王仁亮

在中國陶瓷發(fā)展史中，于冰天雪地中孕育而生的黑龍江陶瓷獨(dú)具一格。黑龍江陶瓷的起源可追溯到7 000—13 000 年前。在悠長的發(fā)展進(jìn)程中，新開流文化、渤海文化、金源文化等，都伴隨有特色鮮明的陶瓷文化。其中，距今900 多年的金源文化期的“上京窯”最具代表性。

Heilongjiang ceramics， originating and developingin the icy and snowy region of northeastern China，holds a distinctive charm in the history of Chineseceramics. Across the ages， various cultures such asXinkailiu， Bohai， and Jinyuan， dating back to 7，000 to13，000 years ago， have each contributed their uniqueceramic traditions. Among these， the Shangjingceramics， stemming from the Jinyuan culture over 900years ago， stands as the most representative.

“上京窯”瓷器選用黑龍江省高嶺土制作泥坯，融合了肅慎文化、渤海文化、金源文化中的典型文化符號(hào)與黑龍江的“冰雪文化”元素，在傳承中不斷創(chuàng)新?！吧暇└G” 瓷器以興安落葉松為燃料，經(jīng)過連續(xù)78 小時(shí)的高溫?zé)?，研發(fā)形成兼具金色、冰色之地域特色的“上京金瓷”“上京冰瓷”等陶瓷品類。

Blending the essence of Sushen， Bohai， and Jinyuancultures with the signature “ice and snow” elements ofHeilongjiang， the Shangjing ceramics strikes a delicatebalance between tradition and innovation. It employslocally sourced kaolin for the clay and Xing’an larchbranches as fuel. te tring process takes a continuous78 hours， producing ceramic items boasting uniqueregional traits with fascinating gold and icy hues， suchas the “Shangjing Gold Ceramics” and the “ShangjingIce Ceramics”.

“上京窯”瓷器采取無釉裸燒工藝，將泥坯在不施釉的狀態(tài)下直接裝入窯內(nèi)進(jìn)行燒制。瓷器表面所形成的釉層，均為經(jīng)過上千度高溫、連續(xù)幾天幾夜燒制自然窯變而成，每件作品均獨(dú)一無二。其窯變形成原理為：松木燃燒后所形成的木灰隨著火焰飄落在窯內(nèi)的土坯上，當(dāng)窯溫超過千度時(shí)，木灰開始融化，灰中的礦物質(zhì)成分與瓷坯中的硅、鐵等成分在高溫狀態(tài)下發(fā)生物理和化學(xué)反應(yīng)，形成釉層；因窯內(nèi)高溫導(dǎo)致的不同程度的氧化、還原，釉面肌理變化多樣、色彩層次豐富。正所謂“入窯一色，出窯萬彩”，每一種變化均仰賴天工，非人為可及。

An unglazed tring technique is adopted， wherethe clay is directly loaded into the kiln without theapplication of artificial glaze. As the firing processtakes place at temperatures surpassing 1，000°C（around 1，832°F） for several days， a natural glazelayer forms on the surface of the items， giving adistinctive artistic touch to each piece.Here is an explanation of how the kiln changeprocess takes place： the wood ash falls onto theclay pieces inside the kiln and starts to melt oncethe temperature reaches over 1，000°C. The mineralcomponents in the ash will then physically andchemically interact with the silicon， iron， andother components in the clay body under hightemperatureconditions， and result in a natural glazelayer. Varying levels of oxidization and reductiongive birth to a diverse range of patterns and a myriadof color hues. tis phenomenon is oten described as“one shade before， and a million ater”， highlightingthe wonder of nature’s artistry， unmatched by humanendeavors.

“上京窯”的窯爐是筆者團(tuán)隊(duì)自主研發(fā)建設(shè)的國內(nèi)最大的寒地倒焰型柴窯。目前每年燒制兩窯，半年為一個(gè)周期。其中，泥坯制作階段為五個(gè)月，燒窯階段一個(gè)月。因器物大小不同，每窯燒制陶瓷的數(shù)量在1 300 至3 000 件不等。

Our R&D team independently designed anddeveloped the largest low-temperature-region， crossdraft，wood-fired kiln in China for the production ofShangjing ceramics. Currently， two kiln firings takeplace every year， with each cycle lasting six months（tve months of clay body production and one monthof kiln tring）. Each tring will produce 1，300 to 3，000pieces of Shangjing ceramics， depending on theproduct size.

