-threaded enameling, separate enameling, single
enameling, underpainting enameling, and rendering enameling. She also developed
the gold-ground and gold-flower techniques, reviving the exposed metal enamel
technique. In the 1980s, Qian Meihua led the research and development of the
silver crystal blue technique, achieving success. A series of material and
technical innovations enriched the artistic expression of cloisonné. This
further expanded the development space of cloisonné, creating numerous classic
masterpieces such as the "Full-Ground Imperial Jar," "Gold
Flower Pipa Vase," "Flying Snow Welcoming Spring," "Zhou Qilei,"
and "Cordyceps Radish" (Figure 1-27).
In particular, works such as
*Rouge Butterfly* (1960) (Figure 1-28), *Squash Flower and Grasshopper* (1960),
and *Cordyceps and Radish* (1980s) were the first to introduce the expressive
style of freehand painting into cloisonné enamelware creation. Due to the
limitations of materials and craftsmanship, traditional cloisonné enamelware
primarily employed the meticulous brushwork technique of iron-wire drawing. The
paintings of Master Qi Baishi left a deep impression on Qian Meihua; their
natural and innovative charm deeply attracted her attention: could the style of
freehand painting be applied to cloisonné enamelware creation? Thus, she began
to explore and attempt breakthroughs in creative design.
Figure 1-29 shows (second from right) Zhong Lianshua (first), Dai Jialin (first from left), and Mi Boushuan (second from left).
Up to 1-30 Qian Lei Huatu and Creative Design
Figure 31: Guo Leihua (left) and Wu Kenan (center) pose for
a photo on Tiananmen Rostrum.
1-32 Building Artwork Exhibition, Chinese American Zhong
Lianlian (second from right)
Meihua has consistently participated in traditional Chinese
painting studies for nearly three years, dedicating even her weekends to
painting. This has laid a solid foundation for her innovative designs. Building
upon her research in freehand brushwork, innovative enamel application, and
glaze techniques, she has broken through the limitations of traditional
cloisonné production, which required complete, clear lines and distinct colors.
By utilizing variations in line drawing and enamel application, she creates an
ink-wash effect in the glaze, imbuing flowers, plants, and insects with vibrant
life, highlighting the combination of reality and illusion, and the harmony of
movement and stillness, making her works lively and dynamic.
4. Cultivate talents
To ensure the sustainable development of cloisonné enamel
craftsmanship, Qian Meihua placed great emphasis on talent cultivation. She
fundamentally changed the old apprenticeship model of oral transmission,
materializing design ideas into drawings as a basis and reference for
production and re-creation. She wanted to share her experience, knowledge, and
insights with colleagues and students; therefore, she selflessly used her own
materials and drawings to teach and guide, never considering personal gain. She
had strict requirements for craftsmanship and product quality, and was never
secretive in her explanations and guidance (Figure 1-29). In the 1960s, Qian
Meihua compiled China's first cloisonné enamel textbook, "Cloisonné Enamel
Creation and Design." She also taught cloisonné enamel courses at the
Beijing Arts and Crafts School. In 1961 and 1962, she guided the graduation
projects of the first and second graduating classes of the Beijing Arts and
Crafts School. In addition, she participated in the compilation of many related
textbooks and reference books, such as "Bronze Ware Shapes and
Patterns," "Cloisonné Enamel Patterns," and "Architectural
Technology" (Figure 1-30).
Section 5: The Honor Comes Late
In Master Qian Meihua's mind, nothing is more important than
the development of cloisonné enamelware, so she is indifferent to fame and
fortune. However, as an affirmation of her contributions and great achievements
in the inheritance and development of cloisonné enamelware, the various honors
that should have belonged to her came late (Figures 1-31 and 1-32).
