Inheritance, Innovation and leap-over, Let National Culture Shine -- A century-old Record of Inheritance of Purple Sand Pottery in Wumen, Yixing (5)

中国艺星网/编发/愉快

Chinese art star/editor/happy

吴余清将泥板成型的方法给海龙教会之后，又教他盘条成型的方法。他首先准备了一个转台，一张旧报纸，用旧报纸剪一个面积略小于转台的圆平铺于转台之上，告诉海龙：“这样是为了将转台上盘筑成型后的坏体从转台上分离下来。”然后教他搓泥条。告诉他：将泥料分离成体积大小适当的块儿。在一个平整且不粘连的面板上将小泥块搓成泥条，双手用力均匀，保证泥条粗细均匀。叮咛他：泥条不能太大，也不能太小。太大了搓成的泥条太长，太小了搓成的泥条太短或太细,

这个时候，吴余清将搓制的泥条盘成一个象蚊香一样的圆饼状，告诉海龙：底座的大小根据自己作品的需要而定，在盘“圆饼”的时候要让泥条之间相互粘连紧密，之后也可以用陶板轻轻拍打底座，使其粘连结实。

整好以后，吴余清选了一根长度适合的泥条，治着底座的外周边缘盘筑，同时用手指把泥条与底座牢牢地捏合在一起，用左手在一旁扶正胚壁，以防止盘筑起的环壁向外拖踏，右手食指与拇指轻轻下压泥条，使其与底座粘连为一体。泥条长短不够时，在进行泥条的首尾相接时，可将上一根泥条的末端和即再要盘筑的泥条首端斜着切断，以使泥条间相互吻合。每层泥条不要在相同的横坐标处进行连接，这样坯壁会支撑不住，要有意的错开连接点。

吴余清一边做一边告诉海龙：“下一步是继续起型。重复上一步做法，将新的泥条与坏体上前一根泥条尾部捏合在一起，根据所需陶器的高度不断的重复盘筑。要保证泥条的首尾尽量光滑的结合在一起。”

完成之后，吴余清又叮咛道：“如果泥料盘条成型一次没能完成，就用塑料袋把已筑起的还体封起来，以免泥盘失去水分。下次再做的时候拿开塑料袋继续盘筑。如果坯体已干，就用毛刷粘水给胚体刷水，再用泥条盘筑，这样便于泥条衔接。”

下午上工以后，吴余清继续告诉海龙：“泥条盘制的制陶方法应该说是陶艺成型技法中最方便、造型表现力最强的技法之一，它几乎可以制作出任何其他技法能做出的形体。”

Wu Yuqing taught Hai Long how to form clay tablets and then taught him how to form wire rod. He first prepared a turntable, an old newspaper, with the old newspaper cut an area slightly smaller than the turntable of the round flat on the turntable, told the dragon: "This is in order to build the turntable after the formation of the bad body from the turntable." Then teach him how to roll the sliver. Tell him to separate the mud into the right size pieces. Roll small pieces of mud into mud strips on a flat and non-stick panel. Use even force with both hands to ensure the thickness of the mud strips is even. It should not be too big or too small. Too big and too long, too small and too short or too thin,

At this time, Wu Yuqing coiled the clay strips into a mosquito repellent incense like a round cake, and told the dragon that the size of the base depends on the needs of his work. When making the "round cake", the clay strips should stick closely to each other, and then he could beat the base gently with a ceramic plate to make it stick firmly.

After finishing, Wu Yuqing selected a mud strip of appropriate length to control the peripheral edge of the base, knead the mud strip and the base firmly together with his fingers, and righted the embryo wall with his left hand to prevent the ring wall of the plate from dragging outward. His right index finger and thumb gently pressed down the mud strip to make it stick to the base as a whole. When the length of the mud strip is not enough, when the end of the mud strip is connected to the end of the mud strip, the end of the last mud strip and the first end of the mud strip to be constructed can be cut off diagonally to make the mud strip fit each other. Do not connect each layer of mud at the same horizontal coordinate, so that the blank wall will not support, to deliberately stagger the connection points.

Wu Yuqing told the dragon while doing: "The next step is to continue to type. Repeat the previous step, kneading the new mud strip together with the end of the previous mud strip of the bad body, and repeat the plate repeatedly according to the height of the pottery required. Make sure the ends of the strips fit together as smoothly as possible."