柴燒瓷器的制作是一個(gè)艱苦而又快樂的過程。無論是在零上30℃的酷暑之中，還是在零下30℃的嚴(yán)寒之中，近一個(gè)月的艱苦勞作，在最終窯門打開的一瞬間，都凝結(jié)為收獲的喜悅。

It is a rewarding journey filled with challengesand joy. As the kiln door opens， revealing the finalproducts， whether it is amid scorching summer daysof over 30°C or freezing winter days of —30°C， nearly a month of hardworking transform into a sense ofdelightful satisfaction.

每一窯瓷器的燒制均需經(jīng)歷裝窯、燒窯、開窯三個(gè)階段。

te production process can be divided into threemain stages： loading， tring， and unloading.

裝窯是整個(gè)燒制階段中最重要的環(huán)節(jié)，有“裝窯如繡花”的比喻。受不同氣溫的影響，裝窯時(shí)間一般為3—10 天，春秋用時(shí)較短、冬夏用時(shí)較長。裝窯是將制作好的泥坯粘好支釘后一件件裝入窯內(nèi)，需要根據(jù)泥坯在窯內(nèi)的擺放位置，安排窯內(nèi)的走勢(shì)。

Loading， the most crucial step in the productionprocess， is often described to be “as delicate asembroidering a flowery pattern”. It takes about threedays in spring and autumn and can take up to ten daysin summer and winter， as temperature has a majorimpact on the process. During this stage， artisansinstall the supporting stilts under the raw clay bodiesand arrange them in the kiln according to a carefullydesigned layout based on the specitc positioning of theitems.

裝窯完成后便封窯門，進(jìn)入燒窯階段。按照傳統(tǒng)習(xí)慣，點(diǎn)火前須“拜窯神”。滿滿的儀式感，表達(dá)的是制瓷人對(duì)自然的敬畏與對(duì)文化的熱愛。儀式結(jié)束，開始生火燒窯。從窯火點(diǎn)燃開始，制瓷人就要經(jīng)歷至少78 小時(shí)不眠不休、艱苦的“熱烈勞作”。劈柴、投柴、觀測(cè)等持續(xù)性勞動(dòng)，伴隨著上千度的高溫、40m3 的木柴消耗量，一直持續(xù)至?；鸱飧G。燒窯結(jié)束后7—8 天，窯體自然冷卻。

Once the kiln is loaded， the door is sealed， and thefiring stage begins. In line with tradition， a worshipritual is held to honor the kiln god before ignition，a gesture of respect for nature and a celebrationof local culture. With the ceremony completed， acontinuous and laborious journey of at least 78 hoursof high-temperature firing starts， during whichceramic artisans split wood， add fuel， and monitorthe temperature day and night. tis stage requires theburning of approximately 40m3 of larch branches attemperatures exceeding 1，000°C. Subsequently， theartisans patiently wait for another seven or eight daysas the kiln gradually cools down after the fire isstopped.

待窯溫自然降至外界溫度時(shí)，最振奮人心的開窯時(shí)刻到來了。伴隨著忐忑而又期待的復(fù)雜心情，制瓷人開啟窯門，迎接大自然的饋贈(zèng)。當(dāng)窯門被緩緩開啟的一剎那，火與土交融后的神秘面紗被逐漸揭開，這場由金、木、水、火、土合奏“大地共鳴曲”共同鑄造的陶瓷生命正式面世。

ten， the most exhilarating moment arrives as thekiln reaches the ambient temperature. With a blendof anxious anticipation， the artisans unseal the doorto reap the rewards of their labor from nature. As thedoor opens， mystery unveils and a fascinating sightunfolds before people’s eyes — marvelous creationscrated from the Five Elements in traditional Chinesephilosophy： metal， wood， water， tre， and earth.

