瓷都手艺人如何将“皇帝的瓷器”化腐朽为神奇？ | Porcelain Repairer

China has a long history of porcelain. Gathering the best of the craftsmen and materials, the official kilns in Jingdezhen, the "Porcelain Capital," had produced the world's greatest works from the dynasties of Yuan (1271-1368) to Qing (1636-1912).

中国是瓷器大国。从元代至清朝，景德镇官窑集中了当时最优秀的工匠和最好的原料，烧造出世界最高水平的瓷器。

Exclusively for the palace, the dragon jars were made in the royal kilns and painted with blue and white dragon patterns. They were used for holding eternal flames in the royal tombs or storing water in case of firefighting.

龙缸是景德镇御厂制作的一种专供宫廷使用的大缸，一般在器身使用青花绘画龙纹装饰。这种容器，一般被用来陪葬，点长明火，或者放在宫廷中当作水缸防火。

Dragon jars were bigger than most other porcelain wares. High-quality products were rare from the special "dragon jar kilns."

"There used to be 32 special kilns in the region burning day and night, yet with very low yield," said Luo Guoxin, a collector of the ancient porcelain fragments.

比起其他瓷器，龙缸器型更大，需要专门的“龙缸窑”烧制，而且极难烧成。“原来这边有三十二座龙缸窑，龙缸是天天不停地在烧，但是屡烧屡不成。”景德镇古瓷器收藏家罗国新介绍。

Born in Jingdezhen City of east China's Jiangxi Province, Luo started to learn from his father at the porcelain factory at a very young age. He ran a porcelain business in Shenzhen before he went on to establish an auction company in Beijing. 

罗国新是景德镇本地人，从小跟着父亲学着在瓷厂里工作。之后，他开始做瓷器买卖，在深圳有自己的店铺，还在北京开拍卖公司。

Luo Guoxin is looking at one piece of china.

The more he dealt with porcelains and ceramics, the more he realized that his ability was not equal to his ambition. "I had limited knowledge about porcelain. For the past 20 years, I've squandered everything that I'd got. There was no sense living like that. I wanted to do something that really matters to myself."

但是，越接触和瓷器、陶艺有关的东西，他就觉得自己越力不从心：“我在北京，感觉自己对陶艺知识是很欠缺的。而且我花了二十年来赚钱，花光了，又来赚钱，又花光了，觉得这些都没有什么意义似的。我就想做一件对自己有意义的事情。”

Therefore, Luo went back to his hometown of Jingdezhen, which was at the time under reconstruction. A lot of fragments were dug out at the construction sites.

于是，罗国新回到了家乡。当时，恰逢景德镇附近进行基础建设，挖了很多土。在倒出来的土里，人们发现了许多过去官窑烧制的瓷器碎片。

Aware of their value, Luo began to collect and restore them with his family and friends.

罗国新意识到这些碎片的价值，就和家人朋友一起开始收集它们，并且进行修复。

He believes that in the fragments "lie the root and soul of Jingdezhen."

因为，他觉得，在这些瓷片里，“有景德镇的根与魂”。

"We've restored more than 300 porcelains from the dynasties of Song, Yuan, Ming and Qing. Most of them are Ming products," he said. "I've got some valuable pieces in Beijing, Nanjing City and Inner Mongolia Autonomous Region. I wish to bring them back to Jingdezhen, their birthplace."

“我们修的那些器物，包括宋代、元代、明代、清代在内的有三百多件，但主要的明代最多。”他说，“在北京、南京、内蒙也淘到过不少碎片和残器，我的心愿就是让它们回到出生地景德镇。”

The most significant work that he's repaired is the Ming-style blue and white dragon jar from the Xuande reign (1426-1435).

其中，他修复的最重要的作品，是明代宣德青花云龙纹大缸碎拼件。

This repaired blue-and-white ceramic jar has been painted with a dragon pattern from the Ming Dynasty (1368 to 1644 A.D.). 

Serendipity played its part when he found the fragments in a seller's place. "I was amazed and determined to restore the jar," said Luo.

他在一个卖主家中偶然看到了这些碎片。 “我都惊呆了，就想把这个龙缸拼起来。”罗国新说。

He bought those fragments with his own savings. As big as the jar is, it took him 6 years to collect all the pieces. The restoration took another 3 months. "No dragon jars found so far of this size are intact," he said. "It's hard to put my feeling into words. Like we've dug out an entire cathedral from underground."

于是，他自掏腰包，把碎片全部买下来。因为龙缸特别大，光是凑齐这些碎片，就陆陆续续花了六年时间，修复则花了三个月。“至少这么大的龙缸，目前还没有人发现过完整的。”他说，“这个感觉用语言无法表达，就好像我们挖到了一个教堂。”

The jar was once exhibited in Shenzhen. Many collectors showed interest and offered prices up to 3 million yuan but Luo turned them down. "If I kept the dragon jar to myself, it may at most add some figures to my bank account. The fact that I donated it to Jingdezhen Ceramics Museum made a big difference." He made the donation with only one condition: exhibiting the jar without a glass shield so that people can appreciate it close up.

之后，龙缸被拿到深圳展览，许多藏家都想买，有的开价300万。但罗国新都拒绝了。“这个龙缸在你手上，只代表你的财富多一些数字。但是你把它捐给景德镇就有特殊意义。”于是，他将龙缸捐给了景德镇中国陶瓷博物馆，只有一个要求：不要设置保护罩，让游客能近距离观赏。

Tourists who are attracted by the jar can totally touch it, feeling the texture of the relic from the official kiln of the Ming dynasty.

所以，慕名到博物馆参观的顾客，可以直接抚摸和感受明代官窑陶瓷的肌理和纹路。

Luo feels a strong connection both with the porcelains and with his hometown. "I wish to establish a fragment museum someday, where people can see and learn about them for free," he said. "Not like us, these things are immortal. They make sense to your life, as long as you put your heart into them."

放弃经商，守住寂寞，潜心收集瓷片十年，罗国新觉得这些都是自己和器物的缘分，也是和家乡的深刻联系。“我的梦想是建一个瓷片标本馆，免费开放，让更多的人来学习来参观。”他说，“这些东西是永恒的，我们是短暂的。你要是喜欢它们，它们就会有缘跟你在一起。”

Director: Lei Rong, Yang Yilang

Editor: Yang Yilang, Gao Xingzi

Filmed by: Wang Hengle

Designer: Qu Bo

Article Written by: Zhu Siqi

Copy Editor: Bertram Niles

Producer：Wen Yaru

Chief Editor: Zhao Jianfu

Supervisor：Pang Xinhua

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