Because her brother had once
owned a factory, Qian Meihua was affected by her family background, and her
application to join the Communist Party of China was delayed until 1986, when
she was over sixty years old. That same year, she was awarded the title of
"Second-Level Master of Arts and Crafts in Beijing." In 1988, she was
awarded the title of "First-Level Master of Arts and Crafts in
Beijing," already over sixty. Before retiring in 1989, she was named a
"Senior Arts and Crafts Master." In 2005, at the age of 78, Qian
Meihua was awarded the "Lifetime Achievement Award for Chinese Arts and
Crafts" by the China Arts and Crafts Association. In 2006, she was
selected as one of the first "Representative Inheritors of the National
Intangible Cultural Heritage Cloisonné Enamel Making Technique," and in
the same year, she was awarded the titles of "Master of Chinese Arts and
Crafts" and "Master of Arts and Crafts in Beijing."
Summary Conference of the Evaluation Work of Chinese Arts
and Crafts Masters
When Qian Meihua was awarded the title of
"Special-Grade Master of Fine Arts," she was 79 years old (Figure
1-33). In 2009, when Qian Meihua was 82 years old, her cloisonné design and
creation were praised as "Qian's Cloisonné" by the Beijing Arts and
Crafts Industry Association, the Beijing Folk Artists Association, and the
Beijing Toy Association. In 2010, two months before her death, Qian Meihua was
named one of the "Top Ten Figures in China's Collection World in
2009" by the Center for International Cultural Exchange of the Ministry of
Culture and the China Famous Collectors Professional Committee.
1-34 Qian Meizuo's guidance on filigree
Photo: Qian Niu and his wife posing for a picture.
1-36 Work in China
Chapter 6 The Ordinary Master
Master Qian Meihua was kind, humble and approachable. She
was diligent and hardworking in her pursuit of professional excellence. She was
not good at speaking but was good at practical work. She was content with a
simple life and devoted her whole life to the inheritance and development of
cloisonné enamel craftsmanship (Figure 1-34).
1. Putting public interests before private ones
Because of frequent overtime work in factories and field
trips for sketching and study, Master Qian Meihua rarely had time to care for
her family. Her husband, Mr. Chi Jiong, graduated from Jiehua University and
works in civil engineering, also frequently working in the field. If the
project involved classified information, he would be stationed at the
construction site for many years. Once, Mr. Chi participated in a
military-controlled oil refinery construction project, staying in Fangshan for
several years, unable to return home for three consecutive Spring Festivals,
and even unable to make phone calls. When her mother was alive, she could help
Qian Meihua with housework and childcare. After her mother's death, Qian Meihua
found it difficult to manage both. When she was busy, she often missed the time
to buy her monthly rations of grain, oil, and non-staple foods. In order not to
delay her work, Qian Meihua often had to leave her two sons alone at home.
Without care, the children's normal study and life were not guaranteed (Figures
1-35 and 1-36).
In 1958, during the "Great Leap Forward"
steelmaking campaign, Qian Meihua encountered an accident while working with a
blower. Due to an electrical leak, the blower caught fire. Despite her frail
body, she rushed forward without hesitation, wrapped the blower in her own
clothes, and ran outside, throwing the malfunctioning blower a great distance
away, thus preventing a more serious accident.
During the Cultural Revolution,
Qian Meihua, as the person in charge of design and creation, was inevitably
affected and was assigned to labor in the workshop—shoveling sand. One of her
team members, unable to endure the hardships, committed suicide. Qian Meihua,
however, persevered with the spirit of "grinding an iron rod into a
needle," maintaining an optimistic attitude. One day in 1971, while she
was working in the tire-making workshop, a sudden loud explosion threw her from
her small stool to the ground. It turned out that a boiler had accidentally
exploded. In the explosion, the workshop director tragically died, and a hole
was blown in the wall of the nearby bathhouse. Qian Meihua was sitting in
the...
Figure 1-37 Qian Guanhua became "God of Hands"
Figure 1-38 Qian Meihua's paintings
Located only four or five meters from the epicenter of the
explosion, perhaps because of her small stature and the fact that she was
sitting, Qian Meihua was able to avoid the upward blast. Although her head and
body were covered in debris, her injuries to her head, arms, and legs were not
serious. She quickly bandaged her wounds and returned to work. Qian Meihua
jokingly said that Mr. Lin was protecting her from beyond the grave for the
development of cloisonné enamel craftsmanship.