After finishing, Wu Yuqing said, "If the molding of the mud rod is not completed at one time, we should use plastic bags to seal the completed body, so that the mud pan will not lose water. The next time you do it, remove the plastic bag and continue to build. If the billet is dry, brush water to the embryo body brush water, and then use mud plate, so as to facilitate the connection of mud strips."

After work in the afternoon, Wu Yuqing continued to tell Hailong: "The clay plate method of pottery should be said to be one of the most convenient and expressive techniques of pottery forming techniques, it can make almost any other techniques can make the form."

然后继续教他：“如果所需的形状是朝外伸展的那么连接的新泥条都应该依次向外平移一定距离。如果所需形状是向内收缩的，连接的新泥条就应该依次向里平移一定距离。”“你需要掌握的重点是：练习盘条成型法、花瓶的造型设计。先用泥条盘制一个圆形底座作为瓶底，用泥拍轻轻拍打底座，使其粘连结实。然后在底座的边缘盘筑泥条来起型。盘筑的高度要根据自己所设计的高度而定，形状、样式要以预先准备的花瓶作为参照，也可以做适当的变化进行创意设计。”

教完之后，吴余清给儿子布置了一个作业，让他运用盘条成型法尝试制作一个属于自己的笔筒。并告诉他重点是练习盘条成型法、笔筒的造型设计。难点是重心的掌握。充分发挥你自己的想象，运用盘条成型法设计创作一个别致、有特点、有创意的笔筒。作品完成后用牙签在作品上刻上自己的名字日期，放在博物架上，待干透后再烧制成成品。

勤奋好学的吴海龙在下午收工以后草草吃了一点饭，便去完成他的作业。他选取了制作一只笔筒的土量，用挤压空气的方法将泥柱捧正。将陶泥做成圆锥形，双手扶住泥柱，以中指配合转盘的速度将环土做出葫芦腰状。然后找准圆心，用右手拇指对住顶部中心点下压进行分泥，同时用 左手将右手拇指慢慢下压，右手虎口卡住泥坯的边缘进行横压，之后用食指和中指的指缝卡住坏边，使其规整，顺利完成了作业。

第二天，吴余清开始教给海龙印证、修证和晒环。

首先是印坏。这个过程用到了印模。印模的外形是按坯体内形弧线旋削而成的，将晾至半干的坯覆在模种上，均匀按拍坯体外壁，然后脱模。这就完成了印坏的过程。接着开始利坯。吴余清将半干的坯放于辅坯机上，转动转盘，用刀旋削，使坯体厚度适当，表里光洁。然后告诉海龙：这道工序技术要求很高。利坯，也叫“修坯”或“旋坯”，是最后确定器物形状的关键环节，并使坯体表面光洁、形体连贯、规整一致。利坯不仅需要熟悉泥料性能，而且要熟练掌握造型的曲线变化和烧成时各部位的收缩比例以及各部分留泥的厚薄程度。

教到这里，吴余清叮咛儿子：同一器物的不同部位，坯体厚度各不相同。因为不同部位在高温烧成时的收缩率和受力情况不一致，因而利坯时应控制不同部位的泥坯厚度，以防止其烧造时变形。利坯时对于坯体厚薄程度的控制及其识别方法是掌握利坯技术和确保利坯质量的关键。测定坯体厚薄是以手指上下抚摸并轻轻弹印，听其不同部位的响声。坯体较厚者,弹之发出“咯咯”之声，修至中等厚度时则发出“咚咚”之声，高档瓷坯体修至适当薄度时，弹之则发出“卟卟”的脆声。这些做完以后就是晒坯，也叫凉坯。将加工成型的坯摆放在木架上晾晒。

Then continue to teach him: "If the desired shape is extended outward, then the new mud strips should be successively shifted outward by a certain distance. If the desired shape shrinks inward, the new strips should be shifted inward in turn by a certain distance." "The key things you need to master are: Practice wire rod forming and vase design. First, make a round base with a mud strip tray as the bottom of the bottle. Beat the base gently with a mud pat to make it stick and firm. Then build mud strips on the edge of the base. The height of the plate should be determined according to the height of the design. The shape and style should be based on the vase prepared in advance as a reference, but also can make appropriate changes for creative design."

After teaching, Wu gave his son an assignment to try to make a pen holder of his own using the coiled rod forming method. And told him to focus on the practice of wire rod forming method, pen holder modeling design. The difficulty is to master the center of gravity. Give full play to your own imagination, using the wire rod forming method to design and create a unique, unique, creative pen holder. After the work is finished, they carve their name and date on the work with a toothpick, put it on the museum shelf, and let it dry before firing it into a finished product.

