一炉窑火 何以千年

10月17日晚,景德镇陶溪川万窑广场的一场点火仪式,吸引了众多市民与游客驻足。人群中,来自不同国家的陶瓷艺术家尤为引人注目,他们因陶瓷而长期“漂”在景德镇,成为当地一道独特的文化风景。

On the evening of October 17th, a kiln-lighting ceremony was held at Wanyao Square on Taoxichuan Ceramic Art Avenue in Jingdezhen, attracting crowds of locals and visitors. Particularly noticeable were the ceramic artists from around the world, many of whom have made Jingdezhen their second home for the love of ceramics. Together, they form a distinctive cultural landscape in the city.

这场仪式,与其说是一次点火,不如说是一场跨越古今与国界的致敬。2000多年的冶陶史,1000多年的官窑史,600多年的御窑史……坐落于江西省东北部的景德镇市成就了一个城市依靠单一手工业支撑千年的奇迹。

The ceremony was not just about lighting a fire; it was a tribute transcending time and borders. With a history of over 2,000 years in ceramic craftsmanship, Jingdezhen—a city in northeastern Jiangxi Province—has served as a hub for official kilns for more than a millennium, and as the site of imperial kilns for over 600 years. This remarkable city has thrived for centuries, centered around a single handicraft industry.

一炉窑火,何以千年不熄?答案不仅蕴藏于景德镇的泥土与技艺中,更在于人——既有为瓷坚守一生的本地匠人,也有在传统中探索新可能的年轻创新者,还有远渡重洋、因瓷停留的各国创作者……正是他们,让这窑火在漫长时光中生生不息。

How have Jingdezhen's kiln fires burned for millennia? The answer lies not only in its unique clay and time-honored craftsmanship but also in its people. Local artisans who have devoted decades to the art of porcelain, young innovators exploring new possibilities within traditions, and foreign creators who have come and settled in Jingdezhen for ceramics—all of them work together to keep the flames alive.

一人一事一炉火  

Flame of Craftsmanship

“年年有余”黑彩釉里红球形瓶,是景德镇钟家窑窑主钟辉最满意的作品。它器型浑圆,水草漾着温润的红色,黑彩鲤鱼游弋其间,甚是鲜活灵动。正是这抹红,让这位陶瓷匠人心心念念多年。

The "Spherical Vase with Carp and Waterweed Decoration in Underglaze Red and Black" is the most cherished work of Zhong Hui, the Master of Zhong's Kiln in Jingdezhen. The vase features a perfectly spherical shape and is adorned with waterweeds that glow in a warm underglaze red, with black carp seemingly swimming among them. The art of creating perfect underglaze red porcelain is a pursuit that has captivated this ceramic artisan for decades.

时间倒回上世纪。钟辉成长于一个陶瓷世家。耳濡目染之下,钟辉自然而然地走上了陶瓷创作这条路。钟辉尤其钟情于釉里红瓷器,这份炽烈,牵引了他四十余年。

The story goes back to the last century. Zhong Hui comes from a long line of ceramists that spans generations. Growing up surrounded by kilns and clay, he naturally chose ceramic creation as his vocation. Zhong has a particular passion for underglaze red porcelain—a passion that has driven him for over forty years.

在钟家窑的产品名册里,釉里红瓷器曾长久缺席。这份空缺背后,是一场代价沉重的冒险。2009年,凭着对釉里红瓷器的热爱与多年钻研积累的信心,钟辉建起专烧釉里红的窑炉。然而连续十四窑,窑门次次开启,迎来的都是瑕疵与失望。这场持续的实验几乎将他推向破产边缘——房车变卖,积蓄仅剩一万元。即便如此,他依然没有放弃对釉里红的追寻。

In the product catalog of Zhong's Kiln, there had long been a notable absence of underglaze red porcelain. This gap was the result of an expensive endeavor. In 2009, driven by his love for the underglaze red porcelain and the confidence gained through years of study, Zhong built a kiln specifically for firing this type of porcelain. However, fourteen consecutive kiln firings yielded flawed pieces, which left him deeply disappointed. This protracted experimentation placed a significant financial burden on him; he sold his car and house, and his savings dwindled to just 10,000 yuan. Even so, he never abandoned his pursuit of creating the perfect underglaze red porcelain.

钟辉常驻三宝村,不仅创作,更随时与同行们交流。钟辉深知,陶瓷是协作的艺术,每一个环节都需要师傅们的默契配合。尽管烧窑师傅都是合作数十年的“老战友”,钟辉仍坚持在每一窑釉里红烧制的关键节点全程把关——从装窑定位到开窑检验,确保能第一时间发现工艺问题并优化调整。多年积淀加以无间协作,终于,窑门再次开启,他如愿捧出了满意的釉里红瓷器。

Zhong spends most of his time in Sanbao Village, where he not only creates ceramics but also exchanges ideas with fellow artisans. He understands that ceramics is a collaborative art form that demands tacit coordination at every stage. Even with kiln masters he has worked alongside for decades, he oversees every critical moment: positioning pieces before firing, inspecting them as they emerge, and identifying flaws in time to make adjustments. After years of experience and seamless teamwork, his efforts finally paid off. When the kiln door opened once again, he held in his hands the underglaze red porcelain he had long envisioned.

