Qianjiang Evening News Hourly News Reporter Sun Wen
The "Zhejiang Li Yue Reading" Book Club Alliance is jointly initiated by the Zhejiang Provincial Federation of Social Sciences and Qianjiang Evening News, and since 2020, 24 book clubs have joined the lineup of this national reading promotion.
In addition to building an exchange and cooperation platform for major book clubs, the biggest difference of the "Zhejiang Li Yue Reading" book club alliance is to go deep into various places to tap local cultural resources for zhejiang as a "study room" and create a diversified way of promoting reading for the whole people.
At the beginning of December 2021, under the warm winter sunshine in Jiangnan, at the important node of the "Zhejiang East Tang Poetry Road", Cixi, the city of "the birthplace of the Sea Ceramic Road", "opened" its city exhibition hall, Shanglin Lake Celadon Cultural Heritage Park, Hangzhou Bay National Wetland Park... Releasing a unique poetry, among them, there is the protection of the "red root vein", the practice of cultural inheritance, and the thinking of the current rural construction...
This time, we're going to tell the story of two of them —
One is Yang Xianjiang, an educational theorist and leader of the youth movement born in 1895; the other is Sun Wei, the inheritor of the celadon firing technique of the Post-80s Yue kiln. Their stories can read that in the past hundred years, the people in the land of Cixi have moved forward in their respective fields, and the power emitted has urged people to forge ahead.
The following is the story of celadon artist Sun Wei
The famous calligrapher Wang Dongling wrote "Read out a green water and green mountains" for Zhejiang Li Yue reading books
Sun Wei was not the same as I imagined.
When he was seen at the Cixi Yueyao Celadon Research Institute in Xianlong Village, Kuangyan Town, on the shores of Shanglin Lake, he was carefully removing a few small pieces of celadon from the kiln and holding them on the large table in the studio.
These "works" from tourists still have a hot stove temperature to the touch, and some of them do not even have a complete instrument type, but Sun Wei is very concerned, he carefully places them in the open space of the desktop, ready to be expressed to the door for everyone later.
A Master of Arts and Crafts who inherits the celadon firing skills of Yue kiln and has a variety of titles must give people a sense of age.
But Sun Wei is actually a post-80s generation.
And his real celadon life began at the age of twenty-eight or nine - it was the result of his graduation from the university's physical education major, two months as a physical education teacher, and then experienced several entrepreneurial failures and "confessed his life".
But more than a decade later, he said, he felt like he was born to make ceramics.
Sun Wei
Born in 1981, he is a senior arts and crafts artist, a master of arts and crafts in Zhejiang Province, a foreman of the Zhejiang Provincial Skill Master Studio, and the inheritor of the celadon firing of the yue kiln of the intangible cultural heritage of Zhejiang Province.
1
"Bah Blah Bla
Sun Wei is a native of Longquan, born in a ceramic family, and his parents were employees of the state-owned Longquan Porcelain Factory. When he was about two or three years old, he was taken by his parents and immersed in the atmosphere of the porcelain factory.
However, if he wants to talk about the memories of ceramics when he was young, the only thing in his mind is the water wheel at the entrance of the factory that has been pounding porcelain clay, making a "bar click, click, click" sound without stopping.
When he was fifteen or sixteen years old, his parents opened their own porcelain workshop. Sun Wei is tall and powerful, and he is often called to the factory to help, unloading mud is commonplace, and those vases of more than one meter need his help when they are to be lifted and glazed.
How to describe the relationship between his youth and porcelain? Sun Wei was a little hesitant. Kneading mud and glazing were all learned at the age of fifteen or sixteen, because," "the factory is his own, and everything at home must be done", and porcelain making is a lifelong career, at this time Sun Wei never thought that he had more distant places he longed for.
Naturally, he entered the juvenile sports school at the age of 8 and entered the university to study physical education. If you follow such a life trajectory, Sun Wei will definitely get farther and farther away from ceramics.
But in the summer of 2001, something happened.
Prior to this, Cixi had been looking for talents to restore the Yue kiln in Shanglin Lake, and Longquan was a stop for the relevant staff to investigate. Sun Wei's father, Sun Maihua, was introduced to Cixi as a talent at this stage. Therefore, Sun Wei followed his father and moved his hukou to Cixi together. At this time, he was in his freshman year, and the impact of moving to the house was not great, but it was just an extra choice to go home during the summer vacation.