Wu Hailong, who is diligent and studious, ate a quick meal after finishing work in the afternoon and then went to finish his homework. He took the amount of soil needed to make a pen holder and squeezed air to hold the column upright. Shape the clay into a cone shape, hold the clay column with both hands, and use the middle finger to match the speed of the turntable to shape the ring earth into a gourd waist shape. Then find the center of the circle, with the right thumb to live on the top of the center point pressure for mud, at the same time with the left hand will be the right thumb slowly down, the right hand tiger mouth stuck mud blank edge for transverse pressure, after the index and middle finger cracks stuck bad edge, make it orderly, successfully completed the job.

The next day, Wu Yu Qing began to teach the dragon confirmation, repair certificate and sun ring.

The first is bad printing. This process uses impressions. The shape of the impression is cut according to the arc of the body shape of the billet. The semi-dry billet is overlaid on the mold, and the outside wall of the billet is evenly beaten, and then the mold is removed. This completes the process of breaking the seal. And then you start cutting. Wu Yuqing put the semi-dry billet on the auxiliary billet machine, turn the turntable, and use the knife to cut, so that the thickness of the billet body is appropriate and the surface is smooth and clean. Then tell the dragon: this process technical requirements are very high. Billet, also called "repair billet" or "spinning billet", is the key link to determine the final shape of the object, and make the surface of the billet body smooth, coherent, regular and consistent. The billet not only needs to be familiar with the properties of mud, but also needs to master the curve change of modeling and the shrinkage ratio of each part when firing and the thickness of each part of the mud.

Teaching here, Wu Yuqing reminded his son: the same object in different parts, the thickness of the body is not the same. Because the shrinkage rate and force of different parts in high temperature firing are not consistent, the thickness of the mud billet in different parts should be controlled to prevent its deformation during firing. The control and identification of the thickness of blank body is the key to mastering the blank technology and ensuring the quality of blank body. To determine the thickness of the body is to touch the fingers up and down and gently print, listen to the sound of different parts. If the billet body is thick, it will make a "cluck" sound, and when it is modified to medium thickness, it will make a "dong dong" sound. When the high-grade porcelain billet body is modified to appropriate thinness, it will make a "porphyporphyic" brittle sound. These are done after the sun billet, also called cool billet. The processed blank is placed on the wooden frame to dry.

从小耳闻目染和长时间的观察，聪慧的吴海龙比一般人接受能力要快的多，加上父亲手把手尽心的教导，吴海龙很快就掌握了炼泥、制坯的技巧。吴余清心里非常满意，紧接着开始给他教装饰。

首先是压印装饰。这种装饰技法运用自然之肌理(树叶、花草或天然麻布、纱布等自然之物的特有纹路)来达到别致的装饰效果。这种装饰技法运用起来简单，成型的图案纹路自然，独一无二。加之工匠自身的个性思维和创意，制作出来的工艺陶器别具一格，与众不同。

之后，吴余清又开始教海龙雕刻装饰。没有多久，吴海龙将刻花、剔花、堆花、贴花镶嵌装饰、镂空雕饰、“搅胎“搅浆”装饰的技术一应掌握。

Since childhood hearing and watching and long time observation, intelligent Wu Hailong is much faster than the average person to accept the ability, coupled with his father's conscientious teaching, Wu Hailong soon mastered the refining mud, billet skills. Wu Yuqing was very satisfied, and then began to teach him decoration.

The first is the impression decoration. This decorative technique uses natural textures (such as leaves, flowers, or the unique patterns of natural objects such as natural linen and gauze) to achieve a unique decorative effect. This decorative technique is simple to use, and the patterns formed are unique and natural. Combined with the individual thinking and creativity of the artisans themselves, the craft pottery produced is unique and distinctive.

Later, Wu began to teach sea dragons to carve and decorate. Not long, Wu Hailong will be carved, picked flowers, pile flowers, applique Mosaic decoration, hollow carving, "stirring tire" stirring "decoration technology should be mastered.

