To wen plastic brigade, to travel to show the text. Through celebrity-style reporting, the panorama shows the vivid practice of Handan inheriting red genes, innovating green development and creating a new pattern of global tourism development, which is held by the 6th Hebei Tourism Development Conference, from September 22, the "Notes of Cultural Celebrities Handan" theme activity sponsored by the Department of Culture and Tourism of Hebei Province, the Writers Association of Hebei Province, and the Hebei Daily Newspaper Group has successively launched famous masterpieces, read the stories of Handan cultural tourism written by literati, and feel the "new" Handan that blends history and modernity.
It was a rainy day for the group to come to their foothold. The light rain in early autumn is not yet frozen, but the silk is always dripping, and if you stay in the rain for a long time, you will get wet your robes, and the mud will also make people wretched. They had no time to clean up, nor to admire the yellowish autumn leaves that had changed in all four seasons, until they stepped out of the woods and saw the red kiln fire in the distance, and their eyes, which had been silent for many days because of the war, burst out of nowhere in an instant. They had finally arrived, Cizhou. Cizhou, the county outline is "bracelet"-shaped. West of Taihang, north of Guzhao, east of Yicheng, south of Yindu, the four provinces of Jin, Ji, Lu, Yu, the four provinces of Chongchong, dominating the south of Hebei, the terrain in the west is high and low in the east, mountains, hills, plains three autumn colors. This map was passed down by word of mouth and imprinted in their minds long before they set out, among them were the fallen scholars, the clear streams of abandoned officials, the hermits who floated through the rivers and lakes, and many of them were good calligraphers and painters with profound skills. This strange combination of troops waded through mountains and rivers to Cizhou, not to pay homage to Lin Xiangru, who was famous for thousands of years, nor to visit Gao Su, a famous Northern Qi general who had repeatedly built up his miraculous feats and wore a mask to kill the enemy on the battlefield because of his incomparable beauty. In the chaotic situation of broken mountains and rivers, natural disasters and man-made disasters, I came to the Cizhou kiln field to seek a glimmer of life and find a place to live in a bed. They were not the first to arrive, from the Spring and Autumn Struggle for Hegemony, the Annexation of the Warring States, the Wei and Jin Wars, the Anshi Rebellion, the Song-Jin War, the Song and Yuan Wars, the War of Annihilation of the Yuan, and the Ming and Qing Dynasties, so that the continuous comings actually ran through the entire history of China. Cizhou, the place named after "porcelain", is destined to be completed by the continuous influx of these literati, and together they compose a unique and beautiful black and white scroll.
Cizhou, first set up in the tenth year of the Sui Kai Emperor, because there are magnetic mountains in the west ninety years of the prefecture, so it is called "Cizhou". Cizhou kiln is the largest folk porcelain kiln system in ancient northern China, named because the central kiln field is located in the territory of ancient Cizhou (now Ci County, Handan City, Fengfeng Mining Area). Cizhou kiln at first is not burning porcelain, but pottery, originated in the ancient Cizhou region of the early Neolithic cultural relics - Magnetic Hill culture, the Northern Dynasty period began to produce celadon porcelain, Sui and Tang Dynasty three color porcelain, until the Song Jinyuan period officially towards the firing of white and black flower ceramics of glory, Jin Dynasty with red, green, yellow and other pigments on the makeup of white porcelain glaze after painting, after the second kiln low temperature firing, baking, the formation of pioneering color glazed porcelain. During the Ming and Qing dynasties, the Cizhou kiln continued to develop and flourish, shoulder to shoulder with Jingdezhen, and was known as the "porcelain capital" in the north. After the founding of New China, Cizhou Kiln was revived again and ranked among the eight major porcelain areas in China. For thousands of years, the kilns in this land have been extinguished, creating "a worldwide ceramic myth".
The representative decoration of the Cizhou kiln is a black painting of white and ground
Cizhou kiln early utensils to the premise of daily practicality, mainly firing plates, bowls, bowls and other small products, in the later development process, the fusion of craftsmen and literati moved her center of gravity down, so that the main body constituted a full, straight and dignified posture, the emergence of larger utensils, such as long-necked bottles, cylinder jars, deep belly bowls, and the famous Cizhou pillows with different forms. In the Ming Dynasty dramatist Tang Xianzu's "Handan Chronicle", it was the Cizhou pillow that wrote about the enlightened Lu Sheng pillow. The basic feature of Cizhou kiln is the use of makeup soil, the representative decoration is white and black painting, with knives, brushes, temperature as tools and means, black and white, so that the visual contrast produces a strong sense of beauty. With the addition of literati, porcelain gradually integrated into the elements of traditional Chinese ink painting, and painting, calligraphy and porcelain-making techniques were combined to create a new aesthetic. Flowers, birds, fish and insects, character stories, landscapes and rivers, poetry and songs, and folk proverbs have appeared on the porcelain. Every inch of the land, its own world. Porcelain makers use porcelain as a platform to completely release themselves.