Speaking of his father, Sun Maihua, Sun Wei used an adjective "active", and his flexible personality was interspersed with superb skills, which made Sun Maihua flourish in the celadon circle at that time. But at the height of his life, he chose to come to Cixi for the simple reason that the restoration of a Yue kiln was greater than in other aspects.
"If you do a good job in a kiln, the more the kiln is revived, and many people will do better on this basis." This is Sun Wei's interpretation of his father's words. In this way, he and his father came to Cixi from Longquan, and twenty years passed.
Sun Wei really began to study ceramics long after graduating from college. At the beginning of graduation, he was very determined to turn his back to the concerted "advice" of his relatives and friends, and according to the path he wanted to go, he resigned from the post of physical education teacher to start a company, and then returned from a loss.
"Dealing with porcelain since childhood, and then going into this industry, I definitely don't like it." People always say that I have heard a lot of things, I said that I was passively accepted, never took the initiative to accept, because the family made porcelain, I had no choice, I had to accept. ”
Looking back, 2008 was a period of time when Sun Wei was more depressed, "going out was unsuccessful, and staying at home was very boring." At this time, he was already married and had children, and he also felt the need to sit down and think about how to go in the future.
"When I was a child, all I remembered was the sound of the water wheel at the door of the porcelain factory, and I remembered that thing. I suddenly felt as if I was born to be ceramics. ”
Sun Wei said that in that instant, he "confessed his destiny", and when he confessed his fate, it began, of course, this "fate" was more of a mission.
2
Simmer elbows
The family did not expect that Sun Wei, who had always wanted to escape from the porcelain, was so "fanatical" when he threw himself into it.
"Now that you've decided to do it, you can learn it, and then you can learn the craft for three or four days without sleep." Even, in order to study how to make ceramics, Sun Wei can not leave the door for a month. Looking back at this "fanaticism", Sun Wei feels that the reason is very simple, that is, he really likes it in his heart.
At the beginning, the study was self-study. Although his father was also a master of porcelain making, Sun Wei's memory of his father at that time was the same as the perspective of today's primary school students looking at their parents.
"My dad said, be serious, be patient, rockets can go to heaven, it's not easy for you to make a bowl, anyway, it's broken thoughts." Looking back now, Sun Wei feels that his father's words are reasonable, the rocket to heaven is the qualitative change of technology to a certain extent, the porcelain-making technology has reached a certain level, and it is not easy to make a bowl, "Now I think it is very easy to make a bowl, before I thought it was very difficult, it was not good." ”
After achieving an introduction in self-study, Sun Wei was accepted as a righteous son by the famous ceramic artist Gao Feng. For three or five years after 2009, he would take a time every year to study in Yi Father's studio in Guangdong, and Yi Father would also come to Cixi to guide him.
What is the difference between father guidance and self-study? Sun Wei recounts many philosophical mentor-apprentice relationships.
For example, the righteous father asked: How do you want to make ceramics? Sun Wei replied: Anyway, pull the embryo well, carve the flowers well, and burn the kiln well.
The righteous father said: This is not OK, to do a good job of ceramics, you must first run away from the mountains around Shanglin Lake, and dig up all the mud and burn it.
Sun Wei followed his father's words and ran through all the mountains around Shanglin Lake that once had ancient kilns, dug up the dirt, washed it, and fired it. The soil produced in each place is different in the form of burning. When Sun Wei spent a few years to complete the process, the righteous father said, "Now, do you understand?" ”
Of course, Sun Wei understands that a person who makes ceramics can't even understand the raw materials, if the good materials are good, if the bad materials are bought, how to continue to make ceramics.
After running up the mountains around Lin Lake and then starting to prepare the raw materials, Sun Wei was handy, and his skills naturally improved by leaps and bounds.
Sun Wei said that he deeply understood every word of his righteous father for two or three years.
For example, how to burn a kiln? The righteous father said, "Stew the elbows over the fire."