施釉和彩绘的学习时间比较长。施釉和彩绘是面子活，要求很高。为了培养一个顶尖的陶刻工匠，吴余清也是下了功夫的。

画好的陶坯，粗糙而又呆涩，上好釉后则全然不同，光滑而又明亮。不同的上釉手法，又有全然不同的效果。常用的上釉方法有浸釉、淋釉、荡釉、喷釉和刷釉。釉工艺看似简单，却是极为重要和较难掌握的一道工序。做到还体各部分的釉层均匀一致、厚薄适当，还要关注到各种釉的不同流动性。

Glazing and painting take a long time to learn. Glazing and painting are face-saving and demanding. Wu Yuqing also worked hard to cultivate a top pottery craftsman.

The painted clay, rough and dull, is completely different when it is glazed, smooth and bright. Different glazing techniques have completely different effects. The commonly used glazing methods are dipping glaze, drizzling glaze, swinging glaze, spraying glaze and brushing glaze. Glaze technology seems simple, but it is extremely important and difficult to master a process. The glaze layer of each part of the body is uniform and uniform, and the thickness is appropriate, but also pay attention to the different fluidity of various glazes.

彩绘是需要绘画功底的。而且分为釉下彩绘、釉上彩绘和釉下彩和釉上彩相结合(即斗彩)三种。

釉下彩绘因其彩绘图案位于陶瓷器釉层之下而得名，是装饰陶瓷器的一种主要手段。用色料在已成型晾干的素环(即半成品)上绘制各种纹饰，然后罩以白色透明釉或者其他浅色面釉入窑高温一次烧成。温度必须达到1200~1400℃。烧成后的图案被一层透明的釉膜覆盖在下边，表面光亮柔和、平滑不凸出, 显得晶莹透亮。它的特点是色彩保存完好，经久不退。我们通常看到的青花、釉里红、釉下三彩、釉下五彩等就是釉下彩瓷的细分类。

釉上彩绘是将彩图绘位于釉层之上。这种技法是先将成型晾干上釉的还体烧成白釉陶瓷器，然后再在白釉上进行彩绘，再入炉低温( 700-800℃)二次烤烧。成型干燥的生坏，在素烧窑内进行烧制为第一次烧成。

陶瓷器的彩绘与一般绘画不同。因为画工在环体素胎上施釉和作画时所见的颜料色经过高温烧制和烘烤后会发生很大变化。看似一件件颜色暗淡、貌不惊人的半成品，经过炉火的烧炼竞会呈现出如此绚丽夺目的色彩，这本身就是非常奇妙的。可想而知，为陶瓷器作画是需要怎样的经验和想象力了。所以，在陶瓷彩绘工序上吴海龙是花费了较长的时间，付出了很大的努力，尤其是青花五彩瓷器与斗彩瓷器的工艺。

紫砂陶刻，就是书法绘画与陶刻的有机结合。陶刻的存在又分为：依附于器皿而存在，与器皿同时存在，还有一种是以自己为表现主体存在依附于器皿而存在的陶刻，是一般性实用品的装饰，失去了器皿载体，其陶刻也就无任何独立的意义。这种情况大多存在于实用性的紫砂陶，如茶壶上。

与器皿同时存在的，就是俗话说的“字依壶传，壶随字贵”的情况，是器皿与陶刻相得益彰的工艺装饰。这种陶刻装饰往往与其载体互为存在，缺少了两个要素中的任何一个，都不能提升另一半的艺术魅力。而以自己的表现为主体存在的，则是当代出现的陶联、陶板、壁挂、竹片、字屏等独立存在的品种形式。这些以观赏和陈设之用的作品，充分张扬了陶刻装饰的魅力。

紫砂陶刻的表现形式，除线描阴刻外，还有阳刻、琢沙地等。线描阴刻，就是凹状的刻文，阳刻就是凸状的刻文，而琢沙地，是用小刀或小钻，在器物表层琢成点点沙粒状的块面，再在块面上面凸显陶刻文字。不上色的陶刻叫清刻，刻后着颜色的叫着色刻。泥未干时陶刻称湿刻，泥坯干后称干刻。

陶刻用刀不比金石用刀，坯体材质比金石印章松软，易于刻画；金石印章是方寸之物，而紫砂陶坯的坯体要大得多，陶刻的自由度也大得多，因此陶刻一般用薄刃快口的斜口小刀；也因为陶坯的材质容易受损，大面积的陶刻用刀需捻管转动，因此陶刻用刀还要安装竹制刀管，就是将尖刀安装在竹管上以方便使用。