Even after retiring, Master Qian Meihua remained devoted to
the factory, often working overtime at home to design works for the factory
without pay. She also gave two of her personal seals to the factory to help
with book signings and shared all the materials, all for the prosperity and
development of Beijing Falang Factory and the cloisonné business (Figure 1-37).
2. There is no end to learning
Learning has been an integral part of Master Qian Meihua's
artistic life, with painting being her primary focus. Painting was not only her
work but also a means for her to cultivate her artistic sensibilities. Despite
limited resources at home, she used her bed frame as a painting table. While
she was frugal with her daily expenses, she spared no expense on high-quality
painting materials such as Xuan paper and brushes. After retiring, Master Qian
Meihua devoted even more time to painting, creating a vast body of work over
time.
To improve her cloisonné design skills, Master Qian Meihua
diligently studied meticulous traditional Chinese painting, attending various
training classes (Figure 1-38). She received guidance from renowned artists
such as Tian Shiguang and Yu Zhizhen in flower-and-bird painting, and even
personally sought instruction from the famous meticulous painting master Yu
Feian, thus achieving considerable skill in this area. Master Qian Meihua also
diligently studied freehand traditional Chinese painting, enrolling in training
classes for three years without interruption, even on her days off.
Master Qian Meihua has always adhered to the philosophy that
art originates from life. To create vivid and lifelike artistic images, one
must grasp and understand their inherent laws, requiring careful observation
and meticulous capture of nature and everyday life. Therefore, in her spare
time, she insists on sketching and observing life. In Pingkou, she attends
every art exhibition or related event to learn from it. She has a particular
fondness for flowers and birds in her painting and design, so zoos and parks
become frequent haunts for her. She carefully observes and studies the postures
and movements of birds, concentrating on the forms and structures of flowers
and plants, recording vivid moments and her own insights through sketching,
integrating them into her artistic creations. She often spends long periods of
time studying, not only maintaining this learning habit herself but also
passing it on to her colleagues and students.
Master Qian Meihua's persistent
learning not only led to her brilliant career in cloisonné enamelware, but also
enabled her to achieve remarkable success in flower-and-bird painting (Figure
1-39). Her paintings have been exhibited numerous times in domestic and
international art exhibitions, and she has won awards such as the Gold Medal at
the "Peace Cup" International Exchange Competition and the
"Masterpieces of Chinese Art Circles" award.
Figure 1-40
Awarded the Excellence Award at the World Chinese Painting and Calligraphy Exhibition. Her paintings have been included in publications such as "Selected Works of Chinese Fine Arts," "Selected Works of Contemporary World Painting and Calligraphy," "Complete Works of Contemporary Chinese Female Painters," "Classics of Famous Painting and Calligraphy Artists Across the Centuries," "Exhibition of Genuine Works by World-Famous Painters," "Large Album of International Modern Painting and Calligraphy Masters and Professors," and "A Century of Classics - Complete Works of Chinese Calligraphy."
Despite her hard work, Qian Meihua missed the opportunity to
publish her own art album, leaving a slight regret. The People's Daily had
commissioned submissions, and Qian Meihua submitted over 20 of her paintings.
However, publishing an album would cost tens of thousands of yuan, an
astronomical sum for someone with a meager income. She had no choice but to
abandon the idea of publishing
her work. Although her paintings were later included in several art albums, she
never had her own album, and this wish remained unfulfilled.
Third, live a simple life and be content with poverty.
Arriving at Master Qian Meihua's home, I was surprised to
find that the furnishings were extremely simple, making it hard to associate
with her title of master, her status as a successor, her lifetime achievement
award, and so on (Figures 1-10).
