[Continued] The third unit of the "Wangjun Ji'an" exhibition is "Kiln Transformation for a Thousand Years", which mainly introduces the long-standing relationship between Ji'an and porcelain.

As a large kiln in Jiangxi during the Song and Yuan Dynasties, Jizhou Kiln kept pace with Jingdezhen Kiln. It was unique in its black glazed porcelain. The convenience of Ganshui is well-known overseas.

Unique natural resources, profound humanistic heritage, and the intelligence of Luling people have ignited the raging fire of Jizhou kiln. Its innovative ability can be regarded as a model and model of folk kiln, and it has written an immortal chapter in the history of Chinese ceramics.

Ji'an was called "Jizhou" in the Song Dynasty. Jizhou kiln is a treasure in the traditional porcelain making process of the Han nationality. As a world-famous comprehensive porcelain kiln in the Jiangnan area, it has a strong local style and artistic characteristics of the Han nationality.

Jizhou Kiln's rich experience in firing porcelain, and skilled craftsmen have played a very important role in promoting the development of the porcelain industry in Jiangxi. The ancient kiln in Jizhou flourished in the late Tang Dynasty, flourished in the Song Dynasty, and declined in the late Yuan Dynasty.

Jizhou kiln products are exquisite and rich, especially black glazed porcelain (also known as Tianmu glazed porcelain) products, and its original "wooden leaf Tianmu", "paper-cut decal Tianmu" and "tortoise shell Tianmu" are well-known both at home and abroad.

There are many showcases and exhibits in the third unit, which need to be appreciated carefully.

The first showcase in the third unit introduces some early black-glazed porcelains of Jizhou Kiln, and the color is relatively simple.

The second showcase focuses on "Kiln Changes and Speckled Colors". The black-glazed porcelain with kiln changes and spotted colors is the most distinctive product of Jizhou Kiln. There are cultural relics and treasures in this exhibition hall!

Bowl with wooden leaf decals, Song Dynasty (960-1276), 5.5 cm high, 14.8 cm in diameter, 3.8 cm in foot diameter, collected by Jiangxi Provincial Museum. This bowl is a tea drinking utensil. Decorated with wood leaf patterns, wood leaf decals are a decorative technique that is only found in Jizhou kiln black glazed tea cups. The specific method is to soak and process the mulberry leaves, stick them on the green body that has been applied with Guohei glaze, apply the yellow glaze neck and fire at a high temperature at one time. When the phosphorus pentoxide in the mulberry leaves is roasted, it will not fuse with the iron glaze and separate, and the black glaze will show a clear pattern of leaf veins. The wood leaf applique decoration pursues the unity of nature and man, which is in line with the highest state of Zen "no pretense, nature itself". The beauty of nature and the beauty of man-made are perfectly combined here.

After kiln transformation, there are two typical spot colors, one is tortoiseshell spot and the other is tiger skin pattern.

A tortoiseshell bowl with a pair of handles, Southern Song Dynasty (1127-1276), 8.2 cm high, 13 cm in diameter, 5.6 cm in foot diameter, collected by Ji'an Museum. This bowl and holder are in one piece, and the outer wall is a natural tortoiseshell color, which is very interesting. The method is to apply a glaze with a higher iron oxide content on the utensils first, and then randomly sprinkle a glaze with a lower iron oxide content, which will blend and flow when fired, and change in ever-changing ways.

In the third showcase, we should pay attention to the exquisite "rabbit hair pattern" in the showcase here.

Picking flowers made on the body of the black glaze bottle

The fourth showcase introduces "paper-cut decals" on the black glaze.

The fifth showcase displays glazes in other colors.

The sixth showcase introduces the underglaze colored porcelain of Jizhou Kiln in the Southern Song and Yuan Dynasties. There are many exhibits in this counter.