陶刻操刀的方法不同于治印，刻刀略薄于小刻印刀，可插人中楷毛笔管粗的竹管以便操作，以握毛笔状操刀，当然这是与泥坯质地弱于印章石刻、块面大和需要提高速度有关。

紫砂陶刻的技法，可分为“刻底子”和“空刻”两种。刻底子是先用毛笔在坯体上书画，定稿后用陶刻刀依照墨迹镌刻，大多二面入刀。空刻是指以刀直接在坯体上镌刻，没有墨迹的规范束缚，以单刀行走较多，亦有加强补刀或二面入刀的。空刻须由擅长书画并有一定雕刻经验的紫砂艺人进行，在确定大体轮廓安排后，以刀直接镌刻，要求运刀快捷，慢则呆板无神，在下刀和。走刀时，注意指、腕配合，轻重顿挫有神，线条变化有致，画面生动。

对于陶刻艺术要求而论，不应只把书法、图画、金石、木刻、图案等图像在紫砂陶上简单地搬移再现，如果只是以师传的稿本抄录摹写，按传统习惯布局画面，忘记了不同的创作对象应各有各的深度和空间要求，不能求得施艺的载体和将要装饰的图案的统一，就不能算是一件成功的高水平陶刻艺术品，而只是一件工艺品。因此，要培养以为出色的陶刻大师，是一件十分不容易的事。吴余清为培养他们吴氏家族的嫡系传人，真可以说是倾尽全力，呕心沥血。吴海文敏而好学，不耻下问，发愤忘食，夜以继日，刻苦学习。他没有辜负老父亲的期望，成为一位优秀的紫砂艺人。

Painting is a matter of drawing skill. And divided into underglaze painting, glaze painting and underglaze and glaze combination of color (that is, bucket color) three.

Underglaze painting is named for its painting pattern located under the glaze layer of pottery and porcelain. It is a main means of decorating pottery and porcelain. A variety of patterns are painted on the formed and dried plain ring (i.e. semi-finished product) with color materials, and then covered with white transparent glaze or other light-colored glaze into the kiln at high temperature. The temperature must reach 1200 to 1400℃. The pattern after firing is covered by a layer of transparent glaze film below, the surface is bright and soft, smooth and not protruding, appear crystal clear. It is characterized by color preservation, durable. We usually see blue and white, underglaze red, under glaze three colors, under glaze five colors, and so on is the fine classification of underglaze color porcelain.

Glaze painting is the painting of a color on top of a glaze layer. This technique is to first dry and glaze the molded body into white glaze ceramic ware, and then paint on the white glaze, and then bake at a low temperature (700-800℃). The molding dry is bad, and it is fired in the plain kiln for the first time.

Pottery painting is different from ordinary painting. Because the color of the pigment that painters see when they glaze and paint on the ring matrix changes greatly after high temperature firing and baking. It is wondrous in itself that what seem to be dull and unremarkable half-finished things, when exposed to the fire, appear so brilliantly coloured. You can imagine what experience and imagination it took to paint pottery. Therefore, Wu Hailong spent a long time and made great efforts in the ceramic painting process, especially in the process of blue and white colorful porcelain and bucket color porcelain.

Zisha pottery carving is the organic combination of calligraphy painting and pottery carving. The existence of pottery carvings can be divided into: dependent on vessels, existing at the same time with vessels; there is also a pottery carvings that is dependent on vessels and exists with itself as the expression subject, which is the decoration of general practical articles. Without the vessel carrier, its pottery carvings have no independent meaning. This situation mostly exists in practical purple clay pottery, such as teapots.

At the same time as utensils, there is a saying that "the word is passed down by the pot, and the pot is expensive with the word", which is the craft decoration of utensils and pottery carving that complement each other. This kind of pottery decoration often exists in combination with its carrier. Without either of the two elements, it cannot enhance the artistic charm of the other half. And with their own performance as the main existence, is the contemporary emergence of pottery couplet, pottery plate, wall hanging, bamboo, character screen and other independent forms of existence. These works for viewing and furnishing fully publicize the charm of pottery carving decoration.

Zisha pottery carving forms, in addition to line engraving, there are Yang carving, sand cutting and so on. Line drawing is concave inscriptions, positive inscriptions are convex inscriptions, and sand cutting is to use a knife or a small drill to cut into sand granular blocks on the surface of the object, and then highlight the pottery inscriptions on the blocks. The pottery carving without color is called clear engraving, and the one with color after engraving is called coloring engraving. When the clay is not dry, it is called wet engraving, and when the clay blank is dry, it is called dry engraving.

