In the early Ming dynasty, cloisonné enamels were already being used by imperial people. At the end of the Ming dynasty cloisonné enamels gained attention of scholars and appealed to officials.
At their beginning, cloisonné enamels were characterized by having decorations with lotus and petals, and by pure colors : blue, black, white, green, yellow. Vessel types were items like censers, boxes, cups, and vases. From the 16th –17th centuries, larger pieces with thin bodies and rich colors were manufactured ; the decoration were developped with animals, and others motifs which reflected the daoist influences. The manufacture of cloisonné enamels in the Qing dynasty reached its peak during the Qianlong period. Practical and decorative vessels in the shapes of various animals and figures were invented. Other vessel types included objects for daily use such as food and drinking containers, stationary articles, daily necessities, accessories… In the 19th century, Chinese cloisonné wares released a new taste in Europe, some of them were mounted in Barbedienne bronze style.
Painted enamel is created by first heating a layer opaque enamel onto inner and outer surfaces of the metal vessel as the base. Next the design is painted on the base layer or the top glaze is applied. The vessel is kiln-fired and completed.
The accomplishments of painted enamel art were established in the 18th century. The emperor Qianlong incessantly recruited enamel artisans from Canton to produced painted enamel works in the palace, and, also required considerable assistance from private workshops in Canton. Clock, snuff-bootles, bowls, plates, dishes, vases, jars, fish tanks were offered to the court. One special feature of painted enamels from this period were the decorations with traditionnal Chinese female figures, Western female figures, mother and child, and Western architecture. The most charming and fine painted enamel wares were producted from the Guangdong and Palace workshops.
