4月8日，中央電視臺(tái)《大國(guó)工匠》宣傳片攝制組來到浙江龍泉，用鏡頭記錄下國(guó)家級(jí)“非遺”龍泉青瓷燒制技藝代表性傳承人徐朝興大師制瓷的一天，細(xì)致入微地將專注、堅(jiān)守、淡然和汗水詮釋的工匠精神刻畫于影片中。龍泉青瓷與世界在時(shí)空間波瀾壯闊又靜水流深的關(guān)聯(lián)，近千年來從未間斷。
溫潤(rùn)敦厚的久遠(yuǎn)記憶
根據(jù)目前所知的考古材料，最早的龍泉瓷窯出現(xiàn)在南朝，到了五代和北宋，龍泉青瓷的燒制技術(shù)已有相當(dāng)水平。
宋元時(shí)期，單是設(shè)在龍泉境內(nèi)甌江兩岸的瓷窯已知的就有300多座，每座窯至少可以裝燒上萬件瓷器，只在龍泉一個(gè)小小的安福村，就有著“十八口水碓，三十六座橋，七十二窯主，九十九座窯”的民諺。
遙想800多年前的龍泉，崇山峻嶺間，匯聚了技術(shù)高超的工匠，還有取之不盡的優(yōu)質(zhì)制瓷原料和廉價(jià)的燒瓷燃料，境內(nèi)更有甌江流經(jīng)其間，載重一噸的木帆船可以從龍泉縣城沿江而下，直達(dá)溫州港，通向海外。
公元13世紀(jì)，中國(guó)的一艘大型木制三帆貨船從當(dāng)時(shí)的寧波港出發(fā)了，滿載著陶瓷、銅錢、香料等駛向日本。但這艘船卻在中途遭遇颶風(fēng)，沉沒在朝鮮半島西南角的新安海域，連同滿載的貨物，一沉就是600多年。從1976年至1984年間，韓國(guó)考古界一直對(duì)此船進(jìn)行發(fā)掘，并最終打撈出了沉船。在這條元代中國(guó)沉船上，共發(fā)掘出了17000多件瓷器，其中龍泉青瓷就有12300多件。
迄今，土耳其伊斯蘭堡博物館還藏有中國(guó)古代龍泉青瓷1300余件，伊朗德黑蘭博物館、倫敦大英博物館、巴黎吉美博物館等世界上很多國(guó)家的著名博物館都將收藏的青瓷視為珍寶。
龍泉青瓷在陶瓷史上有兩座高峰——哥窯、弟窯，兩者各有千秋。傳說宋朝時(shí)，龍泉有兩個(gè)燒瓷器的兄弟，哥哥叫章生一，弟弟叫章生二。哥哥立志創(chuàng)新，試燒過程中無意發(fā)現(xiàn)了紫金土，燒出來的瓷器帶著各式各樣的裂痕，像冰裂，像魚仔紋，卻另有一番天然情趣，在市場(chǎng)上很受歡迎，被推到一個(gè)極高的地位，這就是哥窯，為中國(guó)五大名窯之一，其特點(diǎn)是金絲鐵線，紫口鐵足。弟弟則堅(jiān)持按傳統(tǒng)方法燒制瓷器，是為歷史上著名的龍泉窯。
中國(guó)歷史地理學(xué)泰斗陳橋驛在《龍泉縣地名志》序中說：“從中國(guó)東南沿海各港口起，循海道一直到印度洋沿岸的波斯灣、阿拉伯海、紅海和東非沿海……無處沒有龍泉青瓷的蹤跡。”
“一部中國(guó)陶瓷史半部在浙江，浙江陶瓷史半部在龍泉。”上世紀(jì)二三十年代，中國(guó)近代享譽(yù)世界的陶瓷專家、故宮博物院原研究員陳萬里在當(dāng)時(shí)交通條件十分惡劣的情況下，不遠(yuǎn)千里跋山涉水、不辭勞苦地“九下龍泉、八上大窯”，發(fā)現(xiàn)了龍泉青瓷遺址，寫成了中國(guó)第一部田野考察報(bào)告《瓷器與浙江》。這部曠世之作確定了浙江瓷器的地位，尤其確立了龍泉窯的地位，引起了世界的關(guān)注，成就了中國(guó)陶器史上一段佳話。
雪拉同的新生
龍泉青瓷能夠大規(guī)模恢復(fù)生產(chǎn)，要感謝外國(guó)人。
原浙江省委常委、浙江省副省長(zhǎng)翟翕武曾講述這么一個(gè)故事：“上世紀(jì)50年代，一些外賓來中國(guó)訪問，其中有些喜歡中國(guó)瓷器的，就通過當(dāng)時(shí)外交部的外事人員，向我們要‘雪拉同’。外事人員不懂什么是‘雪拉同’，就說沒有。那時(shí)中國(guó)與蘇聯(lián)的關(guān)系非常密切。后來，有位蘇聯(lián)援華專家即將回國(guó)，提出要件‘雪拉同’，專家拿著青瓷茶杯說，就是這類東西。外事人員說瓷器嘛，我們有著名的景德鎮(zhèn)、唐山的瓷器。拿最好的給他們看，他們都直搖頭，說‘NO、NO、NO’。那怎么辦呢？于是，外事人員就專程到故宮陶瓷博物館請(qǐng)教陳萬里先生。”
