Champlevé vs Cloisonné: Understanding the Differences in Enamelwork
- Keith Jennings
- Mar 23
- 4 min read
Updated: Apr 24
A closer look at how cloisonné, champlevé, and enamel techniques differ—and why those distinctions matter when identifying or valuing decorative objects.
In the world of decorative arts, enamelwork is often admired for its vibrant color, intricate detail, and layered craftsmanship. But not all enamels are created the same. Techniques like cloisonné and champlevé are frequently confused, yet they differ in both execution and aesthetic. Understanding the distinctions between these methods, and how each relates to enamelwork more broadly, can offer valuable insight when caring for, collecting, or evaluating fine objects.
Whether you're looking at a 19th-century vase, a piece of antique jewelry, or a figural decorative work, identifying the enameling method used is key to understanding its origin, craftsmanship, and, in many cases, its market value.
Table of Contents
Cloisonné vs Champlevé: Two Distinct Approaches
Cloisonné and champlevé are both techniques used to apply enamel to a metal surface, but they take opposite approaches to how designs are formed.
In cloisonné, thin wires (typically of copper, silver, bronze, or gold) are soldered onto a metal base to form small raised cells (or cloisons) that contain the enamel. These are filled with glass paste, fired, then polished flat. This method is especially known for its precise, colorful decoration with clean lines and compartmentalized color fields.
Cloisonné has deep roots in Byzantine and Islamic decorative arts, but it reached particularly high refinement in Chinese workshops from the Ming dynasty onward (14th–17th centuries). The technique became highly associated with Chinese export wares and imperial decorative objects, many of which now reside in major collections such as those at The Met and the British Museum.
In contrast, champlevé involves engraving, etching, or casting recessed designs directly into a metal surface. These recesses are filled with enamel and then fired, creating a flat surface where the enamel sits flush with the metal. Because the design is part of the object’s surface rather than applied to it, champlevé often feels more architectural or monolithic.
Champlevé was especially prominent in medieval Europe, where it was commonly used on bronze reliquaries, liturgical vessels, and other ecclesiastical objects—many of which can be seen in the collections of institutions like the Walters Art Museum. The technique remained in use through the Gothic and Romanesque periods, especially in France and the Low Countries.
Enamel vs Cloisonné (and Champlevé)
Enamel is the broader category that encompasses both cloisonné and champlevé, among other techniques like basse-taille and painted enamel. At its core, enameling is the process of fusing powdered glass to a metal surface using high heat.
So when comparing enamel vs cloisonné, it's helpful to understand that cloisonné is a specific type of enamelwork, not a separate material. The same applies to champlevé. What sets these techniques apart is the method by which the enamel is applied, contained, and finished.
Antique enamel objects can sometimes be misidentified because the techniques may appear similar at first glance. For example, cloisonné wires can be very fine, and champlevé recesses may be shallow, making it difficult to distinguish the construction without careful inspection. As noted by experts in the field, looking at the edges of the enamel sections or using magnification can help determine whether the design was built up with wire (cloisonné) or carved into the surface (champlevé).
Why Technique Matters in Enamel Identification
Knowing how to distinguish between cloisonné and champlevé isn’t just useful for academic or aesthetic reasons—it can also provide valuable context for identifying the origin, age, and quality of a piece.
For example, the presence of champlevé on a heavy bronze plaque may point to medieval European origins, while cloisonné on a copper form with stylized floral motifs could suggest Qing dynasty China. Materials also matter: champlevé is more often found on thicker, cast forms; cloisonné is typically executed on lighter, hammered shapes.
Misidentifying the technique can lead to confusion in appraisals or cataloging. The level of technical skill required, the historical period, and the cultural context all influence how a piece is valued, both in the market and in curatorial settings.
Collectors, fiduciaries, and estates managing enamel objects benefit from knowing how to identify the technique used. Even subtle differences in surface texture, metal type, or how the enamel joins the metal can offer important clues.
Final Thoughts
While cloisonné and champlevé are both forms of enamelwork, they represent different approaches to creating design: one through building up, the other through carving away.
Recognizing these differences can deepen appreciation for an object and support accurate identification and care—especially when dealing with antique or estate pieces where materials and methods often speak louder than signatures.
If you're curious about the value of your cloisonné, explore our cloisonné appraisal services.
