Black art now lost art
February 21, 2011, Monday
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Print Edition
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BLACK as ink, polished to a low sheen and ringing with a crisp, clear ping, black-clay pottery (hei tao) is one of China's famous and oldest ceramics.
The art of making black pottery dates back 6,000 years to the Liangzhu Culture of the New Stone (Neolithic) Age.
Only a few places in China still produce the pottery that was originally used for small household pots.
Five craftsmen in Jinshan District, site of Neolithic excavations, still make the black pottery in a small studio.
"People don't like the black color, thinking it is dark and gloomy because black is traditionally used in funerals," says Chen Wei, director of the Jinshan Pottery Research Center and one of the few craftsmen.
"But those who are familiar with China's ancient culture love it for its solemnity and elegance," he says.
More than 500 items, including many black-clay vessels, were discovered in four excavations of 6,000-year-old tombs in the district's Tinglin Town during the 1970s and 1980s. The relics included black-clay cooking vessels and daily utensils with simple and careful carvings.
"It was a significant archeological discovery, marking an era when ancient Chinese began to create daily utensils that were not only useful but also beautiful," Chen says.
The skills of making black pottery have been handed down through generations, but the process is laborious and few people practice it today. The Chinese demand isn't great because of the association of black with death.
It takes about one month in summer and three to four months in winter to make a piece, primarily because the clay needs to be weathered and exposed to the elements.
The clay, common in the city suburbs, must be dug one meter below the surface of land that is virgin ground, not damaged or polluted in any way.
After it is excavated, it's transported to the workshop yard. "We just leave it alone in the rain, snow or sun," Chen says.
After that, the clay is carefully washed to remove all impurities, such as sand, shells or tree bark.
"A tiny speck of dust would destroy the pottery because the biggest difference between black-clay piece and other pottery is that it doesn't need enameling or glazing," he says.
Without enameling that can cover small imperfection, the raw black clay must be kept totally pure because even a tiny grain can mar the surface. "It looks coarse and ugly with little bulges or holes. After the clay is washed; it's dried and then stored," Chen says.
When making a vessel, water is added and the clay is rubbed; the more the rubbing, the more smooth the clay will be.
In fact, the black clay actually looks gray before it is fired. But after being heated to around 900 degrees Celsius in the kiln (other pottery is usually heated to 1,300 degrees), it turns sheer black as carbon molecules are released and adhere to the clay surface.
"If you cut a cross-section of a fired work, you see that the inside is gray while the outsides are black," says Chen.
Polishing is an art. A fine piece of black-clay pottery should have a slight sheen, it should never be gloss.
"That's why a black-clay item is so distinctive," the artist says. "It looks mild, soft and reserved."
Chen's studio contains a shelf of black-clay art pieces, while there are hundreds in his warehouse.
In the early 1990s, a team of seven veteran craftsmen were making black-clay pottery, but the effort was abandoned several years ago.
"To make a piece of black-clay pottery requires a specialized production effect - collecting the clay, exposing it, washing, drying, cleaning and creating," says Chen. "If one member leaves, the whole team is dead."
Today Chen does all the work alone.
Chen enjoys talking to visitors and explaining history and art of black pottery; he gives small souvenirs.
Occasionally there are buyers.
"But they prefer giant vases with complicated patterns, which frankly are not the true expression of Liangzhu Culture," he says.
The true expression is found in relatively small vessels of "primitive simplicity."
But Chen has learned to compromise and please the customers; after all, he needs to make a living. He still explains first to buyers the beauty of the simple pottery.
Those interested can visit the Jinshan Farmer Painting Institute at 300 Jiankang Road, Zhujing Town.
The art of making black pottery dates back 6,000 years to the Liangzhu Culture of the New Stone (Neolithic) Age.
Only a few places in China still produce the pottery that was originally used for small household pots.
Five craftsmen in Jinshan District, site of Neolithic excavations, still make the black pottery in a small studio.
"People don't like the black color, thinking it is dark and gloomy because black is traditionally used in funerals," says Chen Wei, director of the Jinshan Pottery Research Center and one of the few craftsmen.
"But those who are familiar with China's ancient culture love it for its solemnity and elegance," he says.
More than 500 items, including many black-clay vessels, were discovered in four excavations of 6,000-year-old tombs in the district's Tinglin Town during the 1970s and 1980s. The relics included black-clay cooking vessels and daily utensils with simple and careful carvings.
"It was a significant archeological discovery, marking an era when ancient Chinese began to create daily utensils that were not only useful but also beautiful," Chen says.
The skills of making black pottery have been handed down through generations, but the process is laborious and few people practice it today. The Chinese demand isn't great because of the association of black with death.
It takes about one month in summer and three to four months in winter to make a piece, primarily because the clay needs to be weathered and exposed to the elements.
The clay, common in the city suburbs, must be dug one meter below the surface of land that is virgin ground, not damaged or polluted in any way.
After it is excavated, it's transported to the workshop yard. "We just leave it alone in the rain, snow or sun," Chen says.
After that, the clay is carefully washed to remove all impurities, such as sand, shells or tree bark.
"A tiny speck of dust would destroy the pottery because the biggest difference between black-clay piece and other pottery is that it doesn't need enameling or glazing," he says.
Without enameling that can cover small imperfection, the raw black clay must be kept totally pure because even a tiny grain can mar the surface. "It looks coarse and ugly with little bulges or holes. After the clay is washed; it's dried and then stored," Chen says.
When making a vessel, water is added and the clay is rubbed; the more the rubbing, the more smooth the clay will be.
In fact, the black clay actually looks gray before it is fired. But after being heated to around 900 degrees Celsius in the kiln (other pottery is usually heated to 1,300 degrees), it turns sheer black as carbon molecules are released and adhere to the clay surface.
"If you cut a cross-section of a fired work, you see that the inside is gray while the outsides are black," says Chen.
Polishing is an art. A fine piece of black-clay pottery should have a slight sheen, it should never be gloss.
"That's why a black-clay item is so distinctive," the artist says. "It looks mild, soft and reserved."
Chen's studio contains a shelf of black-clay art pieces, while there are hundreds in his warehouse.
In the early 1990s, a team of seven veteran craftsmen were making black-clay pottery, but the effort was abandoned several years ago.
"To make a piece of black-clay pottery requires a specialized production effect - collecting the clay, exposing it, washing, drying, cleaning and creating," says Chen. "If one member leaves, the whole team is dead."
Today Chen does all the work alone.
Chen enjoys talking to visitors and explaining history and art of black pottery; he gives small souvenirs.
Occasionally there are buyers.
"But they prefer giant vases with complicated patterns, which frankly are not the true expression of Liangzhu Culture," he says.
The true expression is found in relatively small vessels of "primitive simplicity."
But Chen has learned to compromise and please the customers; after all, he needs to make a living. He still explains first to buyers the beauty of the simple pottery.
Those interested can visit the Jinshan Farmer Painting Institute at 300 Jiankang Road, Zhujing Town.
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