Ceramic carving knife than stone knife, blank body material than stone seal soft, easy to depict; The stone seal is a square inch thing, but the blank body of zisha pottery is much larger, and the freedom of pottery carving is also much greater, so the pottery carving generally uses a thin blade and a quick mouth oblique knife; Also because the material of the pottery blank is easy to be damaged, a large area of pottery carving knife needs twisting tube rotation, so the pottery carving knife also needs to be installed with bamboo knife tube, that is, the sharp knife is installed on the bamboo tube for convenient use.

The method of pottery carving knife is different from that of stamp control. The carving knife is slightly thinner than the small carving knife. It can be inserted into the thick bamboo tube of the middle block brush tube for operation to hold the brush knife.

The techniques of purple sand pottery carving can be divided into two kinds: "carving the bottom" and "hollow carving". Engraving base is the first brush on the blank body painting and calligraphy, after the final draft with a pottery carving knife in accordance with the ink engraved, most of the two sides into the knife. Blank engraving refers to the direct engraving on the blank body with a knife, without the standard shackles of ink, with a single knife walking more, there is also a strengthening of the fill knife or two sides into the knife. Empty engraving must be good at painting and calligraphy and have a certain experience in carving purple sand artists, in determining the general outline arrangement, to directly engraved with the knife, the knife is fast, slow and dull, the next knife and. When walking the knife, pay attention to the coordination of fingers and wrists, the light and weight of god, the line changes, the picture is vivid.

As far as the artistic requirements of pottery carving are concerned, it is not necessary to simply transfer and reproduce calligraphy, pictures, stone, woodcuts, patterns and other images on the zisha clay. If you simply copy and imitate the manuscripts handed down by teachers and arrange the pictures according to traditional habits, forgetting that different creation objects should have their own depth and space requirements, and it is impossible to find the unity between the carrier of art and the pattern to be decorated. Is not a successful piece of high level pottery, but just a piece of art. Therefore, it is not easy to cultivate an excellent master of pottery carving. In order to cultivate their direct descendants of the Wu family, Wu Yuqing did his utmost. Wu Haiwen sensitive and studious, no shame, angry, day and night, study hard. He lived up to his father's expectations and became an excellent purple sand artist.

紫砂陶的烧制也是非常关键的一个环节。每次烧窑，吴余清都会从头到尾认真指点，手把手教海龙操作。

陶艺被称为火的艺术。火不仅使黏土、釉色变成了一种新的物质，而且赋予其美感。不同的窑炉、不同的火焰气氛决定了陶艺不同的品质，不同的窑炉、不同的燃料，烧成技法也不同。不管是现代窑还是古代窑，烧成是陶艺制作的最后一道工序，也是最关键的一道工序。因为成败就在此一举!

所谓烧成，就是将干燥或施釉后的还体装入窑炉中，经过高温烧炼，使泥坏和釉层在高温中发生一系列物理、化学变化。烧成过程是陶艺制作工艺中最复杂的过程。陶瓷器的烧成工艺有素烧和釉烧两种：素烧是将黏土转化成永久陶瓷的第一步，通常在没有施釉时进行。一般情况下，素烧温度要达到 900℃至1100℃。这是由所用黏土的类型和其孔隙率来决定的温度越高，孔隙率越低；釉烧是指素烧和上釉之后的第二次烧制。目的是把釉料“烧”到还体上。烧制温度是由釉料和坏体黏土性质决定的。普通陶器(红黏土、红泥陶土)窑温要在900°C 到 1100°C之间；高温陶则需要在1100℃到1200℃之间。瓷器则需要在1200℃到1400℃之间。

The firing of zisha pottery is also a very key link. Every time the kiln, Wu Yuqing will be from beginning to end to carefully guide, hand in hand to teach the dragon operation.

Pottery is called the art of fire. Fire not only changes clay and glaze into a new substance, but also gives it beauty. Different kiln, different flame atmosphere determines the different quality of pottery, different kiln, different fuel, firing techniques are different. No matter in modern kiln or ancient kiln, firing is the last and most critical process of pottery production. Because the stakes are high!