Underglaze painted jar with leaping deer pattern, Southern Song Dynasty (1127-1276), caliber 10.4 cm, bottom diameter 7.8 cm, overall height 19 cm, collected in Luojia Collection, Nanchang County, Jiangxi Province in 1970, Chen Shi, the second year of Jiading in Southern Song Dynasty (1209) Unearthed from the tomb, collected by Jiangxi Provincial Museum. The Leaping Deer pattern of the Song Dynasty is a decorative pattern full of individuality and era characteristics of Jizhou Kiln. It appears in the form of underglaze painting, which is not seen in other kiln mouths of the same period. The deer's eyes are wide open, its ears are pricked up, its mouth is full of green grass, its limbs are thin and small, its body is tight, its body is bowed and its tail is raised. The craftsman captured the dynamics of the deer jumping into the air, vividly portraying the alertness of the deer in the running state, which is concise, vivid, lively and lovely. The pattern theme of the whole device is prominent, reflecting wealth and auspiciousness, and looking forward to happiness. The pattern is well-proportioned and harmonious, natural and perfect, giving people a refreshing and light feeling.

The seventh showcase introduces the non-mainstream green glaze of Jizhou kiln.

The eighth showcase introduces tools made of porcelain, as well as kiln tools.

The ninth showcase introduces stationery and statues made of porcelain.

Statue of Sakyamuni with plain body, Northern Song Dynasty (960-1127), 30.5 cm high, unearthed from the Pagoda of Benjue Temple, Yonghe Town, Ji'an County, Jiangxi Province in 1984, collected by Jizhou Kiln Museum. There is a Pagoda of Benjue Temple in Song Dynasty on the ancient kiln site of Jizhou Kiln. Because the pagoda is located next to Benjue Temple, it is called Benjue Temple Pagoda. The tower was first built in the Kaiyuan period of the Tang Dynasty (713-741). It was damaged in history, and it has been preserved until now after being rebuilt in the Song Dynasty. It was renovated in 1984, and some relics of the pagoda were unearthed, and this plain Buddha statue is one of them.

Walking through this archway, you will arrive at the fourth unit of the "Wangjun Ji'an" exhibition - "Glorious Luling", which focuses on the development of education in the history of Jizhou and the celebrities in the history of Ji'an.

Ji'an was called "Luling" in ancient times. It has a history of more than 2,000 years since Qin Shihuang destroyed Chu in the 25th year (222 BC) and established Luling County. The literary style flourishes here, and talents come forth in large numbers. Since ancient times, it has been an important cultural town radiating the Jiangxi River Basin and even the Jiangxi region. Its profound Confucian teaching tradition and local humanistic character of uprightness and loyalty together constitute a regional characteristic culture of "equal attention to integrity and righteousness". ——"Luling Culture" had a profound influence on the process of Chinese history and civilization.

The first part of this unit is "Chongwen Emphasis on Education", introducing Ji'an's education.

The glass showcase in the center of the exhibition hall uses wooden models to introduce the many academies established in Ji'an during the Song and Yuan Dynasties.

Wenshan Academy

Shiyang Academy

Four Teaching Academy

People in Luling love to learn, are eager to learn, and are also good at running schools. Many academies and schools have been built in various places.

The second part of this unit is "Luling Starry Sky", which introduces celebrities in the history of Ji'an.


In a long showcase on the south side, there are cultural relics such as hand scrolls, inscriptions, and printed and engraved anthologies of Ji'an celebrities.

The first one introduced was Xie Jin, the editor-in-chief of "Yongle Dadian".

The second celebrity introduced is Luo Hongxian. Luo Hongxian, courtesy name Dafu, nicknamed Nian'an, Han nationality, was born in Huangchengxi, Jishui, Ji'an Prefecture, Jiangxi Province. He was a scholar in the Ming Dynasty and an outstanding geographic cartographer. He devoted his whole life to the scientific research of geography, "researching maps and observing history", and found that the maps at that time were too dense and inaccurate, and the distance was wrong, so he went out to investigate and collect data in person, and planned to recompile a map with rich content and accurate geographical location, so as to The method of planning and drawing squares, creating map symbol legends, and drawing them into "Guangyu Map". Created in the form of an atlas, it not only inherited Zhu Siben's cartography method, but also developed it to make the map more scientific and practical. Luo Hongxian can be regarded as the greatest cartographer in the East at the same time as Mercator.

