Review of Shennongtao Cultural and Creative Park

Ladies and gentlemen, welcome to visit and guide Henan Shennong Tao Creative Park. I'm the commentator, and I'm glad to serve you.

Our present position is Gouzhuangtun Village, Wang Zhao Township, Qinyang City. China's culture is profound, such as the village in the place name culture, which shows that it is a natural settlement. Then the term "village camp" means a place where ancient garrison troops or officials cultivated farmland for a long time. All places named after Zhuang are usually related to surnames. The name Gouzhuangtun itself has a unique cultural phenomenon. Surname culture predates place name culture, and pottery culture is the theme we are going to talk about today.

Then let's learn about Shennong Tao Creative Park first. The theme of this garden is to inherit the black pottery culture, and the overall style is modern and simple in Chinese style, with the charm of Jiangnan garden. We insist on starting with one brick and one tile, one pottery and one wood, and strive to achieve the effect of one scene and one scene, and strive to create a new business card for cultural and artistic exchanges in Qinyang City.

Shennongtao Creative Park covers an area of 2,640 square meters, including Black Pottery Culture Museum, Black Pottery DIY Experience Hall and Tea Learning Experience Center. Through the mode of non-legacy culture popularization+learning experience+rural tourism, we will build a training base for primary and secondary school students, a training base for ceramic artists' creation, and a base for popularizing black pottery culture.

Next, I will lead you into the park and appreciate the charm of black pottery. Let's look at this pavilion on the left. It's called Chuxin Pavilion. Simple, solemn and generous. When you see the heart pavilion, you should introduce our garden owner, Ms. Tang Li. She is a passionate, persistent and pursuing person. She built this original pavilion here. In her own words, every time she walks into the garden, she must remember her initial intention-to carry forward the black pottery culture and inherit the black pottery skills. This is also the mission of her life. It is precisely because of this initial intention and mission that we have our garden and a platform for everyone to understand black pottery.

Please look at this huge painting on the wall, which shows the scene of people making pottery in Shennong period. Pottery was produced in the late Neolithic period, with a history of about four or five thousand years. Its invention marks the transition of human beings from a migratory life based on gathering, fishing and hunting activities to a settled life based on agriculture, which means the beginning of the transition from barbarism to civilization. Qinyang, on the other hand, has a long history and rich cultural heritage. Historically known as Qinhuai ancient county and Heshuo famous state, it was recognized by UNESCO as "Millennium ancient county" and the first batch of historical and cultural cities in Henan Province. Today, you can learn about the origin of Qinyang and pottery culture here.

You see, the mud here is the raw material of our black pottery. Red clay from the foot of Shennong Mountain which has been washed and deposited for thousands of years. It is rich in minerals such as trace elements such as iron and silicon. After drying, drying, pulping and other processes 10, it finally became a precious raw material for making black pottery.

The scenic wall on the east side of the garden is called Taoyuan, which is composed of old bricks, tiles and objects left over from the village. The black pottery utensils above are the footprints that Tang Li and her team came out step by step in the process of developing products.

Let's see what the shape in the middle is like. See? Yes, like 70, the shape on the right is the outline of the national emblem to commemorate the beginning of our creative park project, that is, 20 19, that is, the 70th anniversary of the founding of the People's Republic of China. Therefore, it is very meaningful to creatively build this cultural wall.

Look at this small courtyard in the west. There is a fish pond like a gourd, which adds endless vitality to the whole garden.

Now, please follow me to Qinyang Black Pottery Culture Museum and have a look at this couplet first. It was inscribed by Professor AARON Li, a professor at the School of Life Sciences of Fudan University and director of the Key Laboratory of Modern Anthropology of the Ministry of Education: Pure yin is not limited, and Brightheart is the most penetrating, which can turn red! Guess what this black guard does? Yes, stick to the tradition of black pottery, know white and keep black, and be upright and innovative! What does this red color stand for? Representing black pottery pot is the best choice for making black tea, representing that black pottery will become the product of network celebrities in the future, and also representing our black pottery people's pure heart for the party! This is Professor AARON Li's affirmation and praise for the black pottery pot, and it is also the encouragement and expectation for us black pottery people! All our black pottery artists will push the art of black pottery to a higher level under the leadership of Ms. Tang Li.

Let's first learn about the prehistoric civilization of Tao culture. As the preface says: the dragon and the horse are out, and the river is out. It is said that when Fu was born, the dragon horse appeared from the Yellow River, carrying a "river map"; A turtle appeared from Luoshui, carrying "Luoshu". According to the traditional view, the emergence of "Hutuluo" is the source of Chinese civilization and culture.