The so-called firing, is to dry or glaze after the body into the kiln, after high temperature firing, so that the mud and glaze layer in high temperature a series of physical and chemical changes. The firing process is the most complicated process in pottery production. There are two types of firing processes for pottery and porcelain: primary firing is the first step in transforming clay into permanent ceramics, usually done without glazing. Under normal circumstances, the temperature of vegetarian burning should reach 900℃ to 1100℃. It depends on the type of clay used and its porosity the higher the temperature, the lower the porosity; Glaze firing refers to the second firing after plain firing and glazing. The purpose is to "burn" the glaze onto the body. The firing temperature is determined by the glaze and bad clay properties. Common pottery (red clay, red clay clay) kiln temperature should be between 900°C and 1100°C; High temperature pottery needs to be between 1100℃ and 1200℃. Porcelain needs to be between 1200 and 1400 degrees Celsius.

烧窑前需要做好充分的准备。首先把陶瓷坏体装入匣钵，匣钵是焙烧坯体的容器，以耐火材料制成，作用是防止坯体与窑火直接接触，避免污染，尤其对白瓷烧造用处最大。

装窑也是细活，装窑釉烧时，需要特别小心，与素烧(没上釉的坏)不同，陶器之间相互不能接触，否则釉料一旦融化，它们就可能粘在一起。该道工序的关键是合理安排火路，保证全窑通风流畅，否则，极易导致“生熟”不匀。所以要求窑室后部装大器匣钵，前部装小器匣钵“前紧后松”是最合理的火路安排。

烧窑的时间过程约需要一个昼夜。先砌窑门，然后点火烧窑。所用燃料是松柴。测看火候掌握窑温变化，决定停火时间。

在陶艺制作上烧窑”是关键中的关键：“过手七十二，方克成器”现在的陶瓷工艺大概也有几十道工序，虽各道工序有各自的重要性，尤其是烧窑工序，在这个行业当中就流传着“一烧、二土、三制作”的说法，稍不注意就会前功尽弃。特别是颜色釉的烧成，更要强调“烧窑”。颜色釉的烧成火焰、性质、温度、烧成时间及燃料种类对颜色变化有十分重要的影响，它的烧成更是一门“火的艺术”：“窑变”是在烧成过程中自然产生的釉色变化，不是人可预测和控制的，有些非常难得的窑变，百窑难得一见，烧成的精品名贵且价值不菲。

因为烧窑非常关键，所以，吴余清一再叮咛海龙：陶瓷半成品入窑前一定要干透，否则容易“烧炸”。装窑时陶瓷半成品所放的窑位也很重要。开始烧时，升温一定要慢，窑炉内的温度应逐渐升高，至少达到400℃后烧制的速度才可以加快一些。最好是一小时记录一次烧成温度。

Good preparation is required before firing the kiln. First put the ceramic bad body into the saggar, the saggar is a container for roasting billet body, made of refractory material, function is to prevent billet body and kiln fire direct contact, avoid pollution, especially for white porcelain firing most useful.

Loading kiln is also delicate work. Special care needs to be taken when loading kiln glaze. Different from plain burning (bad without glaze), pottery should not touch each other, otherwise once the glaze melts, they may stick together. The key of this process is to reasonably arrange the fire path and ensure smooth ventilation of the whole kiln. Otherwise, it is easy to lead to uneven "raw and ripe". So the kiln chamber at the back of the large sagger, the front of the small sagger "front and back loose" is the most reasonable fire road arrangement.

The kiln time process takes about one day and night. First build the kiln door, and then fire the kiln. The fuel is pine wood. Measure the temperature of the kiln to master the change of temperature, decide the ceasefire time.

In pottery production on the kiln "is the key of the key:" after 72, Fang Ke synthesizer "now the ceramic process probably has dozens of processes, although each process has its own importance, especially the kiln process, in this industry is spread in the" one burning, two soil, three production ", a little attention will be wasted. Especially the color of glaze firing, more emphasis on "kiln". Color glaze firing flame, property, temperature, firing time and fuel types have a very important impact on the color change, its firing is a "fire art" : "kiln change" is in the process of firing naturally produced glaze color change, is not predictable and controlled by people, some very rare kiln changes, rare kilns, the quality of the fire is expensive and valuable.

Because the kiln is very important, so Wu Yuqing repeatedly reminded Hailong that the semi-finished ceramic products must be dry before entering the kiln, otherwise it is easy to "burn". The kiln position where the semi-finished ceramic products are placed is also very important. When starting to burn, the temperature must be slow, the temperature in the kiln should be gradually increased, at least 400℃ after the firing speed can be accelerated. It is best to record the firing temperature once an hour.