The higher the temperature, the brighter and translucent color of the pottery is brighter, and it can make a loud sound, and the opposite is true if the temperature is not enough. When the pyre is two-thirds burned and the firewood turns into reddish coals, keep adding coconut shells to the fire.

"Pay attention to the color of the flame, red and orange is the best, the flame should be just over the pottery is the best, the fire should be concentrated, the pottery that cannot reach a certain temperature is of poor quality, and the yield is low." When firing, she did not forget to explain the key points to the apprentices around her.

"The control of the heat is not good enough, compared with the master, our technique is still relatively immature, and the same pottery is still not as good as the master." In Fu Qiulian's eyes, the master is a legendary existence, and it still takes a long way to catch up with the master's craftsmanship, from sifting soil, shaping, painting to firing, every link must not be negligent.

"The first thing my mother does when she gets up every day is to look at the clay pottery, like a baby." Fu Rilan's second son, Dong Xiangzheng, said that after dealing with soil for a long time, his mother's hands were extremely rough, but her enthusiasm for pottery never diminished. My mother's skills have been cultivated over many years, and they have reached the level of perfection in all aspects of pottery making.

Fu Rilan believes that pottery not only needs fate, but also needs to be patient and careful enough to produce better works. "A lot of people start out with curiosity to learn, but then they run out of patience and leave one by one, and there are not many who can stay, and even fewer who do well." Fu Rilan said.

"Now, I have four inheritors, but it's still not enough, and when I have free time, I have to go to school to teach children pottery making techniques." Fu Rilan, who has silver-white hair, told reporters that the students are now young, and it is not easy to make them like pottery, but I hope they can know this ancient skill and plant a sprout in their hearts.

Since 2010, Fu Rilan has participated in provincial and municipal intangible cultural heritage projects for many times, contributed to the promotion of the traditional pottery craft of the Li nationality, and was rated as an "excellent inheritor" of Sanya's intangible cultural heritage.

Now, her greatest wish is that more young people will learn the pottery process, so that the traditional skills of the Li people will continue to be passed on.

The fourth stop of the Sanya Beautiful Rural Tourism and Culture Festival walked into Wenmen Village, visited the relics of the historic sites, and felt the scenery of the village. Walking into the Wenmen, it seems to knock on the door of the thick history, and you can vaguely see the stone where the Qincha rested and read, and it seems that you can still hear the voice of the Qincha teaching Li Tong to read and write......

This thousand-year-old village with a long history, after putting on the "green coat", attracts citizens and tourists to come to feel the new vitality of the thousand-year-old village in the fields and countryside with ancient charm.

The traditional craft Li pottery works are dazzling, so that everyone can feel the artistic song of fire and earth sung by the fingertips "living fossils...... The traditional Li culture has become the most shining cultural business card of Wenmen Village.

The authentic "farmhouse meals" have stimulated everyone's taste buds, and the villagers make farmhouse delicacies with their own hands, all of which are pasta, soup powder, glutinous rice, rice wine, bamboo rice, bamboo tube wine, etc., wandering around Wenmen Village, feeling the ancient charm and strong nostalgia.

Through the pilot project of beautiful rural construction, Wenmen Village has improved and optimized the rural living environment, effectively explored the historical culture and folk customs of the village, and developed a characteristic village of "ecological agriculture, eco-tourism and ecological culture" relying on the existing natural resources of the village, guiding farmers to change their development mode, truly allowing the villagers to integrate into the development of the industry, and creating a Li ethnic style village integrating farmhouse management, rural leisure tourism and farmland work experience.

Yao Daozhong and his wife couldn't help but sigh when they saw it: "I didn't expect that the process of firing clay pottery of the Li nationality was so simple, we thought it would be very complicated." "Peel off the ashes, and a complete clay pot is "baked".

I saw that the outer wall of the jar was smoky and burning, leaving some unique patterns, some like the shadow of a coconut tree, and some like waves crashing on the beach. Professor Yao Daozhong feels that this kind of natural formation of a unique dreamlike pattern has a certain value of art appreciation.

Zhou Weimin, a professor at Hainan University, and his wife, who have studied Li culture for many years, said: "Li pottery, like bark cloth, Li brocade, Li tattoos, and Li medicine, are all living fossils of Li culture. In 2006, the pottery burning skills of the Li nationality have been listed as the national intangible cultural heritage protection objects. ”

It is understood that there are 80 middle-aged and elderly women in Buqu Village who have mastered the pottery burning technology, and they can not only burn out daily necessities such as altars, pots, and retorts, but also make ornaments such as monkeys and turtles. At present, the village's pottery burning skills have been listed as a protected object by the Sanya Municipal Government.

The earliest way of firing pottery in China is open-air pottery, and this method is still used in the Li area of Hainan Island, which can be said to be the "living fossil" of primitive pottery in ancient China.

Relevant experts believe that their clay plate building pottery skills are the products of the Neolithic period, in the literature of the Southern Song Dynasty Zhao Rushi "Zhufan Zhi" there is a record of Li people pottery, now Changjiang Li Autonomous County Shilu Town Dapo area still retains this pottery tradition.