Master Qian Meihua was accustomed to hardship from a young
age, enduring years of wandering and displacement. Her father died early, and
her grandmother held deeply ingrained patriarchal views. As a girl, Qian Meihua
was not allowed to eat at the table and could only eat leftovers; if her
brother ate fish, she would eat the fish head; if her brother ate shrimp, she
could only eat the shrimp head. After starting work, facing harsh working
conditions, as the design supervisor, she only received the same salary as a
technician, with fewer bonuses than frontline workers, and her senior
professional title was not recognized… Yet, Master Qian Meihua remained
optimistic and selfless, never experiencing a moment of despondency. At home,
she emulated her mentor, Mr. Liang Sicheng, honing her willpower and developing
her ability to sit still through needlework.
Because the couple's income was
low, sending both children to daycare would be expensive due to their young
age—at the time, it cost 30-40 yuan per child, totaling 80-90 yuan for both.
This was simply unaffordable. So, they had to send their younger son back to
their hometown in Shanghai to be cared for by his grandparents, while their
older son was sent to full-time daycare, where they could only see each other
once a week. After the children grew up and started school, they couldn't
always be fostered by others, and bringing them home meant they needed care.
Qian Meihua had no choice but to bring her mother from their hometown to live
with them. This peaceful life didn't last long. One winter day, the narrow
passageway in the courtyard was icy with water on the ground. Qian Meihua's
mother, who had bound feet and was over 80 years old, slipped and fell,
suffering a brain hemorrhage and dying. Because Mr. Chi Jiong's project was
classified, they couldn't even make a phone call. Anxious and distraught, Qian
Meihua could only send him a telegram. Three days later, Mr. Chi Tong received
the news. Qian Meihua was grief-stricken and helpless. She could only leave her
mother's body at Peking Union Medical College Hospital for almost a week until
relatives from Shanghai arrived in Beijing to help with the funeral
arrangements.
1-41Qian Meihua's Life Photos
Because of their work, Qian Meihua and her husband Chi Jiong
were often unable to take care of the household and their child. They lived in
a simple bungalow in a large courtyard with fifty or sixty other households.
The houses were so poorly constructed that the doors couldn't be locked, and
there was no gate to the yard. With the child young and unsupervised, he played
outside all day, and with no one to watch the house, theft was inevitable. The
worst incident was the theft of their newly received quarterly food coupons.
They had no choice but to borrow food from neighbors and friends, and the
family endured nearly a hundred days of famine.
After retiring, Master Qian Meihua's salary was only a
little over 200 yuan, and she still had to send some money to her brother. Her
brother had given up his studies to work and earn money to support her
education, and she could never forget to repay him. Until her death, Master
Qian Meihua continued to support her brother. The Qian couple never owned
decent furniture or bought many new clothes; for half a century, they accepted
this with equanimity, content with their simple life (Figure 1-41).
Master Qian Meihua, devoted to her work, found it difficult
to settle down. When she married Mr. Chi Jiong, they didn't even have a decent
place to live. They lived in a dilapidated factory building near Beijing
Railway Station, which was abandoned at the time. The roof had a large crack
and was in danger of collapsing at any moment. Later, it was so dangerous that
even the dilapidated building became uninhabitable. With nowhere else to go,
they had to build a makeshift house in a large courtyard. The conditions were
extremely rudimentary. Dozens of households in the courtyard had to share a
single water tap. The makeshift house had a paper ceiling and paper walls,
which were very cold in winter and unbearably hot in summer. In the mid-1980s,
the Beijing Arts and Crafts Group Corporation finally allocated her her current
housing. Master Qian Meihua was already in her sixties and nearing retirement.
The bicycle was Master Qian Meihua's most loyal means of
transportation throughout her life. When she first accompanied Ms. Lin Huiyin
on a research trip to Beijing to investigate the preservation of cloisonné
enamelware, the remaining workshops were small and could only perform certain
processes (such as making the base, filigree work, or enameling). To learn the
craft, it was necessary to visit each workshop individually, and public
transportation was extremely inconvenient, making the bicycle the preferred
mode of transport. To facilitate visits to these small workshops scattered
throughout the southeastern suburbs, Qian Meihua learned to ride a bicycle, and
she rode it for over 30 years, until she was over seventy and her legs became
weak, at which point she gave up the bicycle and switched to public
transportation. She never requested to use a company car, insisting on
traveling between home and work by herself, using both public transportation
and walking.