The third is Zhou Chen, Zhou Chen (1381-1453), styled Xunru, nicknamed Shuangya, born in Jishui, Jiangxi. A famous minister in the early Ming Dynasty, known for his good financial management. In the second year of Yongle (1404), Zhou Chen ascended the rank of Jinshi and made up for the Shujishi of the Imperial Academy. In the following year, he entered Wenyuan Pavilion, searched for the head of the Ministry of punishment, and joined Yuanwailang. In the first year of Hongxi (1425), he moved to the governor of Yuefu. In the fifth year of Xuande (1430), he was appointed as the right servant of the Ministry of Industry, and was ordered to inspect the south of the Yangtze River and the governor of taxation and food. During his twenty-two years in office, he often visited the people in private to ask about their sufferings. Arranging owed taxes, reforming the tax law, and repeatedly asking for reductions and exemptions of Jiangnan's heavy taxes. Repeated calculations with Kuang Zhong, the magistrate of Suzhou, reduced the Fu of Suzhou Yifu from 2.77 million shi to more than 720,000 shi. The remaining prefectures are reduced in order. Tired officials and ministers of the Ministry of Industry and Commerce are still governors. In his later years, he was falsely accused and dismissed from office, and returned home. He died in the fourth year of Jingtai (1453) at the age of seventy-three, with the posthumous title of "Wenxiang". Author of "Shuangya Collection".

In the display cabinet opposite, the typographic movable type and ink pad box are exhibited.

Four cultural relics are exhibited in the south showcase, looking from right to left:

The cultural relics on the right in the showcase on the right are lithographs and inkstones of Liu Dingzhi, a writer of the Ming Dynasty.

The square stone next to it is the epitaph of Ouyang Duo, Shangshu of the Ministry of Industry in the middle of Ming Dynasty

The cultural relics are not very clear, but the rubbings are much clearer.

On the right side of the showcase on the left is a "tribute sheet", which is the "admission notice" after the candidate has passed the entrance examination.

On the far left is the most precious cultural relic - Huang Tingjian's "Imperial Ring Stone Inscription"

I won't introduce much about Huang Tingjian, everyone knows it. Let's quickly take a look at this precious cultural relic against the rubbings!

I have seen these words engraved in many ancient official ruins, all marked as written by Huang Tingjian, but I saw the real original here, what a surprise!

On the right are eight "camphor wood motto hanging screens", on the front are the bookcases of the students when they were rushing for the exam and the blue and white porcelain incense burner dedicated to the ancestors in the ancestral hall, and on the left are the "number one scholar and the first bronze mirror". " and "Wooden Nine-Dragon Lamp".

Zhangmu motto hanging screen, Qing Dynasty (1644-1911), 146 cm long, 63 cm wide, 7 cm thick, 8 pieces in total, collected by Ji'an Museum.

Camphor wood is selected as the material for the hanging screen. Hanging screens are popular decorations in the halls of Luling folk houses. The main contents are Zhu Zi's aphorisms, flowers, birds, fish and insects, plum, orchid, bamboo and chrysanthemum, which warn the descendants and teach through decoration. This set of hanging screens uses wood carving and gilt craftsmanship, combining the meaning of the article with the ingenuity of woodwork.

"Zhang's Ancestral Hall" blue and white dragon pattern incense burner, Qing Dynasty Guangxu ten years (1894), caliber 34 cm, foot diameter 19 cm, height 23 cm, Xingan County Museum collection


Since the Northern Song Dynasty, many aristocratic families have gradually formed in Ji'an. The families built ancestral halls, organized education, cultivated folk customs, and cultivated a large number of talents. The abdomen of this censer is decorated with a blue and white painted tablet "Zhang's Ancestral Hall", and from right to left, it is divided into three vertical lines: "Jiashen June Jili in the 10th year of Guangxu, in front of the seat of the ancestors, presented by the 17th Sun Peilin".

Wooden Nine-Dragon Lantern, Qing Dynasty (1644-1911), 86 cm high, 28 cm long and 14 cm wide at the bottom, collected by Ji’an Museum. Kowloon lanterns are popular in Ji'an area. It is composed of dragon and sword, implying that the dragon will circle the pillar and the career will be successful. Nine oil lamps are installed on the body of the dragon, which are brightly lit after being lit. It is mostly used in academies and family ancestral halls, and is an important symbol of Ji'an farming and reading inheritance.

In the showcase on the left are two precious Duan inkstones.

In the next session, we will focus on introducing "Bailuzhou Academy", one of the four major academies in China, and the national heroes who have come out of Bailuzhou Academy.

These showcases display cultural relics related to Bailuzhou Academy

This showcase exhibits stationery and other items used by students of Bailuzhou Academy, all of which are collected by Bailuzhou Academy.

