Zhang Xiaoyan, male, 1991 from Yangling Community, Shenyuan Town, Yuzhou City, Henan Province, is a young ceramic artist. National ceramic firing senior technician, member of Henan Ceramic Glass Industry Management Association, director of Henan Jun Porcelain Association, inheritor of Jun porcelain firing skills of Yuzhou county-level intangible cultural heritage, member of the Youth Development Committee of Jun Youth Association, entered the Confucian Jun kiln in 2005 to learn Xi Jun porcelain grouting skills, and then followed the national master Mr. Yang Zhi to learn Xi Jun porcelain production skills, worship Yang Xiaofeng, Yang Xiaoyong as a teacher to learn Xi Jun porcelain hand-drawn embryo and Jun porcelain firing skills on the traditional furnace Jun and traditional Jun red glaze has in-depth research. In 2011, he founded the Luhuayuan Jun Porcelain Art Museum and Ningcaitang Jun Kiln, specializing in firing furnace Jun and traditional Jun red glaze works.
Over the past ten years, Zhang Xiaoyan has accumulated a lot of practical experience in Jun porcelain. For Jun porcelain raw materials to grouting molding, he believes that details determine success or failure. Especially in the rotary billet process, we must embody the meticulous craftsman spirit, slow work out of fine work, whether it is grouting or embryo pulling, we must personally handle every detail, give each work with spirituality, and the whole utensil can come alive. For the high-temperature coal kiln glaze of the state-owned Jun Porcelain No. 2 Factory, he repeatedly adjusted the formula, simulated the heating curve of the coal kiln of "adding fire - cooling down, prying fire - heating up", and used the gas kiln firing to perfectly reproduce the coal burning style of the high-temperature coal kiln glaze of the state-owned Jun Porcelain No. 2 Factory: The glaze is thick and heavy, like clotted fat, warm and moist like jade, mainly red, flashy and vulgar, low-key and introverted, and it looks like a color from a distance. Some are half purple-red, half blue, some are red-red, and some are blue-red, and red is translucent. Some are red and blue, and the transition is natural. Occasionally, the glaze layer can be faintly seen walking mud lines and bubbles, the characteristics of the bubbles are very obvious, with the naked eye can be observed clearly, forming a deep intuitive impression, the beauty of Jun porcelain has been promoted to the advocating nature, simple and tranquil life realm, faintly revealing the natural beauty, back to the basics, "the unity of heaven and man" ideological realm.
Porcelain, which has been passed down for thousands of years, has created a legend of civilization.
It went global and became the name of a country.
The protagonist I want to introduce to you today is - Zhang Xiaoyan, a young man from Jun porcelain.
Xi experience. As a native of Shenyuan, Zhang Xiaoyan has been influenced by Jun porcelain culture since he was a child, and has a strong interest in Jun porcelain production, and entered the Confucian Jun kiln in 2005 to experience and learn Xi traditional production processes such as Jun porcelain grouting, blank drawing, and modeling. In 2009, Zhang Xiaoyan entered the promotion period of his career, to work in Yang Zhijun kiln, during which he consulted the national master Mr. Yang Zhilao on Jun porcelain production, firing and other related skills, during the work Zhang Xiaoyan was down-to-earth and diligent, sensitive and studious, drawing inferences from one another, and was recognized by everyone, so he successively worshiped Yang Xiaofeng, the son of Master Yang Zhi, the representative inheritor of Jun porcelain, and Yang Xiaoyong, a master of ceramic art in Henan Province, to learn Xi Jun porcelain hand-drawn blank and Jun porcelain firing skills, and deeply studied the traditional furnace Jun glaze and traditional Jun red glaze. In 2011, he founded Zhang Xiaoyan's personal studio (Lu Huayuan Jun porcelain art). In 2019, Ningcaitang Jun kiln was organized, specializing in firing furnace Jun and traditional Jun red glaze.
Indulge in the collision of fire and mud".
When I first met Zhang Xiaoyan, I thought he was a young man who was not good at talking, and when it came to the kiln, he seemed to open the conversation box all of a sudden.
Zhang Xiaoyan said: "At the beginning, the kiln was basically based on ornamental ware, and later began to fire Jun porcelain use utensils - tea sets due to market audiences and other reasons. The firing process of the use of the vessel and the ornamental vessel is not quite the same, for example, the Jun porcelain teapot is thin and thick glaze, the body, The thickness of the glaze is quite difficult to control, from 2011 began to fire the furnace Jun, in 2014 the traditional coal glaze (belonging to the personal characteristics of the glaze), in 2016 began to try to fire the Jun porcelain teapot at the beginning of the glaze thick glaze phenomenon, to 2017 found that the Jun porcelain tea set will be used for a long time will be fried, since then began to repeatedly test the glaze work, 2019 until this year after countless experiments finally overcome the technical difficulties of firing Jun pot to blow up the tire, during the kiln often forget to eat, Sleeping, really intoxicated, sometimes even dreaming is firing in the kiln. ”
A thick stack of kiln records.