There are many legends about pottery making in China's early works, such as "Shennong made pottery" (in central Hebei) and "Huangdi ordered Ningwei" (Lv Chunqiu). That is to say, China invented pottery-making technology as early as 8,000 years ago, and it is one of the earliest countries in the world to burn and use pottery. Shennong is one of the cultural ancestors of the Chinese nation. Divine cultivation of pottery opened the primitive handicraft industry of ancient ancestors, which is another great history of human progress.

Black pottery was born in the Neolithic Age, known as the "mother of porcelain", an important part of the Yellow River culture, and a great invention for human beings to use and transform nature.

Qinyang black pottery is the most representative living fossil of pottery culture in Henan Province, which has a history of thousands of years and has not been dated since ancient times. Qinyang black pottery inherits the wisdom of the ancients and has unique characteristics and advantages. From folk daily necessities to luxurious palace artworks, it shows its unique charm.

Look at this shape-the water overflows when it is full! It tells us to be modest, low-key and steady!

Introduction to sand table: Tao Qing's poetry has a long history?

It reproduces the whole process of making black pottery by our ancestors. Black pottery is made of yellow mud. In the process of firing, the natural kiln adsorbed with activated carbon ions becomes black pottery, which is very technical. You can't just put a piece of mud into the kiln and burn it into black pottery.

Brief introduction of black pottery culture:

Also known as "Longshan culture", it is the peak of farming civilization in the late Neolithic period in the Yellow River Basin.

/kloc-0 In the spring of 928, archaeologist Wu Jinding discovered the site of Chengziya in Longshan Town, Shandong Province, and unearthed a batch of exquisite polished black pottery.

Archaeologists named these cultural remains with black pottery as their main features "Longshan Culture" according to their findings, which mainly distributed in Shaanxi, Shanxi, Henan and Shandong provinces, and called them the four major black pottery production centers in China.

In Dawenkou culture, the fast-wheel pottery-making technology was widely used in this period. The polished black pottery is more in quantity and better in quality. It is made by firing vessels as thin as eggshells, and its surface is as bright as paint, which makes China's pottery-making technology reach its peak for the first time.

Black pottery is the crystallization of the early cultural wisdom of the Chinese nation and has become a "living specimen" to reproduce ancient material culture and spiritual culture.

The most famous black pottery in Henan is Qinyang black pottery, which is a bright pearl of Chinese civilization. Renzhuang site in the western suburb of the ancient city of Hanoi, Qinyang, is located in the northwest cultural layer of the site, which is the site of residual burned pottery kiln in Yangshao period and Longshan period respectively. 1965 During the trial excavation of Gedangpo site, red pottery, painted pottery and black pottery were unearthed. That is the representative of Yangshao culture. This shows that our ancestors' pottery-burning skills have developed here, and many sites such as Mulou Site and Zhao Zi Site are the representatives of Longshan black pottery culture.

Our ceramic culture in Qinyang once had a very glorious history. When Wu Zetian paid tribute, she named it Emperor Black Pottery. In the early years of the Republic of China, to celebrate the navigation of Panama Canal, Mr. Wang Taixin from Penyao Village participated in the World Crafts Fair and won the gold medal for black pottery products such as ivory tripod and Tuanzun fish pot. The British also published the Atlas of China Blame.

You can see that the pottery displayed in the cupboard is all the old wine glasses and jars we used in Qinyang in the past, some of which are thousands of years ago.

Some people may ask: Why don't we know about Qinyang black pottery? After the founding of the People's Republic of China, influenced by the production and life at that time and various factors at home and abroad, Qinyang black pottery began to decline. Mainly concentrated in the basin kiln village of Shanwangzhuang Town. 1982 A flood caused the soil cave to be destroyed. All the caves in the village were flooded, only a few caves collapsed. With the development of the times, people's living standards have gradually improved, plastic utensils and stainless steel utensils have gradually replaced pottery, and black pottery and its manufacturing techniques have gradually faded out of people's field of vision.

In the new century, with the country's increasing attention to the cultural industry, Qinyang black pottery was included in the intangible cultural heritage protection project in Henan Province in 2009. The only inheritor of black pottery, the grandson of Wang Taixin, who won the gold medal in the international Expo, was named as the provincial inheritor of the project. You can see that the master who makes pottery on the wall is Mr. Wang. It is because of his persistence that Qinyang black pottery has continued and today's glory.

After the black pottery faded out of our sight for many years, it returned to our life, and we saw its vitality again. The person who injects vitality into it is our teacher Li Tang. What happened between Tang Li and Black Pottery? Please let us walk into the Shennong Black Pottery Museum in the Central Plains, learn the story of the new black pottery in Qinyang and feel the charm of today's black pottery.