翟翕武說：“陳萬里聽后笑了，告訴他們‘雪拉同’就是咱們中國(guó)青瓷。宋代，龍泉青瓷開始外銷，明代，隨著鄭和下西洋的船只，龍泉青瓷漂到了歐洲，走進(jìn)了外國(guó)人的視線。當(dāng)青瓷來到巴黎時(shí)，當(dāng)時(shí)正上演著舞劇《牧羊女亞司泰來》，其中的男主人公雪拉同穿著青色服裝，法國(guó)人很喜歡這個(gè)人物，于是在他們心中，只有這個(gè)名詞能夠媲美龍泉青瓷。法國(guó)人非常喜歡我們龍泉青瓷，如獲至寶，就這樣叫開了。后來，歐洲這些國(guó)家都稱青瓷為‘雪拉同’。”
周總理知道這個(gè)事后，當(dāng)時(shí)就作出了“要恢復(fù)祖國(guó)歷史名窯生產(chǎn)，尤其要恢復(fù)龍泉窯和汝窯生產(chǎn)”的重要指示。
1958年的春天，在距離龍泉市區(qū)約36公里一座叫上垟?shù)男℃?zhèn)上，由8位專家組成仿古小組，點(diǎn)燃了恢復(fù)龍泉青瓷的第一爐窯火。從此，龍泉青瓷踏上了復(fù)興之路，上垟鎮(zhèn)也隨之成為現(xiàn)代龍泉青瓷的發(fā)祥地。
現(xiàn)代的龍泉青瓷忠實(shí)地繼承了中國(guó)傳統(tǒng)的藝術(shù)風(fēng)格，在繼承和仿古的基礎(chǔ)上，更有新的突破，研究成功紫銅色釉、高溫黑色釉、虎斑色釉、赫色釉、茶葉末色釉、烏金釉和天青釉等；工藝美術(shù)設(shè)計(jì)裝飾上，有“青瓷薄胎”、“青瓷玲瓏”、“青瓷釉下彩”、“文武開片”、“青白結(jié)合”、“哥弟窯結(jié)合”等。
龍泉高度重視青瓷產(chǎn)業(yè)發(fā)展并積極創(chuàng)造良好的環(huán)境。當(dāng)?shù)赜楷F(xiàn)出了一批優(yōu)秀的龍泉青瓷工藝大師，徐朝興大師便是其中久負(fù)盛名的一位。2005年6月4日，在中工美春季瓷器雜項(xiàng)拍賣會(huì)上，徐朝興的五管瓶以70萬元的高價(jià)賣出，創(chuàng)下了有史以來現(xiàn)代陶瓷藝術(shù)品的單件最高價(jià)。
2012年，上垟鎮(zhèn)獲“中國(guó)青瓷小鎮(zhèn)”稱號(hào)，中國(guó)郵政發(fā)行了4枚龍泉窯青瓷郵票、15枚個(gè)性化龍泉青瓷郵票和8張青瓷名家名作明信片，進(jìn)一步凸顯了龍泉青瓷在中國(guó)陶瓷史上的獨(dú)特地位。
千年窯火熊熊不滅
龍泉窯，連續(xù)生產(chǎn)時(shí)間長(zhǎng)達(dá)1500年，是中國(guó)所有瓷窯中生產(chǎn)時(shí)間最長(zhǎng)的。熊熊燃燒的窯火映襯著古老的東方文明。
2009年10月，龍泉青瓷傳統(tǒng)燒制技藝入選了聯(lián)合國(guó)教科文組織的“人類非物質(zhì)文化遺產(chǎn)代表作名錄”，取得了一張世界級(jí)的金名片，成為“人類非遺”庫(kù)中唯一的陶瓷類項(xiàng)目。
國(guó)際陶藝學(xué)會(huì)主席珍妮特?曼斯菲爾德女士曾多次來到龍泉，盛贊龍泉青瓷完美無瑕的釉面已成世界陶藝的標(biāo)桿。
“與國(guó)內(nèi)其他地方出產(chǎn)的瓷器相比，龍泉青瓷溫潤(rùn)如玉，具有玉文化的內(nèi)涵。”龍泉青瓷協(xié)會(huì)會(huì)長(zhǎng)、省級(jí)工藝美術(shù)大師徐定昌說。
徐定昌將2000年后至今視為當(dāng)代龍泉青瓷發(fā)展的黃金階段。據(jù)他介紹，到2013年，青瓷企業(yè)已超過700家，從業(yè)人員更是超過萬人，該產(chǎn)業(yè)產(chǎn)值更是以年均22%的增幅增長(zhǎng)。而且，平均每1000個(gè)龍泉人中就有一位工藝美術(shù)師。
為了打造活態(tài)傳承的陣地和空間，龍泉先后建成了青瓷寶劍苑、“曾芹記”龍窯燒制傳承基地、龍泉青瓷學(xué)院、青瓷文化創(chuàng)意基地、大師園等。