这份匠心,钟辉既用于创作,更致力于传承。他创建了陶艺基地,让更多年轻人通过体验与研学了解陶瓷文化、爱上陶瓷艺术。如今,钟家窑的接力棒,已传向第四代。钟辉的儿子与儿媳已在陶瓷艺术领域崭露头角。他欣慰,也期待:“希望孙子辈继续做陶瓷,一代更比一代强。”

Zhong channels his spirit of craftsmanship not only into creation but also into nurturing the next generation. He founded a ceramic workshop where young people can explore and study ceramic art, developing a passion for it through hands-on learning. Today, the legacy of Zhong's Kiln has passed down to its fourth generation—his son and daughter-in-law are already making their presence in the ceramic art. "I hope my grandchildren will continue this work," Zhong shares with quiet pride, "and that each generation will surpass the achievements of the last."

一念一破一天地

Flame of Innovation

“透而不漏、晶莹如玉”,这八个字,凝练了玲珑瓷千年流转的气韵。它是景德镇四大名瓷之一,传承千年,光润依然。在景德镇富玉青花玲珑陶瓷有限公司董事长吕雅婷眼中,玲珑瓷还可以被赋予新的生命力。

Linglong porcelain is characterized by its translucence quality and jade-like luster, and it has stood the test of time as one of the four famous porcelain varieties in Jingdezhen. Lyu Yating, President of Jingdezhen FUYU Blue and White Linglong Porcelain Co., Ltd., believes that this ancient porcelain can still be revitalized and given new life.

公司展厅里,一盏盏玲珑瓷杯透出翡翠般温润的光泽,釉中均匀散布着细密微晶,如星河闪烁。这美并非偶然,而是源于吕雅婷与团队历经上千次试错后研制出的釉料配方。

In her company's showroom, Linglong porcelain teacups radiate with a soft, jade‑like glow. Their glaze, embedded with evenly distributed crystallites, scatters light like stars. This beauty is no accident—it results from a glaze formula developed by Lyu and her team after more than a thousand rounds of trial and error.

这位“90后”非遗代表性传承人,时常面对一堵“高墙”:一边是老师傅手中精美却难量产的手艺,另一边是市场对稳定、可负担的日用瓷的需求。她没选边,而是选择做那个“开门的人”——既要守住窑火里的魂,也要推开量产的门。

As a representative inheritor of intangible cultural heritage, Lyu, born in the 1990s, often faces a dilemma. On one side is the exquisite but difficult-to-scale handcraft of veteran artisans, while on the other side is the market's demand for consistent and affordable daily-use porcelain. Lyu has chosen to be the one who breaks down these barriers—preserving the spirit of tradition while also making way for mass production.

变革从最费工处开始。过去,玲珑孔靠师傅手工雕,一人一天几百个已是极限。吕雅婷带领团队潜心攻关,研制出玲珑孔精雕机,将效率提升了十倍,而玲珑瓷的透光之美未减分毫。为攻克一款影青釉曲面玲珑瓷的色差难题,他们攻坚三年,自研出了机械臂上釉系统,实现了釉层厚度的可控与均匀。

Change began where the labor demand was highest. Traditionally, the Linglong holes—delicate perforations on Linglong porcelain—were carved by hand, with a craftsman finishing only a few hundred holes per day at most. Lyu led her team in developing a precision carving machine for these holes, which increased efficiency tenfold, without compromising the porcelain's translucent glow. To solve color-variation issues in the production of "Yingqing Glaze Linglong Porcelain with a Curved Form", the team persisted for three years of trials, eventually creating a robotic glazing system that ensures an even and controllable glaze thickness.

“匠心是把事情做到极致的心。”这种极致,让吕雅婷成了两个团队的“翻译者”:一方深挖传统釉料配方,一方专攻工业化转化。她理解老师傅的坚守,也明白企业要活下去必须走通量产的路。她的方式,是让两边坐在一起,看同一窑火。

"Craftsmanship is the relentless pursuit of perfection," Lyu says. This pursuit has made her a coordinator between two teams in her company: one delving into historic glaze recipes and the other focusing on industrial adaptation. She respects the artisans' dedication while recognizing that a company must produce at scale to survive. Her way is to bring both sides together to advance Linglong porcelain.

有了技术的骨,还要有文化的魂。她清晰地规划出企业产品品牌矩阵,让陶瓷在现代商业逻辑中,找到了分层扎根、多维生长的清晰路径。比如,“富玉”系列端上日常餐桌;“WENO°”文创品牌则吸引年轻人,转转杯红遍网络;坚持柴窑古法烧制的“富玉窑”,则专注那些不一定好卖的收藏级作品。

Technology alone is not enough; products need to incorporate cultural significance to truly resonate with consumers. Lyu has created a clear brand matrix for her company, enabling Linglong porcelain to find a structured and multidimensional path within modern commerce. The Fuyu series brings Linglong porcelain to everyday dining tables, while the cultural and creative brand WENO° captivates young consumers with hit products like the rotating cup. Meanwhile, Fuyu Kiln, which remains committed to using ancient wood-firing techniques, focuses on creating collector-grade pieces that may not sell quickly but embody the highest artistic ideals.

窑火薪传,是她打开的那扇门——门内是千年传承的守护,门外是当代生活的回响。光从门中透出来,温暖明媚,足够照亮一段新的路。

Lyu Yating opened a door: within lies the steadfast guardianship of millennia; outside, the echoes of contemporary life. A warm and radiant light pours through that doorway, bright enough to illuminate the path ahead.

一泥一土一世界

Flame of Inclusiveness

每周四,陶溪川公共窑房装窑。安妮·洛基诺总会早早赶来,将作品小心送入窑膛。对于这名29岁的法国艺术家来说,陶瓷,是一场迟到的奔赴。

Thursday is kiln-loading day at the Taoxichuan Public Kiln. Anne Loquineau always arrives early, carefully positioning her pieces inside the chamber. For the 29-year-old French artist, working with ceramics feels like a long-awaited rendezvous.

作为中法混血儿,安妮的童年记忆有母亲珍藏的中国瓷器,也有法国乡间的陶艺作坊。20岁那年,安妮父亲从景德镇带回一本御窑瓷器画册,古朴的龙纹在纸页上蜿蜒舒展,仿佛一场无声的召唤。彼时,她正按父母的期望攻读工程与商业学位,然而那一刻,她意识到:“够了,陶瓷才是我真正想做的事。”最终,她转身推开了陶瓷学校的大门。

As the daughter of a Chinese mother and a French father, Anne grew up surrounded by her mother's treasured Chinese porcelain and the potteries found in the rustic workshops of the French countryside. When she was twenty, her father brought a catalog of imperial kiln porcelain from Jingdezhen. The pages revealed ancient dragon patterns that seemed to beckon her. At that time, she was studying business engineering, as her parents had wished. However, upon seeing the patterns, she realized, "That's enough. Ceramics is what I truly want to pursue." She soon transferred to a ceramics school to follow her passion.

课堂里,拉坯机不停旋转着,一遍遍塑出杯碗瓶罐的轮廓。安妮一直在思考:陶瓷能否以不一样的姿态融入生活?这个念头,最终凝成“雕塑感手袋”系列。她将瓷片与皮革组合,每一片带有龙纹的瓷片,就像被皮革托起的珍宝。2024年,该系列作品为她赢得“巴黎人挚爱奖”,展于巴黎市政厅。许多观众,尤其是海外华裔,在她的作品前长久驻足。她切身感受到,文化的融合、共鸣是多么迷人,也愈发渴望,走近写在父亲带回的画册扉页、艺术史课本里的景德镇。

In the school's workshops, the wheels were always shaping cups, bowls, and vases. Anne often wondered if ceramics could take on a different form in everyday life. This idea eventually developed into her Sculptural Handbag series, in which shards of porcelain—adorned with dragon patterns—are embraced by leather like precious artifacts. In 2024, the series earned her the Coup de Cœur des Parisiens award and was exhibited at Paris City Hall. Many visitors, especially overseas Chinese, lingered in front of her pieces. She experienced firsthand the captivating nature of cultural fusion and resonance, and she felt a strong connection to Jingdezhen—the place that she had only read about in her father's catalog and art history textbooks.

当有机会来景德镇创作时,安妮没有丝毫犹豫。在陶溪川艺术中心候鸟计划中,安妮与来自全球各地的创作者们相遇、碰撞,密集的交流让她感觉很充实。可让她觉得更可贵的是,那份被充分支持、释放的创作自由——驻留机制使她暂时放下商业压力,全心探索陶瓷在当代艺术中的表达可能。

When the opportunity arose to create in Jingdezhen, Anne didn't hesitate. Through the Migratory Birds Project at the Taoxichuan Art Center, she met and exchanged ideas with creators from around the world. The intense exchanges gave her a strong sense of fulfillment. However, what she valued even more was the creative freedom she experienced here; the residency allowed her to set aside commercial pressures and focus on exploring ceramics as a medium for contemporary expression.

“陶瓷的气息渗透在每一寸空气里。从街角的工坊到深夜的吧台,几乎所有的对话都围绕着陶瓷展开。”安妮直言,这座千年瓷都,是她现实中的“梦工厂”。她确信,自己的一生都会与这里不断重逢。因为,景德镇的泥土永远会以最坚实恒久的怀抱,接住每一份创作的渴望。

"You can feel ceramics in the air here. Walk into any workshop on a side street, or pull up a stool at a bar late at night—sooner or later, the talk always turns to porcelain," Anne says. To her, this millennia-old porcelain capital is a dream workshop brought to life. She is confident that her path will always lead her back here. The earth of Jingdezhen awaits with an open promise—it stands ready to cradle any creative spark that answers its call.