Why is it difficult to buy porcelain for a thousand years?
In Jingdezhen for a thousand years, why are there an endless stream of visitors?
A thousand years of culture, shouldn't our younger generation forget?
A 3-minute short film that takes you to Chinese porcelain and the past and present lives of China on porcelain.
Hao Guojiang, post-90s, a native of Qingdao, Shandong, is a cultural relics restorer at the Jingdezhen Institute of Ceramic Archaeology.
Obsessed with the restoration of ancient ceramic fragments, he participated in the restoration of hundreds of ceramic works.
Previously worked at the Institute of Archaeology, Chinese Academy of Social Sciences.
In 2012, he participated in the project of protection and restoration of porcelain excavated from the Ming Dynasty Imperial Kiln Site in Jingdezhen, and has since formed an indissoluble relationship with Jingdezhen.
In 2018, he officially came to work at the Jingdezhen Institute of Ceramic Archaeology.
This time the wonderful tour of the Imperial Kiln Museum was led by Xiao Hao to visit the exhibition...
Jingdezhen is the porcelain capital of the world, the imperial kiln is a bright pearl in the crown of the world's porcelain capital, and the royal kiln museum is a museum built next to the site of the (royal kiln factory). The biggest highlight of the museum is that all its artifacts are damaged porcelain pieces excavated from the Royal Kiln Factory, which are made of pairs and restorations.
A large number of fragments of imperial kiln porcelain excavated from the Imperial Kiln Factory. More than 4,000 pieces have been completed in pairs, and more than 2,000 pieces have been repaired so far. Now this museum has more than 800 pieces on display.
The Royal Kiln Factory produces royal porcelain, so in its production process, there are some of its trial products, or experimental products, failed products, only in the Royal Kiln Museum will see these restored artifacts.
Among the large number of cultural relics excavated, many of them were only excavated in the Royal Kiln Factory, and were not among the world's major museums or heirlooms, which are rare and unique in the world.
The Ming Dynasty orthodox blue and white dragon pattern vat is the largest artifact excavated by the Royal Kiln Factory so far. During the excavation process, a total of 10 tons of dragon cylinder porcelain pieces were found and repaired in pairs, and only three pieces are currently found.
At that time, the process, even the current process, firing such a large volume of dragon cylinders is very difficult, it is difficult to complete a thing, so this batch of dragon cylinders did not finally send to the palace, but also belonged to a trial product, there was no success.
It is speculated that now some experts and scholars say that after the three halls of the Forbidden City during the Ming Yongle period were burned down, the emperor wanted to make a batch of such dragon jars to be placed in the palace, as a cool in the summer, and then it can also be used as a backup water storage for fire fighting, and some experts said that it may be a pot for planting trees or raising flowers, and various theories are different.
The blue and white porcelain pillows of the blank period of the Ming Dynasty were excavated in the Royal Kiln Factory in 2014, and after collation, 116 works have been restored and completed. This batch of porcelain pillows from the blank period of the Ming Dynasty did not reach the palace, and they were also orphaned. This batch of porcelain pillows is of the ruyi type throughout, the front is the ruyi type, and the ornamentation is mainly floral.
In the blank period of the Ming Dynasty, the blue and white Square Sheng pattern embroidery pier, this piece of artifacts a total of 127 fragments, using three-dimensional scanning three-D printing and photosensitive resin materials to repair it.
The pier surface of the embroidery pier is particularly heavy, there are more than 20 pounds, and then its side wall is relatively thin, this artifact is more than 60 centimeters high, the volume is particularly large, so there is a great difficulty in its firing, and there is no successful test firing in the royal kiln factory. So this batch of embroidery piers was all broken and buried. That is to say, the embroidery piers in the blank period of the Ming Dynasty belong to the orphan product after restoration.
In the Ming Dynasty, the only 4 remaining pieces of the world were excavated by the Royal Kiln Factory.
The duck-shaped aromatherapy has a duck tongue inside, and then its shape is particularly full, and the duck neck is particularly curved, which seems simple, but it is very difficult to actually burn it.
Now there have been people imitating, but there has been no successful imitation.
Xiao Hao said: Many of these artifacts are only the only orphans in the world that are not available in the world in the Imperial Kiln Museum, they have been buried underground for 600 years, I am actually just a passer-by for them, my purpose, my job is to let its life continue.
In its long 600 years, our team has discovered it, our restoration team has fixed it, and there will be other people who will protect it in better ways in the future. As conservators of cultural relics, we are often not good at verbal expression, we use our hands, rely on our hands to express some of our thoughts and feelings. The influence of cultural relics on me, I think, is to quiet me down, to make me examine myself, or it is a process that has allowed me to grow all the time.
Source: Jiangxi News Broadcasting
Editor: Huang Tongxuan; Editor-in-charge: Zheng Jie; Executive Producer: Zeng Xianlin
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