2011年，龍泉青瓷博物館正式對(duì)外開放，是迄今為止世界上唯一一座系統(tǒng)介紹龍泉窯發(fā)展歷史的專題博物館，世界非物質(zhì)文化遺產(chǎn)——龍泉青瓷傳統(tǒng)燒制技藝的展覽地。
現(xiàn)代瓷都走向世界
CHINA，瓷器，中國(guó)；在西方人的眼中，瓷器就代表了中國(guó)。
當(dāng)2000多年前的希臘人還在使用彩陶時(shí)，中國(guó)的工匠就已經(jīng)通過水、火、土的完美結(jié)合，孕育出了一種新的物質(zhì)——瓷器。
龍泉青瓷在國(guó)內(nèi)外享有極高的聲譽(yù)。《大明會(huì)典》第194卷載，當(dāng)時(shí)外銷青瓷盤每只一百五十貫。明代中期，龍泉青瓷傳入歐洲，身價(jià)與黃金一樣貴重，一般人難以問津。歐洲薩克森國(guó)王奧古斯特二世，不惜重金購(gòu)買龍泉青瓷，還為珍藏的瓷器特地建造了一座宮殿。
近年來，龍泉青瓷兩度在法國(guó)巴黎舉辦展覽，從杰拉勒藝術(shù)中心到巴黎盧浮宮，龍泉青瓷驚艷了世界藝術(shù)之都。
如今，龍泉青瓷越來越頻繁地被選為國(guó)家級(jí)對(duì)外禮品，七寸精嵌“哥窯”藝術(shù)掛盤被國(guó)務(wù)院定為國(guó)家級(jí)禮品，哥窯紫光盤、紫光瓶等51件珍品被中南海紫光閣收藏陳列，送展30多個(gè)國(guó)際博覽會(huì)，被全球各大博物館收藏。
龍泉青瓷的美早已超越了工藝。伴隨著傳承與創(chuàng)新，每一件作品都成為一個(gè)鮮活的生命，續(xù)寫千年傳奇。
Longquan: Celadon Legend
On April 8, 2016, a CCTV crew came to Longquan, a remote city in southwestern Zhejiang to document a day in the life of Xu Chaoxing, a local master of Longquan celadon, which is a national cultural legacy. The crew aimed to showcase the master’s dedication, inspiration, and hard work. This documentary is scheduled to be part of a program for cultural exchanges between China and Portuguese. The master was chosen to represent Longquan celadon largely because the porcelain art has been around for about 1,500 years.
Porcelain-making kilns first appeared in Longquan in the Southern Dynasty (420- 589). In the Song (960-1279) and the Yuan (1279-1368), Longquan thrived in porcelain production, as testified by more than 300 kilns operating along the Oujiang River within the territory of Longquan. One kiln could produce more than 10,000 pieces of porcelain. One-tonnage ships plied the waters of the Oujiang River and shipped the goods to the outside world. In 1976, a sunken ship was discovered in the sea off the Republic of Korea. In the ship were 17,000 porcelain pieces, 12,300 of which were celadon made in Longquan.