There is also a very prominent feature of this skill, which is that it is only passed on to women and not to men. In 2006, the pottery technique was rated as a national intangible cultural heritage, and Yang Bailiang, who was 80 years old at the time in Baotu Village, Shilu Town, Changjiang County, was the representative inheritor of this skill.

The earliest time I knew about the primitive pottery making of the Li nationality was to read the book "Miao Village of Li Village, Hainan" by a female photographer, which recorded and introduced in detail this little-known ancient pottery tradition. I was impressed by the photographs of the open-air pottery burning in the book, and several women dressed in Li costumes burning things around the fire, which I thought was Li witchcraft.

This mystery has always fascinated me, until this day, I finally came to Baotu Village, and had the opportunity to witness this ancient tradition that will be lost.

Maybe many people have gone to the pottery bar and don't think about pottery. Here I need to explain that Li pottery is not our common pottery, it has a professional term: clay plate pottery.

The name sounds a little difficult to understand, but it is actually very vivid, it is made of clay strips that are first coiled into the shape of a utensil, and then processed. The pottery technique of clay strip plate building is a very primitive pottery technique of the Li nationality.

It is said to be a product of the Neolithic period, such an ancient skill can be preserved to this day, it is really surprising, at the same time we should be very glad that we have the opportunity to feel the ancient history and civilization, and the Li people have made a great contribution in this regard, Hainan Changjiang Shilu Town Baotu Village Yang Bailiang old man engaged in pottery all his life.

In this highly developed industrial society, such ancient skills are like giant pandas, endangered and precious, and the old man Yang Bailiang has become the only inheritor of the original pottery skills of the Li nationality at the national level.

As soon as we came to the old man's house in Yangbailiang, we had seen her old man sitting at the door to welcome us, and she put a lot of pottery she made beside her.

We said, "Grandma, you are more beautiful than us in our hearts," and the old man smiled. We were busy taking pictures, while the old man's family, granddaughter-in-law, and other women were already busy, bringing out pottery tools, a wooden plank and a large ball of clay from the house.

Wen Yafen, the old man's granddaughter-in-law, said that the clay used for making pottery is a kind of gray clay, which has to be dug up several kilometers away, and after digging back, it must be dried first, then put in a stone mortar and mashed, and then sifted with a sieve, and the soil is repeatedly sieved until the remaining fine powder can be used.

Wen Yafen poured some water on the mud and stirred up the soil on the wooden board, and then mixed it into a mud ball, mixed the soil like a dough, kneaded it back and forth, the wooden board card sounded, we watched her make it so hard, she smiled embarrassedly and said, the soil is a little hard.

After the soil is reconciled, she takes out a piece of mud and takes it to the bench, spreads it into a pancake shape, and then moves it to the square bench where the cloth has been laid, and uses a sharpened and thinned bamboo stick to cut the pancake into a circle, and the pottery base is ready.

She took a piece of mud and kneaded it into strips, glued it along the bottom of the pottery, and then pinched it flat. After four times of wrapping around the layers of this process, a bowl-shaped pottery vessel has eyebrows. Then compact, smooth, and polish. I used a mussel shell to wipe it out, and I took this photo. We are more looking forward to the fire to burn the pottery, but Wen Yafen said that the finished pottery blanks will be dried for six to eight days before they can be completely dried.

When we heard this, we couldn't help but be slightly disappointed. Some of us can't wait to ask how we burn it. Spread a layer of wood on the ground, put the clay blank on it, and then make a fire, and when the wood is burned into charcoal, then spread the dry straw on top of the clay blank, which takes 2 to 3 hours to burn. Wen Yafen said this, we can only imagine, and we are looking forward to having the opportunity to see the pottery on site in the future.

Yang Bailiang is nearly 90 years old this year, and the old man no longer makes pottery herself, she passed on this ancient pottery skill to her granddaughter-in-law. Perhaps you have to ask why she didn't pass it on to her son. There's a story to tell.

According to the information of the Changjiang Li Autonomous County Museum, this ancient pottery technique is "female pottery is not close to men". Why are men not close? This is because in the era of war and chaos, the status of women is very precarious. In order to enable women to have a craft to make a living when they live in poverty or when men encounter unforeseen circumstances, the Li area has turned pottery making into a unique craft for women. In this regard, the status of Li women is much higher than that of Han women.

Why do the Li people make pottery? Actually, the question is very simple. I remember when I was a child, there were many clay pots at home, which were used to hold rice and water, and I could also pickle sauerkraut and pickle duck eggs. There are also people who often carry various pottery such as water tanks to the village to sell, and this may be the same in the Li area.

Everyone is still a little unfamiliar with Li Tao, perhaps for the impression of the Li people, Li embroidery can better understand everyone. Li Tao is the same as Li Xiu, in that era of material scarcity, everyone bartered, some made pottery and some made clothes, so that everyone could exchange with each other to obtain the necessary items for life. We have visited the Li area many times and saw the pottery scattered in the village, some pots and plates, some high and some short, which may be the pottery fired by the Li people themselves.

Time has passed, now is the era of large industry, the goods have been dazzling, for the old man Yang Bailiang, her pottery has also lost the market, but on the other hand, the old man Yang Bailiang's pottery has a new life. Take a look at the latest chapters of "Dream Claw Book House in the Great Era" and read it for free for the first time.