In 2013, Liu Dezhi, a Hunan native and wood-firing artisan, built his kiln in Danzao, Nanhai, Foshan – the birthplace of Kang Youwei. Here, he embarked on his journey as a wood-firing artist, dedicated to handcrafting. This place is rumored to be where Ge Hong, a Jin Dynasty alchemist, once practiced his craft, blessed with outstanding people and endowed with natural beauty.
At first, like a playful child, he had no specific goals, and his craftsmanship was clumsy. He didn't know how to control the fire but was content with simply completing the firing process. Occasionally, he would create something stunning, akin to the joy of finding colorful stones while playing by the riverbank. As his Pottery skills improved and his mastery over the kiln grew, he couldn't help but show off, seeking dazzling and vibrant effects that sometimes bordered on cliché. In the following two years, he sought authenticity and simplicity, favoring stability and a rustic charm. At night, when all was quiet, he would pick one or two favorite pieces to play with, sensing the green moss and grass, autumn winds and evening sunsets, glimpses of towering mountains and cascading waterfalls, or hearing the sound of drums and clear melodies in the forest. These pieces were not immediately striking, but their warmth and depth became apparent upon reflection.
Looking back, it required a calm heart and firm will to continue this path. What was the allure of wood-fired ceramics that captivated him so? Perhaps it's like a fine Tea, where the sweetness and comfort that follow the bitterness are the most memorable and worth sharing.
Today, Ceramic production has advanced significantly, supported by modern equipment, with electric and gas firing being the mainstream methods. So, what is the significance of reviving this ancient, inefficient technique? For Liu Dezhi, standing at the forefront of modern industrial civilization, the tranquil and rustic quality of these objects and the lifestyle they represent provide a remedy against the fast-paced life we lead. They serve as a counterbalance to the uniformity and pristine perfection of mass-produced goods. This is why he chooses to use ancient techniques to create wood-fired ceramics and integrate them into modern life.
The processes of building a kiln, selecting clay, shaping, and firing form a complete system in wood-firing, with each step influencing the final result. Selecting the right clay is crucial, especially for functional pieces, where safety and health must come first. The clay must also withstand temperatures exceeding 1,300°C during firing. It should be pliable enough for shaping and rich in beneficial minerals, such as iron and selenium, which can enhance the taste of tea and bring out the best flavors in food. Every year, Liu spends considerable time traveling to find suitable clay, visiting places like Jianyang in Fujian, tea mountains in Yunnan, and Jingdezhen in Jiangxi.
The type of wood used for firing is like a painter's palette, with different woods imparting unique qualities to the finished pieces. After extensive experimentation, Liu primarily uses pine and lychee wood, the former rich in resin and the latter with a high burning point, together creating a beautiful surface effect. The shaping process tests the maker's skill, with Liu's dedication to handcrafting drawing inspiration from both ancient ceramic culture and the natural world. Each piece is shaped by hand, not striving for perfection but imbued with the warmth and touch of the maker, a level of personal connection that mass-produced items cannot match.
The art of refining ceramics involves both technical skill and spiritual cultivation. Shaping the clay, the hands move with the wheel, infusing the material with spirit, and watching the object take shape brings a sense of joy akin to that of a creator. The most profound realization comes during the firing process, a test of both physical endurance and mental fortitude. Sometimes, the firing lasts up to seven days and nights, sustained only by faith and willpower. Near dawn, alone, listening to the crackling of the fire, one can feel it synchronize with one's own breathing and heartbeat, as if hearing the joyful cries of the pottery within as it transforms. In this process of shaping and firing, the maker refines his soul and cultivates his spirit.
Over the years, Liu's creations have become a significant body of work, embodying the spirit and aesthetics of ancient pottery from the Warring States period. Liu often says that if asked about his favorite piece, he hopes it will always be the next one, maintaining a sense of reverence and exploration for the craft.
Written by: San Hu
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