據(jù)統(tǒng)計(jì)，因柴燒工藝的特殊性，目前上京窯每窯作品成品率為60％—70％，其中，精品率約為30％，極品率約為10％，窯寶典藏級(jí)約為1％，每件精品級(jí)別以上的陶瓷作品均為難得的藝術(shù)佳作。

Due to the intricate anddemanding techniques requiredin the firing process， the currentsuccess rate is approximately 60%to 70% for each firing. Amongthem， around 30% are tne pieces，10% are exceptional pieces， and arare 1% are treasure pieces. Eachceramic product above the fineproductlevel is considered a trulyrare and exquisite masterpiece.

有別于傳統(tǒng)瓷器青、白、黑、紅、花色系，金色系陶瓷為上京窯獨(dú)創(chuàng)。自然窯變而成的釉色在黃色與橘紅色之間變化，極品近于黃金的色彩與光澤，數(shù)量稀少，是一方土木的絕美融合。上京金瓷的“金”，一方面指的是金色瓷器的色澤，另一方面寓意黑龍江金源文化的一脈相承。

In contrast to traditionalceramics， which often exhibithues of blue， white， black， red，or polychrome， the ShangjingGold Ceramics stands out withits unique golden brilliance. Theglaze， transformed naturally in thekiln， boasts a wide range of shadesfrom yellow to orange-red， whilethe exceptional pieces showcase aglaze with color and luster akin toprecious gold. tese rare artworkstruly demonstrate the mysticalsynergy between the earth andwood of this region. The name，Shangjing Gold Ceramics， nicelydescribes the golden glow of theproducts and simultaneously payshomage to the enduring legacy ofthe local Jinyuan Culture （literallymeaning the “Gold Source”Culture）.

除了金瓷，上京冰瓷也極具地域特色，其自然窯變而成的釉色晶瑩通透、開片精美。冰瓷的“冰”同樣有著雙重寓意，既指自然窯變形成的冰色釉，也象征著黑龍江獨(dú)特的冰雪文化。

The Shangjing Ice Ceramics isanother local treasure， distinguishedby the glaze’s exquisite crystalclearand translucent quality andadorned with delicate crackles， bothgifted by the natural kiln changeprocess. The name “Ice Ceramics”also carries a dual signitcance， as itnot only captures the ice-like huesof the glaze but also embodies theessence of the unique ice and snowculture of Heilongjiang Province.

經(jīng)檢測(cè)，上京窯瓷器在盛裝酒、水時(shí)會(huì)有鈣、鋅、鉀、鈉、鐵五種對(duì)人體有益的微量元素析出，可改善水質(zhì)，品茶、飲酒味道更加醇厚。2019 年，由中國工藝美術(shù)協(xié)會(huì)組織編撰的大型茶器具工具書《中華茶器具通鑒》的《茶器具古今名家名器精鑒》一卷中介紹了筆者和筆者團(tuán)隊(duì)制作的上京金瓷，這也是黑龍江省內(nèi)唯一入編的陶瓷藝術(shù)品類。

Experiments have revealedthat when Shangjing ceramicsare used to contain wine orwater， they release beneficialmicroelements including calcium，zinc， potassium， sodium， andiron， which not only improvewater quality but also give aricher taste to the beverages. In2019， the “Renowned Artistsand Exquisite Wares” section of， an encyclopedicreference book compiled bythe China Ar t s and Craf t sAssociation， features my profileand introduces the ShangjingGold Ceramics of our team. It isthe only ceramic product fromHeilongjiang Province to beincluded in this book.

未來，上京窯將會(huì)繼續(xù)依托“金源文化”“冰雪文化”等黑龍江特色文化，不斷創(chuàng)新，創(chuàng)作出更多造型設(shè)計(jì)新穎、獨(dú)具特色的陶瓷種類，將黑龍江的特色陶瓷文化發(fā)揚(yáng)光大，不斷傳承下去。

In the future， the Shangjing Ceramics will continue todig into the rich local culture and pursue innovation. Ourgoal is to design and craft a more diverse range of noveland distinctive ceramic works， contributing to the furthercontinuation and promotion of Heilongjiang’s unique，cherished ceramics heritage.