This Tathagata portrait is a black pottery work designed and produced by Professor Han Meilin, honorary director of the Ceramic Art Committee of China Artists Association and a national first-class artist.

The first time I met black pottery, I went crazy to build a base, and the result was obvious.

By chance, Ms. Tang Li, then the general manager of Qinyang Blue Diamond Cultural Industry Co., Ltd., met Wang, the inheritor of Qinyang black pottery. She was deeply attracted by the charm of black pottery since she was a child, and couldn't sleep at night for the mysterious black pottery culture. In a month's time, she visited Mr. Wang in Penyao Village many times and kept in touch with him for more than a year. The teacher saw that she was so persistent and thoughtful that she was willing to pay for black pottery, breaking the tradition passed down by the black pottery family, teaching her all the black pottery making skills handed down from the family and encouraging her to set up a black pottery company.

With the help of Mr. Wang and the support of Mr. Deng, an associate researcher in Qinyang, and Mr. Deng, who has been committed to the development of Qinyang's cultural industry for a long time, Tang Li learned about and deeply explored the black pottery culture through historical books, established the Shennong black pottery research and development base, formed her own team, and owned her own brand of "Zhongyuan Shennong Pottery", and embarked on the exploration road of Qinyang black pottery from then on.

In order to understand the black pottery market, she traveled all over the country and investigated the black pottery kiln mouth. In the process of investigation, through comparison, she learned that Qinyang black pottery has excellent quality and distinctive features, but its technology is backward. When you find a problem, you have to solve it. She visited various porcelain kilns all over the country to learn modestly, and invited famous pottery masters from all over the country to Qinyang to guide and teach technology. Shennong Pottery has developed hollow carving, intaglio carving and other production processes, and developed six series of more than 400 varieties of black pottery products. The expression forms of product technology are more colorful, from Four Treasures of the Study to indoor ornaments, from household utensils to cultural and creative products, which have been loved by consumers at different levels after being put on the market.

Dreams are beautiful, and the road is hard.

Just starting, Shennong Tao, which develops new products, has been hit by the market. The craft gift exchange market suddenly stopped, and the Shennong black pottery cultural gifts that have not yet gone out were immediately stopped by the market. What shall we do? The technical team that we have finally cultivated cannot be dissolved, let alone lost. Once the brain drain means failure. Tang Li silently chanted in his heart: Nothing can make the newly sprouted black pottery leave us again! With her tenacity and persistence, plus her love and pursuit of black pottery, she led everyone to study new ways out. She said that we should tap the characteristics and advantages of black pottery, make it adapt to the needs of human life, and make the art of black pottery come alive. Later, we opened up a new research direction-developing black pottery tea sets.

The biggest problem in Li Tang's learning to make pots is that the firing temperature of traditional black pottery is too low, which leads to low hardness and easy to break. She tried to raise the temperature of the kiln. I went out to study and asked experts to study. After more than two years of kiln experiments, repeated failures and hardships, I finally developed black pottery with high hardness, which broke the problem that black pottery is fragile at low temperature and easy to seep, and increased the firing temperature of black pottery from 700 to 800 degrees to 950 to 1050 degrees. This problem has been solved and passed down for thousands of years.

Many things happen, and then the black pottery tea set was finally born, which is a miracle of the whole black pottery industry. It uses ancient wood firing technology and scientific means to absorb a large number of activated carbon ions in high temperature and natural kiln transformation, and fires a high-hardness black pottery pot. It has good air permeability and is rich in activated carbon ions, which is incomparable to other utensils such as porcelain and iron. It can preserve quality and freshness, release minerals, and taste richer.

The tea soup brewed in the black pottery pot is mellow and soft. Once the product came out, it caused a sensation in the black pottery field, and at the same time it became the new favorite of the tea industry, commonly known as "Yixing Zisha Pot in the South and Shennong Black Pot in the North".

20 15 At the China Black Pottery Art Exhibition held in Dezhou, Fu, honorary chairman of China Pottery Association, sincerely praised: "Making black pottery into tea sets is really a great progress in the black pottery industry in China! In particular, the research and development of Shennong black pottery pot has filled the gap in the domestic black pottery tea set market and made Qinyang black pottery have a new development path.

The road to success is not lonely, and Shennong Black Pottery is favored.

In 20 18, at a black pottery art exhibition in China, two young people learned more about black pottery pots, bought them, wrote down their contact information and left. It turns out that they are students of Professor AARON Li from Fudan University. Professor Li has a friend who gave him a black pottery pot from Shennong. After using it, he found it very good to make black tea. This time, his students helped him find the pot maker. Since then, Shennong black pottery pot has linked the professor with Mr. Tang.