In order to understand this sentence, Sun Weiguang experimented for two years. Later, he happily told his father that he understood this sentence and drew the heating curve to his father. The righteous father said, "By the way, this is the truth, you have not practiced it, you do not understand it or do not understand it." ”
3
The unquenched fire of the Yue Kiln
As a new generation of ceramic artists, Sun Wei's works have their own personality.
He said that when learning a craft, he rules and regulations himself and operates in strict accordance with existing procedures. However, now he will enter personal preferences into the work - to move the natural world to the work for people to feel.
"When I saw that landscape, I wanted to transfer it to my work, but now I can't do what I want, and the occasional creation of something, like the plate in the display case titled 'Dunhuang(Flowing Mud)], I think I can do it myself."
After saying that, he picked up a teacup that he was using.
"Each of my cups will have mottled marks, and you look at it like you see an image in nature, but I can't say what it is, because the raw materials I use are also dug up from nature." It gives people an imaginable space, and you can realize it for yourself. ”
Sun Wei said that in fact, the Song Dynasty people carried out a large number of creations in this style.
"A tea bowl can be seen as a dry hand in the palm of your hand, and that kind of mood is to move nature into the utensils, to the hand, and you hold this bowl and you see the stars of the universe." The Yue kiln began in the late Eastern Han Dynasty and gradually declined to the early Southern Song Dynasty. Sun Wei believes that when we go back to study now, we must have started from the Song Dynasty, so many of his current works are basically the Northern Song Dynasty and the previous form.
"The Song Dynasty people also learned from the results of their predecessors, so we stood on the basis of the ancient people to learn what they wanted to learn." Of course, Sun Wei felt that the valuable thing about the Song people was that they were very tolerant, "During this period, the cultures of different nationalities and regions were integrated to form the kind of excellent Chinese culture that we think of - it removes the dross, leaves the essence, and integrates the good things together to form a real cultural height." ”
The roaring kiln fire of yue kilns was extinguished in the Song Dynasty after burning for a thousand years. However, in Sun Wei's eyes, in a sense, the Yue kiln has been passed on.
"Technology is circulating, no technology, no accumulation, no superposition, it is impossible to develop, in this sense, yue kiln is not broken, but the name is changed, because the craftsmen of yue kiln also moved to all directions when the Northern Song dynasty moved south, so there will be Longquan kiln in Zhejiang, Hutian kiln in Jingdezhen, they are all developed on the basis of Yue kiln, and they are exactly the same things."
If we understand this context, we will also be clear about the changes in ceramic kiln sites and ports in Chinese history - behind it, it is just the common sentiment of people.
4
Unique "Enlightenment"
Eight years ago, it was another division in Sun Wei's life. He was 32 years old.
Originally, a person focused on the study of ceramics, doing well or not, is only a one-person thing. However, this year, his father underwent a major operation, and the family had factories in Cixi, Longquan, and Jingdezhen, and all the affairs were handed over to Sun Wei and his lover Tan Jing.
At this time, a person who is immersed in craftsmanship must face and learn the system of factory production: how to configure raw materials, how to make molds, how to mass produce, how to avoid problems in mass production? These questions, until now, he is still studying.
There are commercial considerations to make works products, but the reason why Sun Wei is diligent about quality is his unique concept - "Products can be enjoyed by everyone, otherwise, works of art will always be niche and impossible to popularize." ”
In today's social background, how to promote common prosperity, how to enhance rural construction, how to meet the cultural needs of the public, Sun Wei's concept is eye-catching.
Now Sun Wei is very busy, although living in a small village on the shore of Shanglin Lake, quite a sense of seclusion, but with the public's love for ceramic art, his "Shanglin Porcelain Garden" often has visitors. He usually only after dinner can "work with peace of mind" in the studio on the second floor.
Chatting with Sun Wei, you can feel his unique way of thinking, and "enlightenment" is a high-frequency word between his words. The shape and pattern of the ceramics come from there, he went to the museum to look at the cultural relics one by one, and then thought along the historical inheritance line, and the problem was solved.
"Pushing back step by step, you can read an artifact, and then travel back thousands of years to feel the time and space of that time with the people of that time." Sun Wei used an extremely quiet way to face the great opening and closing of history. At the same time, he also uses the utensils in his hands to undertake the past and carry the present.
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