When I heard this, I asked curiously: "After such a long time of experimental research, do you have any thoughts of giving up in the middle of the process?"”
This must have, after a long period of research and exploration, invested a lot of energy and financial resources, there is no gain, during which even the livelihood is difficult to maintain for a period of time, around 2018, I had no choice but to follow the people of the same village to work in the south, and it is still difficult to give up Jun porcelain during the part-time job, and I decided to stick to my ideals many times, and regained confidence with the support of my family and began to fire kilns. Zhang Xiaoyan said.
Features of the work. Over the past ten years, Zhang Xiaoyan has accumulated a lot of practical experience in Jun porcelain. For Jun porcelain raw materials to grouting molding, he believes that details determine success or failure, especially in the billet process, we must reflect the meticulous craftsman spirit, slow work out of fine work, whether it is grouting or embryo drawing, we must personally deal with every detail, give each work spirituality, the whole utensil can come alive.
His furnace Jun works are mainly based on traditional utensils, such as gooseneck bottles, Guanyin bottles, jade pot spring, plum bottles, appreciation bottles, etc., the glaze is simple and elegant, with green tones as the main body, and blue, red, gold, and purple are mixed in between, giving people a long, simple, and solemn feeling.
The traditional Jun red glaze works use the glaze of the old state-owned Jun porcelain No. 2 factory coal kiln, and the glaze effect that can only be fired by the coal kiln is successfully fired with the gas kiln. The glaze of the work is heavy, like jade and non-jade, mainly red, flashy and vulgar, looking at it from a distance, looking closely at the inside of the universe, rich in changes, and is highly praised by merchants and insiders in the Jun porcelain industry.
Expand your sales channels. In recent years, with the rise of online sales, Zhang Xiaoyan has also been in a hurry, and has carried out online sales in many aspects. In response to the call of "live streaming to help rural revitalization", Zhang Xiaoyan, a young man from Jun porcelain, actively joined the Jun Porcelain Cultural Cooperative of Yangling Lujun Cultural Village, carried out Douyin live broadcast and carried out online sales. Zhang Xiaoyan, a young man from Jun porcelain, said: "Online sales in the form of live broadcast can allow friends who like Jun porcelain to intuitively understand the details of Jun porcelain products (vessel type, glaze color, process, etc.) without being limited by time and place, and at the same time, it can also further promote the Jun porcelain culture in their hometown, so that more friends can understand Jun porcelain and like Shenyuan." ”
Introduction: Jun porcelain work "Great Future" The work is 21 cm long, 15 cm wide, 32 cm high and weighs 3 kg. The unique shape, the confident rabbit stands tall with its head held high, its feet on the auspicious clouds, and stands in a jumping posture, which means that it is confident, rising step by step, and has a great future. One hand is clenched into a fist as if to cheer himself up, and the other hand is like counting money, with a feeling of full harvest. A full belly expresses open-mindedness and generosity, and also suggests wealth and wealth.
Introduction: Jun porcelain "Peacock Open Screen" The work is 27 cm in length, 27 cm in width, 15 cm in height, and 4 kg in weight. The work is based on the traditional Jun porcelain modeling, with a sculptural technique to represent the peacock's head, and a hand-drawn blank technique to express the peacock's wings, and the glaze color is the precious Jun red jade glaze, emerald green and peach blossom red. That is, there is practicality, more ornamental, the peacock opens the screen means auspicious wishes, the beauty of the peacock lies in the moment of its opening, in ancient times, people believed that the peacock opened the screen is an auspicious omen, bringing us good luck, meaning joy and peace, national peace and security, harmony and beauty.
Introduction: Jiangshan The length of the work is 37 cm, the width is 15 cm, and the height is 285 cm, weight 36 kg. Jun porcelain began in the Tang Dynasty, flourished in the Song Dynasty, is one of the five famous porcelain in ancient China, its unique kiln art, with its "into the kiln one color, out of the kiln ten thousand colors" artistic characteristics are widely loved by ceramic lovers. The glaze of the work is fired with traditional Jun porcelain red glaze, which is naturally transformed into a kiln, and the glaze is delicate and warm, and it is like clotted creamThe shape is created with Anhui Lingbi stone as the prototype, the mountains and stones are undulating and up-and-down, the ravines are staggered, rough and grandiose, and the charm is ancient. Then hollowed out from the void to the real, from far to near, from large to small, layer upon layer, tall and handsome, constituting a thrilling and magnificent scene. The work has a grand and pure aesthetic charm, carries the boundless imagination of visual art, and shows a vigorous spiritual realm.