A few days later, Professor Li came to Shennong Pot Base to learn more about the manufacturing technology and firing method of black pottery pots. Through research, it is proved that Shennong black pottery is the only artifact to make black tea. Professor AARON Li expounded the advantages of making tea in black pottery pots in his published Tea Ceremony Classics, Translated Tea Ceremony Classics and Twenty-four Tea Events, and also demonstrated black pottery pots to make tea through videos.

The base also cooperated with Henan Polytechnic University to hold the "Shennong Pottery Cup Design Competition", which opened a new chapter in the cooperation between Henan folk traditional crafts and universities, with historical significance. Zhang Yuxi, president of Henan Arts and Crafts Association, said that the school-enterprise cooperation he always wanted to achieve was realized here today. The gold medal work at that time was the work of the only graduate student in Henan Polytechnic University. This activity is of great significance. Because of the success of this activity, the arts and crafts industry in Henan Province started school-enterprise cooperation.

Honor and applause followed.

In 20 12, Tang Li received special attention from Henan news media, and her deeds were published simultaneously in Dahe Daily, Youth Daily, Economic Daily and Science and Technology Daily. In the same year, 1 1, Tang Li entered the interview program of Zhongyuan people in Zhengzhou TV Station, and her deeds were vigorously publicized and spread, which wrote a new chapter in Qinyang black pottery culture, and black pottery also became a business card of Henan culture. She has also won many awards from governments at all levels and relevant social groups.

She is now a member of China Arts and Crafts Association; Director of Black Pottery Art Committee of China Ceramic Industry Association; Vice Chairman of Jiaozuo Folk Craft Association; Director of Zhongyuan Folk Culture and Art Museum; The Twelfth People's Congress of Jiaozuo City; Qinyang CPPCC member.

Facing honor, being objective and calm,

Li Tang knows that honor is the laurel of black pottery culture. Without honor, everything will lose its value. Only let Qinyang black pottery culture inherit and innovate, let more people know Qinyang black pottery and understand the value of black pottery culture, is her unremitting pursuit.

20 13 10 In the Central Plains Pot Design Creative Competition held by Henan Arts and Crafts Industry Association, her "Inkstone Pot" won the gold medal; In May of 20 15, Shennong black pottery was listed as a tribute in the Central Plains, and she and Hemei cornucopia won the Jinding Award, the highest award for folk crafts in Henan Province. In June of the same year 165438+ 10, this work represented Jia, the former vice governor, in the exhibition of works by the honorary chairman of the National Arts and Crafts Industry Association, which was appreciated by Li, the then party and state leader. 2065438+In May 2007, Shennong Black Pottery was awarded as "Top Ten Tributes of Central Plains"; In recent years, Li Tang's works have won more than 20 national awards and more than 60 provincial awards.

Craft introduction: Look, the top ten pictures of this cultural wall are the ten links of making black pottery. The mud awakening area is in the tank here, and mud awakening is a very critical process. When it comes to mud awakening, it's just like rolling noodles. Noodles that are not awake are not delicious. If the mud doesn't wake up well, the following processes can't be done well. Clay can be continuously stirred and kneaded to enhance its viscosity and toughness. Only when clay is awakened can exquisite pottery be made.

Now, please go to the painting area to enjoy the magical pottery performance of the pottery master. Master Wu Can can make all kinds of works of art at will with only his hands and a piece of mud, so this link is called "art at the fingertips". Master Wu has been engaged in this line of work for 10 years. He has been devoted to the research of blank drawing technology, and he can cope with all kinds of shapes as small as 3 cm and as large as 50 cm. Master Wu is not only a master of drawing blanks, but also a master of repairing blanks and making pots. Now please ask Master Wu to briefly introduce and demonstrate the drawing process for everyone.

Please come to our grinding and carving area: the sculptor is a master of black pottery. When you saw pottery in the museum just now, did you have any problems? How did it get so bright? Yes, it is in the hands of the masters that sub-gloss is constantly polished. Next, it is finely crafted. Sculptors are good at inheritance and innovation, and constantly improve the artistic quality of Shennong pottery. Most of their tools are made by themselves, and the knives are sharp, elastic and hard. When carving, the next knife can't be retracted once, and the middle knife can't leave a little mud mark. You must put the knife in order. It all depends on years of accumulation, precipitation and cultivation. To tell the truth, at the beginning, sculptors' hands were often worn or cut, but they persisted, pursued and passed on without regrets; It is commendable that they and Mr. Tang also volunteered to train a batch of internship college students, so that the black pottery culture can be further developed. This spirit is really touching.

Next, please go up to the second floor and experience in our experience area (30 minutes of pottery experience) to experience the feeling of making pottery for yourself.