The existing Cizhou Kiln Museum has a collection of eight square poems and pillows painted in white and black in the Jin Dynasty, and the book Su Shi's "Ru Meng Ling": "In order to spread the word to the eastern slope, people are in the depths of the Jade Hall, and who comes after them, the snow presses the small bridge without a road." Go back, go back, a plough on the river spring rain. This poem was composed in the second year of Su Shiyuanyou (1088), and this poem is included in the Quan Song Ci, entitled "Another Send". Su Shi was a Hanlin scholar at the time, and wrote this poem and sent it to a friend in Huangzhou. During the reign of Emperor Shenzong, Su Shi was impeached by Yushi for writing poems to slander the imperial court and belittling the Deputy Resettlement of the Huangzhou Regiment. His late friend Ma Zhengqing asked him to obtain dozens of acres of wasteland in the east of the city, and Su Shi reclaimed and cultivated it, and used the name of "Dongpo" as his nickname. "To speak to Dongpo" means that Su Shi asked a friend to speak to "Dongpo" on his behalf. In the word, "Yutang" is the beautiful name of Hanlin Temple, because the Hanlin Courtyard was located in the palace in the Tang Dynasty, called "Yutang". This poem is written in the same way, reflecting that although Su Shi returned to the dynasty from Huangzhou and was in the depths of the "Jade Hall", his heart was full of warm nostalgia for the quiet life of cultivating in the "Eastern Slope", and the urgent mood of thinking of his hometown and intending to return. The Cizhou Kiln Museum holds a rectangular painting pillow of the Jin Dynasty, inscribed with the words "Full Moon of Man" made by Wu Ji, the leader of the JinChu Poetry Altar: "The Southern Dynasty has been sad for thousands of years, and it is like singing "Backyard Flowers". In the old days, Wang Xie, the swallow in front of the hall, flew to whom? Suddenly a dream, fairy muscles win the snow, and the palace bun piles up crows. Sima of Jiangzhou, the green shirt is wet with tears, and the same is the end of the world. In this way, the painter expressed his strong longing for the Homeland Garden and his deep sympathy for the displaced people due to the war. The Cizhou Kiln Museum collects rectangular calligraphy and painting pillows of the Yuan Dynasty, inscribed with Chen Cao'an's "Sigh of the Twenty-six Songs of the World", "The Hillside Sheep": "The wind and waves are really afraid, the lips and tongues are hanging, the crane is long and the crane is short, and it is born under nature." Persuade the fishermen, the co-builders, from now on not to speak wise and foolish words, to get the help of the Tao, to lose the way, to be foolish, but also to him, and the sages, but also to him. The bottom of the rectangular calligraphy and painting pillow of the Yuan Dynasty in Handan's private collection is printed with a bell-shaped stamp of "Wang's Shouming Zhangbin Yiren System", with the inscription "Fan Inscription": "Shuoshi flow gold, heaven and earth are furnaces." Ru with this time, Yi Zhou Ju Ru. The north wind is cool, and the rain and snow carry the way. Ru and at this time, Yi Qi was hungry. sigh! To use it is to do it, to give it up is to hide it, to be self-sufficient and er, and to have it is a husband. Although the inscription is short, it cites three allusions to the Shang Zhou Yin Yi Zhou Gong, Bo Yi Shu Qi, and Confucius and Yan Yuan's dialogue with Yan Yuan. It is intended to show that he is a righteous hermit like Yin Zhou and a righteous hermit like Yi Qi, and at the same time to express his open mind and lofty realm in the face of Shi and Cain, advance and retreat. Cizhou Kiln Art Museum collects Yuan Dynasty poetry pillows, writing the words of "Huanxi Sha" composed by the late Jin dynasty and early Yuan Dynasty literary scholar Yuan Haowen: "The spring breeze on the lake is sad, the Fangzhou smoke scenery has been traveled, and people are like Yuxitou." Willow green flag wine market, peach blossom flowing water fishing boat. Red Dust Saddle Horse Rests. The original word is titled "Huanxi Sha Xiangzhou Southwest Shanying, Huan Shui From the Out, Wind and Things Are Absolute", which was composed by the author when he traveled to the southwest of Shanying Town of "Ancient Xiangzhou". The first sentence, "Scattered Sorrows", points out the pain and sorrow brought by the war and chaos in the early Yuan Dynasty to the author and the people; the last sentence not only takes care of the root cause of the first sentence of "sorrow", but also shows the author's indignation at the invasion and rule of the Yuan soldiers and his desire to end the war and restore a peaceful life. Yuan Hao asked about the ups and downs of his life, and once studied under Zhao Bingwen, a native of Cizhou. Zhao Bingwen (赵秉文), courtesy name Zhou Chen, was an idle old man in his later years, a native of Fuyang County (present-day Ci County), Ci Prefecture (present-day Ci County) in the Jin Dynasty. This is a figure that has to be said in the history of Magnetic State. According to the "History of Jin" (Liechuan), Zhao Bingwen: "Shi Five Dynasties, official