IV. A Weak Physique Bears a Strong Will
In her family's eyes, Master
Qian Meihua was a workaholic. Her passion for work drove her to work day and
night, neglecting sleep and meals. Not only did she work overtime at the
factory, but she would also continue working at home until two or three in the
morning before resting. Her consistently irregular lifestyle and work habits
left Master Qian Meihua with very little time to rest.
1-42 Qian Meihua and her work "Peace Vessel"
The time allotted for sketching was compressed to the bare minimum, severely impacting her health. She weighed only about 70 kilograms, extremely thin, and because Master Qian Meihua ate so little each day—equivalent to only one and a half steamed buns—it was impossible to meet her nutritional needs. When she went out to visit or sketch, she often skipped meals to save time, leading to severe malnutrition and unusually low hemoglobin levels. Even doctors were shocked by her condition; such malnutrition is extremely rare in this day and age.
However, Master Qian Meihua's strong will enabled her to
maintain a vibrant life. To combat the effects of her eye disease, she
compensated for the loss of efficiency by devoting more time and energy. While
copying cloisonné patterns at the Forbidden City, she suffered frostbite on her
joints, and her fingers often became numb during work. She would move her hands
by opening and closing her fists to relieve the numbness, and then continue
working.
Retirement did not provide Master Qian Meihua with the
necessary rest; time always seemed insufficient for her. Her cheerful mood made
her forget about rest and hard work, painting and organizing materials without
paying attention to her physical condition. Sometimes she would still be
writing and painting until the early hours of the morning (Figure 1-42).
Excessive fatigue took its toll on Qian Meihua's frail body,
and several consecutive days of work triggered a cerebral hemorrhage. Due to
the lack of timely rescue, Master Qian Meihua passed away in Beijing on March
31, 2010, at the age of 83.
Note:
[1] Ye Mengchong (1200-1279), a native of Shangzhai,
Dongcang, Ninghai, Taizhou, courtesy name Zhenzhi, sobriquet Xidong, entered
the Imperial Academy in the fifth year of Shaoding in the Southern Song Dynasty
(1232), initially appointed as military judge of Xinzhou, and later served as
Minister of War, Minister of Personnel, Right Chancellor and Privy Councilor;
Fang Xiaoru (1337-1402), a native of Ninghai, Zhejiang, courtesy name Xizhi,
also known as Xigu, sobriquet Xunzhi, was a minister, famous scholar, writer,
essayist and thinker in the early Ming Dynasty, known as "Master
Zhengxue"; Rou Shi (1902-1931), a native of Ninghai County, Zhejiang,
originally named Zhao Pingfu, also known as Shaonian, was a member of the
Communist Party of China and one of the "Five Martyrs of the Left-Wing
Writers' League".
[2] In 1928, Cai Yuanpei and Lin Fengmian selected a site on
the shore of West Lake in Hangzhou to establish my country's first
comprehensive national higher art institution—the National Academy of Art,
which changed its name several times. In 1929, it was renamed "National
Hangzhou Academy of Art," in 1938 it was renamed "National Academy of
Art," in 1950 it was renamed "East China Branch of the Central
Academy of Fine Arts," in 1958 it was renamed "Zhejiang Academy of
Fine Arts," and in 1993 it was renamed "China Academy of Art."
In 1928, Pan Tianshou served as the head professor of the Chinese Painting
Department of the National West Lake Academy of Art in Hangzhou; from 1944 to
1947, he served as the principal of the National West Lake Academy of Art.
[3] In November 1912, Liu Haicai, Wu Shiguang, and Zhang
Fengguang founded the first modern art school in China, the Shanghai Academy of
Chinese Painting, which was the predecessor of the Shanghai Academy of Fine
Arts.
[4] Silver Crystal Blue Process: Full enamel base, no
filigree, transparent enamel coating, low-temperature firing, no polishing:
