Deep 丨 Exploring the deer kiln, the endless story

Lighting Millennium Antlers Kiln as a idiot with the heart of the heart

——The story of peasant collector Zhang Manjun and Lujiao kiln

Hunan Daily All -Media Reporter Xu Diannian

Yueyang has a wonderful kiln, and there are strange people in the people. When Zhang Manjun, a farmer collector in Yueyang County, met with the antlers of the six famous pottery in ancient China, and produced a soul of dreaming.

This year's "May 18 International Museum Day", Zhang Manjun donated 9 collections for free. Most of these collections come from the Antlee Village of Rongjiawan Town, Zhang Manjun's hometown. Among them, the celadon pot is a typical utensil for antlers kiln, which has attracted the attention of all sectors of the society.

"It is the best place to put things in the museum. My favorite is the antler kiln in my hometown. To carry forward its cultural value!" Zhang Manjun told reporters that the "secret" hidden in his heart.

(Zhang Manjun is appreciating the collection of the horn kiln in the collection. Photo by Xu Dianbu)

Childhood is interested in the "strange device" of my hometown

Where is Lujiao Village? On the banks of Dongting Lake, the name is related to elk. In ancient times, there were many elk and well -developed waterway. "Zi Zhi Tong Jian" records: In the first year of the Five Dynasties Liang Kaiping (907), Gao Jichang Hui Bing attacked Lei Yangong, Langzhou, Huainan rescued the cold industry to the water, and Ma Yin sent "Xu) Dexun to attack with the army with the army. , Break it, chase to Lujiao Town, capture karma. " The site of the Antlers Town of that year was in Lujiao Village.

In 1977, Zhang Manjun was born. Kugakura Village, like thousands of rural areas, is located in remote, mainly farming and fisheries, it seems that there is nothing special.

From the beginning of the notes, Zhang Manjun has a different understanding of his hometown. Many of the living pots of the neighbors are picked up from the field, which is very different from plastic, metal and other utensils. I often see the elderly in the village use these pottery as a scoop to pour water, make tea pots with tea, install salt, oil, pickled kimchi, etc.

What is even more interested in Zhang Manjun, he and his loved ones work or walk around the lake, always find some strange and strange utensils. These things are picked up in the kiln by the lake. In the 1980s and 1990s, when the road was renovated and the cement was small, the villagers nearby often paved the road by digging of pottery slices by the lake; the pottery scattered by the lake would step on it accidentally.

Where did these "monster" come from? The young Zhang Manjun was puzzled, leaving the seeds of curiosity in his heart.

Zhang Manjun recalled that he started to learn poetry and study with his father -in -law at the age of 9. He grew up under traditional culture.

At the age of 13, Zhang Manjun worshiped Peng Shuangsheng as a teacher and studied classical literature and poetry couplets. He was obsessed with calligraphy and painting. At the age of 15, he simply hid in the orange garden near his house and learned painting and calligraphy in a small house of less than 5 square meters.

Affinity with culture and being influenced by culture, Zhang Manjun could not forget the "monster" of his hometown. When he had time, he went to collect it, placed it beside him, and painted them into his heart.

(Anthorn kiln sauce yellow glaze strings double -line teapot. Photo by Xu Diannabi)

Drunk in the past and present life of the antlers kiln

At the age of 19, Zhang Manjun went to work hard to work in a cultural company. Zhang Manjun loved calligraphy, and the small kai was sent in handy. Later, he became a special artist signed a calligrapher in the Fujian Cultural Scripture Academy and the Fujian Straits Culture and Art Exchange Center.

For many years, Zhang Manjun's soul is still those "strange wares" in his hometown. He simply returned to his hometown and used almost all of his time and energy to collect and study the "monster" of his hometown, and was drunk in the past and present life of the antlers.

The antlers kiln is an important part of the Yuezhou kiln. The kiln site is the site of the Song Dynasty. The antlers are one of the six famous pottery in ancient China. According to Zhang Manjun, the salon kiln site is located in Rongjiawan Town (formerly Lujiao Town) from Yueyang County to the banks of Zhongzhou Township. It stretches for 16 kilometers. The scope of Lujiao town, so it is called a antlers kiln. In the 1950s, it was discovered that in the 1970s, the Yueyang cultural relics and archeological team surveyed more than 170 Long kiln and vertical kiln. In 1982, Zhang Zhongyi, the Yueyang Cultural Relics Team, made a brief description of the examination at the time in the article "The Times of the Ancient Killer of the Antlers". On October 10, 1983, the Hunan Provincial People's Government announced that Lujiao kiln was the provincial cultural relics protection unit. "From the peak to silence, the rise and fall of the antlers kiln is related to a peasant uprising." Zhang Manjun said that during the Southern Song Dynasty, Yang Yan led the peasant uprising army to use today's antlers kiln as a pottery field, specializing in military life utensils and export ceramics. Enrich the army. In the five years of Shaoxing in the Southern Song Dynasty (1135), the court looked at Yang Yan as an anti -thief, sent Yuefei Tunbing Xiangyin, suppressed Yang Yin, Zhan Shanzhai, everywhere on the pier, the road was settled, the cargo ship was blocked, and the kiln was suffered by the kiln. Inesses interfered with normal work and travel of kiln workers. After the glorious page of the antlers left in history, it stopped abruptly, and it was basically interrupted by the Ming and Qing Dynasties.

Zhang Manjun has been collected for nearly 30 years, with more than 1,000 collections. Among them, there are many and most complete deer kiln. The pots, cans, bowls, bowls, discs and other device types are all available. "Daji" and other words are very rare. 23 cm high and 13 cm wide underglaze painted pots, buttering of butter, painted with large flowers, can be called cultural treasures.

The biggest wish is to build the "Lujiao Kiln Museum"

The moss marks are green on the top, and the grass colors are green. Entering Zhang Manjun's home, the first floor and the second floor are collections, like a small museum. There are 3 collection rooms on the first floor. One of the biggest is the vertical kiln pottery, with thousands of collections of large and small. They seem to come from the depths of history to tell the former glory of the antlers kiln.

In the south of the summer, Dongting was full. In order to understand the current situation of the antlers kiln, the reporter visited the Jie Manjun around the ruins of the Lujiao kiln. The place names related to ceramics in the antlers are left to this day. In a Long Kilnkou mouth named Huangjiayao, the kiln site is distributed with a long line, and the remnant rubble is spread all over. Essence

Standing in front of the stone monument of the provincial cultural relics protection unit of Lujiao kiln, Zhang Manjun looked at the lake and sighed: "The huge kiln group along the Dongting Lake has written a strong and colorful stroke for Xiang Porcelain culture. The scene by the lake, how spectacular it is! "

"Nearby residents lack awareness of cultural relics protection. Coupled with cultural relics outside the kiln site and dug out the kiln site, which causes a lot of damage to the kiln site, which has led to many historic research value of pottery." Collect pottery from the folks and collect them in the hands of collectors many times. The road to collection is bumpy, and it takes a lot of time, energy and money. Zhang Manjun insisted on the collection of calligraphy to subsidize the collection day and night, and the support of relatives and friends, and persisted.

The light of the millennium antlers kiln, and the heart is obsessed with the heart. Zhang Manjun took out a thick flying small case, which was the "Antlers kiln" he was compiled. In recent years, while he has collected him, he studied the culture of the antlers, and wanted to make it into a cultural travel business card in his hometown. Zhang Manjun said that the collection of anthorn kiln just wants to protect the local culture, and hopes that these collections can be better protected. At present, his greatest wish is to be able to get the government's support and the attention of all sectors of society, and build the "Antlers Kiln Museum".

"Tea is also intoxicated by how to wine. I don't need to spend the incense." Zhang Manjun's study, the hanging couplet, is also a true portrayal of his life. Talking about future plans, Zhang Manjun's original intention is still. "The antlers kiln is from Yueyang, Hunan, and even China. It is limited by personal strength alone. Tell the future! "

The story of the farmer's collector Zhang Manjun's protection of the "antlers kiln" spread in the field, causing the attention of experts and scholars. Ou Jifan, the head of the Cultural Relics Section of the Cultural Tourism, Radio, Film and Television Bureau of Yueyang City, said that hobbies, collection, and donation of cultural relics of antler kiln are all good things. Protecting the antlers kiln requires the government, the cultural relics department, and the folks to work together. Li Jianmao, vice chairman of the ancient Chinese Ceramics Society, said that the horn kiln, who has been sealed for nearly a thousand years, was released again under the hands of archeologists. 40 years ago, it was included in the provincial key cultural relics protection units. The protection work needs to be improved.

In the past and present life of Lujiao kiln, Zhang Manjun's life dream has affected all parties. Yang Jian, director of the Yueyang County Museum, introduced that the County Museum has prepared to cooperate with Zhang Manjun to investigate and study the site of the antlers. "With the attention of the government, and the cultural relics such as Zhang Manjun to protect volunteers to help and work together with all sectors of society, the antlers kiln culture will definitely bloom in the north of Hunan."

■ Expert vision

Duster antlers and antlers kiln

Li Jianmao

There was an ancient town in the Xiangjiang River entering the Dongting Lake. It was said that Han Yue was degraded to the south of the Lingling south. Yuan Yan also has a poem "Antlers Town". It was once one of the most prosperous towns in the lake district. Due to convenient transportation, a large -scale kiln yard was raised, and the products were converted to various places. Today, Lujiao Town has been renamed Rongjiawan Town. The acting kiln has long disappeared in people's memory due to its decline. The site of the Lujiao kiln is named after Lujiao Town, Yueyang County, and was included in the provincial key cultural relics protection units in 1983. This kiln has been discovered since the 1950s that the cultural relics team of Yueyang City in the 1970s conducted a survey of it. There are distribution. During the survey, the site of Jixiang Lake No. 3 and Buzui Mountain No. 4 kiln.

Most of the products are folk daily necessities, such as jade pot spring bottle, can, bowls, teapots, pots, kimchi tanks, bowls, bowls, cups, vases, incense burners, etc., glaze color glaze, sauce glaze, sauce black glaze, kiln change The glaze is gray, gray, brick red, pork liver color, etc. due to high iron content. There are two types of decorative techniques: mold and painting, as well as a small number of carved flowers and piles. The mold seal is common in the bowl. The blank body is buckled upside down on the molds engraved with various decorations. One is to set it to keep the size and specifications consistent. At the same time, the bowl pattern is printed on the body. There are many patterns, auspicious words, or kiln families, such as wrapped lotus, chrysanthemum, Pisces, four fish patterns, etc., as well as the texts of Shou, Fu, Daji, Fushou Jiaqing. The painting decoration method is also divided into two categories: one is based on white makeup soil, draws on dark tires, and covers a transparent green glaze. The second is to apply makeup soil on the tire, in the abdomen or bowl of the pot, the bowl or the bowl, and paint with sauce glaze or brown color, and then apply blue glaze or sauce glaze in the non -painting part. The painting part is not applied. The patterns are commonly tangled peony and lotus lotus. The strokes are rough, or two to four straight lines are used as a group, which are tied up vertically or crossing. Instant the box, the bowls and other circles are stacked with pad cakes, branches and other intervals.

Regarding the era of antlers kiln, Mr. Zhang Zhongyi wrote "The Times of the Ancient Kiln of the Antlers" in 1982 (oil printing), which set it as the end of the Northern Song Dynasty to the beginning of the Southern Song Dynasty, and it was operated by the Yangtao Uprising Army at the end of the Northern Song Dynasty. In addition to farming, they were farming, "fishering and making pottery" ("Yueyang County Chronicle"), and then declined with Yue Fei to suppress the uprising. Zhang Manjun hid a bowl of a bowl and engraved the "second year of Ming Dao". From the perspective of the shape, most of the shapes are popular in the Southern Song Dynasty and Yuan, and they are printed with pattern techniques and steamed bun kiln. They are all northern porcelain firing processes. It is a porcelain -making process brought about by the golden people south to the south of immigrants. The prosperity period should be from the Southern Song Dynasty to Yuan. The antlers are prosperous because of their traffic, and because it is a place where the soldiers and horses are in troubled times. Some kiln is historically sealed before the kiln. The decline should be related to the war.

It can be seen from the manufacturing process and decorative techniques. The antlers kiln is the product of the fusion of porcelain in the north and south. The kiln has two forms of north and south. The decorative techniques include both the seal from the North Ding kiln and the underglaze painting along the Changsha kiln. Fandi painting. After entering the Song Dynasty, the painting techniques gradually evolved into unique techniques with makeup soil and brown glaze as color materials, and spread in the kiln yard in the Xiangjiang River Basin. Based on Hengshan kiln, it is used as painted paint and increases green glaze, affecting the two and Guangxi regions.

(The author is the vice chairman of the Chinese ancient Ceramics Society, author of the "Research on the Economic Research on Ancient Chinese Ceramics" and "Changsha Kiln" and other monographs)

[Responsible editor: Wang Yaobing]

[Source: Hunan Daily · New Hunan Client]

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