Page 3 - Yunnan Tourism Culture Times (96)

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We should develop new forms of business and new models of consumption in the cultural sector, so that the people have a
stronger sense of fulfillment and happiness from enjoying refined cultural products and services.
——Excerpt from the third volume of Xi Jinping: The Governance of China
培育新型文化业态和文化消费模式，以高质量文化供给增强人们的文化获得感、幸福感。
Walking into the Pan’s Dragon Kiln in Daying
Community, Jiuxi Town, Jiangchuan District, Yuxi
City, you will feel the profound history of this 50-me-
ter-long kiln.
“The Dragon Kiln is situated on the mountain side
and earned its name due to its resemblance to a drag-
on. It is an ascending kiln comprised of a total of 17
pits. This kiln existed before my ancestors settled in
Jiuxi, and now, no one can accurately determine its
age,” said Pan Shaohua, the current custodian of the
Dragon Kiln, as he searched through a genealogy book
of the Pan family. Over 300 years ago, Shaohua’s
ancestors were engaged in pottery making in Yuxi. Pan’s Dragon Kiln
During the Qing Dynasty, the Pan family established
themselves in Jiuxi, Jiangchuan, and for five genera-
tions to date, they have carried on the tradition of fir- in Jiangchuan:
ing the Dragon Kiln, known as the Pan’s Dragon Kiln.
Inspired by his grandparents, Shaohua started creat- passing the flame
ing pottery at 13, and by 15, he was able to craft pottery
independently. Day by day, year after year, Shaohua
dedicated himself to honing his pottery skills towards ex-
cellence. Today, recognized as a district-level inheritor of 江川潘氏龙窑：
intangible cultural heritage, he stands as a master crafts-
man in the art of pottery making.
“A piece of pottery goes through over 70 steps, in- 匠心不灭
cluding greenware throwing, fettling, glazing, loading,
and firing. While the process may appear simple, with-
out consistent daily practice, achieving high-quality 龙窑不熄
pottery is impossible,” said Shaohua. Throughout his
lifetime, he has immersed himself in pottery making,
meticulously overseeing each step with unwavering wenlvnews.com
dedication. To him, every pottery piece is akin to his
own child, deserving of his utmost care and attention.
The key distinctions between a master pottery maker
and a mediocre one lie in their greenware throwing and
fettling abilities. At Pan’s Dragon Kiln, pine wood is
used as fuel, with the turpentine content aiding in rapidly
reaching the necessary high temperatures. This unique
approach allows the kiln to create pottery pieces that ex-
ude elegance and classic simplicity. Nevertheless, owing
to the varying heat levels among the kiln’s wind holes,
the glaze colors differ, resulting in each kiln opening
yielding pleasantly surprising outcomes.
“When a wood-fired kiln is used, maintaining
the heat level can be challenging once the fire is lit.
Throughout the firing process, firewood needs to be
added through the wind holes, and even the slightest
error can result in failure. Consequently, only a small
percentage of greenware pieces will meet the standard
to become finished products. Despite this, the wood-
fired kiln boasts unparalleled advantages,” explained
Shaohua. Due to the age of the Dragon Kiln, Shaohua
undertakes annual renovations. Today, the kiln has
transitioned from an earth kiln to a combination of
brick and earth construction. Nonetheless, the tradition
of pottery making persists, ensuring the legacy and
evolution of the Pan ancestors’ skills in pottery crafts-
manship.
Jiuxi Township boasts exceptional natural resourc-
es, particularly an abundance of compression-resistant,
tensile clay ideal for crafting exquisite pottery. As
VOICE | 声音
——摘自《习近平谈治国理政》第三卷
Shaohua recounted, his ancestors exclusively utilized
locally sourced materials for pottery making, refrain-
ing from incorporating any chemical additives. Em-
ploying traditional firing methods, the pottery items
produced were characterized by durability and a sense
of rustic elegance. Dating back to ancient eras, the
wine urns, pickle jars, and various pots crafted by the
Dragon Kiln gained renown for their utility and found
widespread usage in the everyday lives of local resi-
dents.
Amid the swift evolution of modern society, Shao-
hua is dedicated to enhancing the quality of pottery
pieces, aiming to elevate them from everyday items to
true works of art.
“In the past, no one was willing to teach pottery
making skills to others, so mastery was achieved
through a trial-and-error process, often accompanied
by inevitable difficulties,” explained Shaohua. He has
inherited the generations-old tradition of pottery mak-
ing, skillfully transforming plain clay into refined art
pieces using a potter’s wheel. Over time, Pan’s Dragon
Kiln has evolved by infusing diverse cultural elements
into their pottery creations, resulting in pieces that
exhibit enhanced beauty, intricacy, and a variety of
shapes, patterns, and production techniques. Through
constant innovation, these pottery items now cater
more closely to the market demand for artisanal crafts
and gifts, with their range expanding from dozens to
hundreds, illustrating the enduring vibrancy of this an-
cient kiln.
□ 文旅头条 Amid the current surge in educational tours this
year, Shaohua has seized the opportunity to draw a
larger audience to the Dragon Kiln, enabling visitors
to immerse themselves in the historical and cultural
legacy of this wood-fired kiln. Collaborating closely
with the township government and local schools, he
has established a practical learning hub. By offering
complimentary instruction in pottery making tech-
niques and firing pottery pieces, the kiln has provided
numerous primary and secondary school students with
immersive experiences in the art of pottery produc-
tion. This initiative has injected youthful enthusiasm
into pottery making, further nurturing this intangible
cultural heritage.
“The process of creating pottery is akin to journey-
ing through time. Rooted in mud and fire, this ancient
craft has been transmitted through generations via oral
tradition. Upon beholding these exquisitely shaped and
vibrantly colored pieces, one can sense the potters’ un-
wavering dedication and creative drive, which serve as
a profound well of inspiration,” said Zhang Tengyue, a
university junior. With a fervent curiosity and deep love
for the traditional methods of pottery making, Tengyue
holds firm to the belief that her handcrafted pottery, once
fired in the kiln, will embody a lasting essence and signif-
icance reflective of her relentless pursuit.
Proudly, Shaohua remarked, “Pan’s Dragon Kiln
stands as a testament to the evolution of pottery in Ji-
angchuan across centuries. I have faith that the eternal
flame of the kiln will persist, breathing new life into
our pottery once more.”