掐丝珐琅器是我国工艺美术史上的瑰宝。清代掐丝珐琅工艺的发展达到顶峰。本文围绕这一主题进行研究，以工艺美术为视角，结合风格分析法与比较艺术学研究方法，梳理清代不同时期掐丝珐琅器的突出特点，对工艺如何影响造型与装饰提出新见解，同时探讨不同时期审美风格的演变以及形成的原因。研究清代掐丝珐琅器可以为现代掐丝珐琅工艺的发展提供参考，在当下具有迫切性与必要性。清代时期以锤揲工艺为主的工艺发展促使掐丝珐琅器形成高大、细腻与华丽的审美风格，工艺技术是促成变革的核心要素。明代运用铸造工艺制作胎体，而清代运用锤揲工艺制作的胎体更薄，同等重量与成本的材质，运用锤揲工艺可以比铸造工艺制作的胎体更大，所以清中期出现大量前所未有的大型掐丝珐琅佛塔等。清代锤揲工艺利用金属延展性强、质地较软的特性，将金属片锤打出各种形态，所使用的材质为纯铜。而明代铸造工艺使用的材质是黄铜，黄铜为合金材质，质地较硬。纯铜丝能被锻打到更薄，在掐丝时容易弯折出角位，所以清代运用纯铜丝制作的纹样更加细腻与精致。清代锤揲工艺的发展促使器物造型高大，纹样精致、细腻，呈现出华丽的风格特征。生产目的影响掐丝珐琅器从御用器到商品的风格变化。清早期与清中期掐丝珐琅器作为宫廷御用器，其生产目的是为宫廷服务，造型与装饰纹样受到统治阶级的掌控，呈现出奢华富贵的风格。清晚期掐丝珐琅器作为商品，其生产目的是为市场需求服务，出现专门为西方贸易销售的掐丝珐琅器与天主教风格的掐丝珐琅器。由于生产目的不同，清代不同时期掐丝珐琅器的审美风格呈现出明显变化。清代时期内外合力与技术交流成就掐丝珐琅器蓬勃发展。清代掐丝珐琅工艺继承明代掐丝珐琅工艺，模仿青铜器、陶瓷等器物造型，将仿古之风与香事文化推向高潮。清代工匠对少数民族宗教器物的造型与纹样加以改造融合，呈现出互鉴趋势。清代掐丝珐琅工艺融入西方画珐琅工艺技术，将西方器物造型与纹样进行本土化发展。清代内外合力，技术不断交流，掐丝珐琅器得到创新发展，呈现出多民族、多国家的文化交流与互鉴，推动清代掐丝珐琅工艺走向巅峰。文化驱动力是掐丝珐琅器创造力的发展路径。以清代掐丝珐琅器的历史生成条件为依据，可以看出现代掐丝珐琅器面临的诸多问题。文化的发展为掐丝珐琅器的造型与纹样提供源源不断的灵感来源，利用文化驱动力可以提升掐丝珐琅器的创造力，为现代掐丝珐琅工艺的发展提供参考路径。
Cloisonne wares are treasures in the history of Chinese arts and crafts. The development of cloisonne craft in the Qing Dynasty reached its peak. This dissertation conducts researches on this theme from the perspective of arts and crafts. Combined research methods of style analysis and comparative art studies to sort out the distinctive features of cloisonne wares of different terms of the Qing Dynasty. Puts forward new insight into how crafts affect shapes and decorations. Moreover, it explores the evolution of aesthetic styles and the reasons for the transformations in different terms of the Qing Dynasty. Research into cloisonne wares in the Qing Dynasty can provide reference for the development of modern cloisonne craft and is of urgency and necessity in the present day.The development of hammering craft in the Qing Dynasty, which was mainly applied during that time, led to a high, delicate and splendid aesthetic style of the forms of cloisonne wares. Technological advancements were the core factor in this transformation. During the Ming Dynasty, casting craft was applied to make the bodies of cloisonne wares, while during the Qing Dynasty, bodies were made by hammering craft, which resulted in thinner walls. With the same weight and cost of materials, bodies made by hammering craft could be larger than the ones made by casting craft. Therefore, a large number of cloisonne Buddhist towers, which were never seen before, appeared in the term of mid-Qing Dynasty. The hammering craft of the Qing Dynasty took advantage of the strong malleability and the soft characteristic of metals. Metal sheets were hammered out to make various shapes. The material used during the Qing Dynasty was pure copper. Casting craft of the Ming Dynasty used brass, which was an alloy material with harder characteristic. Pure copper wires could be hammered into thinner strands, which allows it easier to be bent and to be formed into angles in wire-twisting. As a result, the patterns made with pure copper wires in the Qing Dynasty were more delicate and refined. The development of hammering craft in the Qing Dynasty led to the production of larger and more elaborate vessels, with intricate and delicate patterns, and a luxurious style.Production purposes influenced the styles of cloisonne wares changed from imperial use to commodity. Cloisonne wares made during the early and middle terms of the Qing Dynasty were to serve the imperial court. Shapes and decorative patterns were controlled by the ruling class, and presented a luxurious and wealthy aesthetic style. Cloisonne wares made as commodities during the late term of the Qing Dynasty were produced to meet market requirements. There were cloisonne wares specially made for Western Trade Sales as well as in the style of Catholic. Due to different production purposes, the aesthetic styles of cloisonne wares in different terms of the Qing Dynasty show obvious changes.Domestic and international forces, as well as technical exchanges in the Qing Dynasty, have achieved the flourishing development of cloisonne wares. Making craft of cloisonne wares in the Qing Dynasty inherited from the Ming Dynasty, imitated the shapes of bronze vessels and ceramics, and pushed the trend of imitating ancient styles and incense culture to a peak. Qing craftsmen transformed and integrated the shapes and patterns of ethnical religious objects, and presented a trend of mutual learning. Qing Dynasty cloisonne enamel craftsmanship incorporated Western enamel craftsmanship techniques, localized Western vessel shapes and patterns. With the combination of domestic and international forces and the exchanges of technical knowledges, cloisonne enamel wares were innovatively developed during the Qing Dynasty, showcased cultural exchanges and mutual learning between multiple nations and ethnical groups, and drove cloisonne enamel craftsmanship to its peak.Cultural driving force creates a developing pathway for the creation of cloisonne enamel wares. Based on the historical conditions of the creation of cloisonne enamel wares in the Qing Dynasty, we can see many problems facing modern cloisonne enamel wares. Cultural development provides endless inspirations for the shapes and patterns of cloisonne enamel wares. Utilizing cultural driving force can enhance the creativity of cloisonne enamel wares and provide a reference pathway for the development of modern cloisonne enamel craftsmanship.
