All That Flickers isn’t Gold - the craftsmanship and influences of Qing Dynasty’s dian-cui

BY DAWN LUI

 In both ends of the 20th century, Sotheby’s and Cartier have produced and auctioned off decorative objects and jewellery adorned with dian-cui (點翠), a craftsmanship that embellishes Kingfisher feathers on objects and jewellery originating from Ming and Qing Dynasty China. The Western orientalist fascination with the vibrant lapis lazuli-like blue material not only hints to the uniqueness of imperial Chinese aesthetics, but also open doors into its distinctive material culture where sometimes things that flicker and valued aren’t always just gold.

Throughout Chinese history, dian-cui was frequently associated with feminine beauty and luxury. In Qin Jing (禽經), the earliest Chinese ornithological record, scholars already made affiliations between the feather adorned jewelry with women of noble class and beauty. Dian-cui’s prestigious status as forms of embellishment and decorative objects comes from its complex labour, techniques, and material selection. The creation of a dian-cui is divided into three steps: 定翠 (examining feathers), 裁形 (trimming feathers), and 點鋪 (dotting and spreading feathers) which involves different methods for varying styles. The tiring stages involves the selection of feathers from one specific species of blue-eared Kingfishers (Alcedo meninting), and separating colour grades of feathers in terms of saturation and vibrancy that varies from a soft emerald to a vibrant blue. Henceforth, shows the scarcity and exquisite craftsmanship of dian-cui jewellery. Therefore, since the Ming Dynasty and especially during the Qing Dynasty, dan-cui became almost exclusively produced and worn by the Imperial family and noblewomen.

 The usage of dian-cui is often complimented by the subject matter, shape, and precious stones within the construction of the Imperial Qing court jewellery. The most popular dian-cui decorative jewellery, dian-zi (鈿子), meaning a celebratory coronet or a “hat ring” blended both Han Chinese and Qing Manchu styles through its dian-cui motif. As seen in a black satin dian-zi inlaid with dian-cui phoenix and peonies, the luxurious coronet decorated by rhythmic, and complex dian-cui motifs of mythological beasts and prestigious flora with gemstones and glass beads. They represent an important element in Chinese decorative aesthetics—symmetry and subject matter. The Phoenix, a hieroglyphic representation of imperial femininity, often symbolizes the empress; while the peony, seen as the “king of flowers” that associates with fertility, opulence and honour is a visual motif of high status and nobility. The arrangement of these motifs that emphasizes symmetry and even pairings symbolize the Chinese ideal of solemnity and dignity in terms of the well-respected characters of discipline. The orderly and discipline within decorative art and design encapsulates the ideal essence of Chinese culture: harmony, order, unity and balance. In addition, the contrasting visuals of dian-cui’s colour also contributed to its favour among Qing Imperial families and noblewomen. The cold tones of Kingfisher blue compliments well among the metallic appearance of gold and silver with its glossy and silky surface texture. The unique vibrancy, dynamic and scarcity levelled its status as equal or even above gold and precious stones within the Imperial Court. Seen in another black satin inlaid coronet with peonies and phoenix, the varying shades of blue from lazuli to turquoise and multi-dimensional shine through its thin strands of glossy feathers. Therefore, enhances the ability to represent shadows, and gradation, producing a one of kind masterpiece within jewellery craftsmanship.

Black Satin Dian Zi Inlaid with Dian-cui Phoenix and Peonies,

the Qing dynasty (1644-1911), 21.6×19.8 cm. Satin, silver, kingfisher feathers, gemstones, glass beads. Shenyang Palace Museum, Shenyang. Photo: Changsha Museum

However, with the prestigiousness of dian-cui within early modern China trickling into the 20th century through Western Orientalist fascination, it has since raised questions regarding animal ethics and cultural appropriation. The cruelty incorporated into the making of dian-cui is  concerning especially since its revival in popularity by auction houses both in the Eastern and Western world. Animal rights groups have condemned the sale of dian-cui objects at auction houses which cause spiked interests in the feathered jewellery. Hence a dangerous risk in increasing illegal international smuggling. In recent years, synthetic and natural alternatives have been introduced as a substitute to dian-cui jewellery and decorative objects such as blue-dyed magnolia leaves. The dian-cui fascination, originating from the Orientalist obsession by the West in Chinese aesthetics—the chinoiserie have been raising a couple eyebrows within the art-historical discussion. Where the incorporation of dian-cui especially at its peak during the Art Deco Movement have been regarded as culturally reductive and assimilative. The culturally tight-knitted symbol of the dian-cui feathers within Qing Imperial culture have been extremely appropriated within watches, and clocks by jewellery powerhouses in Europe such as Cartier. In the Kingfisher Feather and Onyx Clock by Cartier in the 1930s, the dian-cui method was incorporated into the corpus of the clock, contrasting its vibrant blue with gold and silver metallics. More of a sense of awe and curiosity than appreciation, these dian-cui infused decorative objects are seen as “exoticized” that replicates the ancient practice without crediting its origins in terms of its materials. Dian-cui has two dotting methods: such as shun-pu (順鋪), a way of dotting that goes with the natural grain and coarse texture of the feathers, and pin-dian which creates geometric motifs through a neat arrangement of kingfisher feathers. These methods were incorporated into Europe’s chinoiserie aesthetics. As seen in the Cartier clock, the artisan attempts both aesthetics of the dian-cui dotting method. Using the shun-pu method in representing the individual strands of Kingfisher feathers, exaggerating dimension and shading, while the artisan also features the pin-dian technique via its geometric motif.

Cartier, (Front view) Kingfisher Feather and Onyx Clock, Cartier, 1930s.

Rectangular engine-turned dial with kingfisher feather mosaic central panel, light pink enamel hands, tritium-painted hands, onyx push-piece, silver and gold (French marks), mechanical movement, signed Cartier, 8.5×7×1.5 cm.

The extent of dian-cui’s artistic influence in terms of its uniquely characteristic style, symmetry and material within Western art is more significant than expected. The controversy of its materials and its appropriation from the West unearthed a cultural enigma—are we still allowed to celebrate this craftsmanship without the added burdens of environmental ethics and euro-centrism?

 Works cited:

A KINGFISHER FEATHER and HARDSTONE SCREEN QING DYNASTY, 19TH CENTURY. n.d. Https://www.sothebys.com/en/auctions/ecatalogue/2011/chinese-ceramics-works-of-art-hk0358/lot.3301.html. Sotheby’s.

Cooke, Edward S. Global Objects. Princeton University Press, 2022. https://doi.org/10.1515/9780691237558.

KINGFISHER FEATHER and ONYX CLOCK, CARTIER. n.d. Https://onlineonly.christies.com/s/lifetime-collecting-101-cartier-clocks/kingfisher-feather-onyx-clockcartier-26/89430. Christie’s.

Qing Dynasty. Black Satin Dian Zi Inlaid with Dian-Cui Phoenix and Peonies. n.d. Satin, silver, kingfisher feathers, gemstones, glass beads. Shenyang Palace Museum, Shenyang.

Wu, Yiqian. “A Study of Historical Transformation and Cultural Change in Chinese Dian-Cui Jewellery Master of Arts by Research,” 2020. https://ses.library.usyd.edu.au/bitstream/handle/2123/24005/yiqian_wu_thesis.pdf?sequence=2&isAllowed=y.

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