Liuqing, self-respecting and raising like a cold soldier, did not stand on the cliff shore in contact with people, and never regarded himself as a big name." "Treat people with sincerity, dare to speak out and advise, care for the well-being of the people, and in the year of disaster, they will take out their own money to help the refugees." This is a good official with the feelings and bones of a traditional literati doctor. What is more influential in later generations is his literary name. Zhao Bingwen is proficient in literature and good at writing poetry, opposing the old style of writing and advocating eclectic writing. His prose is longer than discernment, his poetry is fresh and bold, the rhythmic poems are magnificent, the five-character poems are rich and frustrated, and the cursive writing is vigorous and powerful, which is quite admired by the Jin and neighboring Western Xia people. Known as poetry, books, and paintings, he is the lord of the three altars. On a large number of porcelain, it is not difficult to find that it contains the feelings of the makers, the "magic of natural machine" (the calligrapher Fu Shan of the late Ming and early Qing dynasties), the removal of official qi, acid gas, and academic atmosphere, and the pursuit of the purity of art.
A corner of Cizhou Ink Park
Each piece of porcelain is a glittering and bizarre story. It's intoxicating, it's down- This is the art of earth and fire, the art built on porcelain, the art rooted in the region and the times. This is, the art of man.
Beauty is for discovery. The artistic beauty of Cizhou kiln has attracted the attention of experts and scholars and porcelain lovers in the world. In 1950, in order to determine the kiln mouth of some collections, the Palace Museum began to investigate some of the contents of the literature, and in 1951, Mr. Chen Wanli, a scholar of ancient ceramics in China, was waiting for a boat at the Zhanghe River ferry port and accidentally found the Guantai kiln site 40 kilometers away from the county seat of Cixian County. In 1987, the Department of Archaeology of Peking University and the Cultural Security Institutions of Hebei Province and Handan District jointly conducted the third large-scale excavation of the Guantai kiln, and conducted in-depth research on the relationship between stratigraphic superimposition, the evolution and firing process of excavated artifacts, glaze, tire quality, and decorative techniques, and established the development sequence of Cizhou kiln. With the emergence of more Cizhou kiln experts' research results and exchanges between Chinese and foreign scholars, it will unveil the history of future generations that has been obscured by time. Forgive the author's ignorance, the first time to interpret the Cizhou kiln was in 2013, I had the honor to listen to the lecture of Mr. Pang Hongqi, an expert of cizhou kiln, suddenly became very interested in this life, after the first time, the second, third, and fourth times of the consultation are no longer so rigid, sometimes it is a telephone question and answer, sometimes it is a face-to-face consultation, every time Mr. Pang Hongqi is patient to solve the doubts and talk, as if to say that the Cizhou kiln is telling ordinary family affairs, handy. For this reason, I have specially visited the provincial, municipal and county exhibition halls several times, stopping in front of a piece of exquisite porcelain, each time like the first time I saw it, I couldn't help but be surprised, couldn't help but be curious, couldn't help but want to understand her past life and presented under the sun from the instrument to the present. Who made her from a bunch of earth, who painted her a colorful dress, who collected her tenderly, gently wiped the dust that fell on her body on countless starry nights, and continued to stare obsessively during the day?
The night in Magnetic County is silent. The moonlight is graceful and elegant, faintly pouring on the beautiful columns of the overflowing spring lake and the ink garden, telling the light and shadow flowing years that have been sealed for thousands of years. The guantai kiln site in the distance echoes from afar, and they remember the people who once lived in this land. Generations of literati who wrote porcelain on behalf of porcelain rested here, followed by generations of literati who came from afar, clinging to their faith, in the black and white world, freely exerting their talents and ideals, melting into porcelain, sending affection with porcelain, singing calligraphy on the blank molds of various shapes, singing pictures, and regarding it as an art built on porcelain, giving them life beyond time. Time passes, mountains and rivers change courses, or the flow is cut off, only the cultural veins that have been quietly accumulated on pieces of exquisite porcelain in the past years are still, clear and recognizable.
It is static, but also a feast of flow.
(Chang Conghui, a member of the Chinese Writers Association, is a student of the 19th Advanced Research Class of Lu Xun Literature College.) Vice Chairman of Handan Writers Association. )
Text/Chang Conghui