Many museums of the countries on the ancient maritime Silk Road have celadon masterpieces made in Longquan in their collections. Chen Qiaoyi, a professor engaged in the studies of historical geography of China, remarks in his introduction to the Gazette of Longquan County that all the sea ports along China’s coast were engaged in the shipping of Longquan celadon and that they could be traced all the way along the coasts of the Indian Ocean, the Persian Gulf, the Arabian Sea, the Red Sea and the coast of East Africa.
In the 1920s and the 1930s, Chen Wanli, a ceramics expert of world renown, did field studies in Longquan nine times. His report on the field studies entitled Ceramics and Zhejiang established Zhejiang firmly as a major porcelain maker.
Brothers Kilns: Elder Brother’s Kiln and Younger Brother’s Kiln are the first historical glory in the history of Longquan celadon. As legends have it that two brothers in Longquan during the Song Dynasty were engaged in porcelain making. The elder brother was Zhang Shengyi and the younger one was Zhang Sheng’er. The innovative elder brother tumbled upon a purple-gold clay, which produced finest porcelain pieces. The crackles on the porcelain from his kiln look like ice and fish tails. The porcelain pieces enjoyed fame on market. The elder brother’s kiln is known as Ge (Elder Brother) Kiln, which is one of the five major kilns in China.
The second glorious phase of Longquan celadon is its modern rebirth started in the 1950s. Some people say Longquan owes the celadon rebirth to foreigners. In the 1950s, celadon appeared in some conversations between foreign visitors to China and their Chinese hosts. The people at the Ministry of Foreign Affairs were baffled by the word. It was not until an expert from the Soviet Union showed them a piece of celadon that the people with the Ministry of Foreign Affairs came to know what celadon was. They thought it was a simple matter. They showed the expert some best ceramics made in Jingdezhen and Tangshan, two big makers of ceramics. But the expert shook his head. Then it occurred to the people with the ministry that they needed a second opinion. They visited Chen Wanli at the Palace Museum to get an answer. Chen gave them a detailed lecture. After learning about the celadon, Premier Zhou Enlai instructed departments concerned to restore the production of ancient ceramics including Longquan celadon.
In the spring of 1958, an panel of eight experts set fire at a celadon kiln at Shangyang, a small town about 36 kilometers out of Longquan City. They were tasked to bring back the ancient ceramic glory. That year and that group of people marked the rebirth of Longquan celadon. Shangyang Town gave birth to a flourishing celadon production powerhouse. The modern celadon masters have not only restored the lost art of celadon making but also invented a whole range of new techniques. They invented a series of glazes, colors, crackles, and integration of different technologies.
The modern renaissance of Longquan celadon has produced many celadon masters. Xu Chaoxing is one of them. On June 4, 2005, a celadon masterpiece he had made was auctioned off for 700,000 Yuan in Beijing. The record still stands today. Xu Dingchang, a master of celadon, says that celadon making in Longquan has entered a golden era as of 2000. In some aspects, modern masters are even considered better than great ancients. Nowadays, the town is home to more than 700 celadon businesses which employ more than 10,000 people altogether. Averagely there is a master of arts and crafts among every one thousand locals of Longquan. Masters that have grown in the celadon renaissance are cultivating a new generation of masters.
In 2009, the traditional firing technology of Longquan celadon was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. This is the one and only ceramic item of its kind on the list.
In 2012, Shangyang was officially named Celadon Town of China. A series of commemorative stamps was issued to mark the historical honor. In 2011, Longquan Celadon Museum was officially opened to the public. This is one of its kind in the world that relates the history of Longquan celadon making.
Shangyang is now a huge tourist attraction in this part of Zhejiang. The AAAA scenic zone is going to be expanded and upgraded with a planned investment of 500 million yuan. By doing this project, the local government aims to set up a window on the miraculous celadon so that the world can appreciate the ancient ceramic glory.
In recent years, celadon has become a key attraction Longquan offers to the outside world. Fifty-one celadon pieces have been in the collection of Ziguangge in Zhongnanhai, the political heart of the country. Celadon masterpieces have appeared in more than 30 overseas exhibitions. Longquan has partnered with Limoges, France, Gangjin-gun, South Korea, and Kawanehon, Japan as twin cities, with celadon as a key factor in exchanges and cooperation.
內(nèi)容參考《文化交流》雜志
編輯：沈波
責(zé)編：張正華