The introduction documentary of Bailuzhou Academy is shown on the TV

Let’s start with the cultural relics on the leftmost side of the opposite showcase, and see a stone stele in the showcase, with the word “Poetic Realm” on the rubbing above it, what kind of cultural relic is this?

It turns out that the word "Poetry" was written by Lu You, and the inscription and postscript were inscribed by Chen Fengxiang, the magistrate of Taihe County during the Guangxu period.

The cultural relic to the right is a wooden longevity screen. Let's take a look at the details of the zoomed-in shot.

These two are the examination papers of Qing Dynasty candidates collected by Bailuzhou Academy. Take a look at this beautiful small script.

Further to the right, on display in the showcase is the "Complete Works of Prime Minister Wen Shan" collected by Bailuzhou Academy

Everyone knows that Wen Tianxiang is a national hero, but through this exhibition, we need to know that he came from Bailuzhou Academy in Ji'an, and he is from Ji'an.

Take a look at these handwritten books written by the students of Bailuzhou Academy

The display cabinets are full of cultural relics collected by Bailuzhou Academy, see the photos below for details.

The display cabinets are full of cultural relics collected by Bailuzhou Academy, see the following photos for details.

The display cabinets are full of cultural relics collected by Bailuzhou Academy, see the photos below for details.

In the exhibition hall, a wall in Bailuzhou Academy was restored. There is a carp pattern in the center of the wall. Does it imply "carp jumping over the dragon's gate"?

This session tells about the journey of Ji'an people going to the whole country, and the friendship of geo-cultural blood is thicker than water.

Turning around is the last unit of the "Wangjun Ji'an" exhibition, the fifth unit - "Red Cradle". In this unit, many cultural relics are used to show those of us who grew up in the peaceful age that period of greatness, heroism, and epic red years. It's a pity that when I visited this unit, it was already 17 o'clock in the afternoon, and the staff urged me over and over again, so I was a little "flying around" in this unit! So I was busy taking photos of various scenes and key cultural relics, so I didn't have time to read the text introductions of each cultural relic carefully. Today, I can only post photos for travel friends.

Jinggangshan, the cradle of Chinese revolution. The Chinese Communists, represented by Mao Zedong, combined the universal principles of Marxism with the concrete practice of the Chinese revolution, igniting the spark of "armed separatism between workers and peasants" here; creating China's first rural revolutionary base; A road of encircling the city from the countryside and seizing political power with armed forces; the most precious treasure left to us during the Jinggangshan struggle period is the spirit of Jinggangshan that spans time and space. We must combine the conditions of the new era, firmly pursue our ideals, seek truth from facts and break new paths, work hard to overcome difficulties, rely on the masses to win, and let the spirit of Jinggangshan radiate the light of the new era.

Jinggangshan, the eternal spiritual home of the Chinese Communists, is the great beginning of the Sinicization of Marxism.

This scene is called "The Lights of the Octagonal Building", and we know that "hardship and hardship, Yuru Yucheng"!

Back then, Chairman Mao wrote these two articles here, leading the Chinese revolution to victory

The cultural relic on the left is the "Certificate of the First County Workers, Peasants and Soldiers Congress in Suichuan County", a cultural relic in 1928 with a residual height of 16.5 cm and a residual width of 11.2 cm, which is in the Suichuan County Museum. On January 24, 1928, after the establishment of the first red political power created by Comrade Mao Zedong himself, the Workers, Peasants and Soldiers Government of Suichuan County, he led the people of the county to launch a vigorous agrarian revolution and successively established ten district workers, peasants and soldiers governments. On December 9, 1928, the first county-wide Workers, Peasants and Soldiers Congress of Suichuan County was held in Xiazhuang Village. The meeting summarized the work of the county Soviet government in the past year, and strengthened the construction of the red regime and local armed forces. Specific arrangements were made for the work of carrying out the land revolution struggle; the new leadership team of the county Soviet government was elected, and the "Official Letter No. 1 of the Soviet Government of Suichuan County Workers, Peasants and Soldiers" was issued on the election results. This cloth representative card comes from Jiang Zhengguang, the representative of the conference.

The cultural relic on the left is "Land Tax Exemption Certificate Receipt of Longtian Township, Kailun District, Gonglue County", 1927-1937, collected by Jinggangshan Revolutionary Museum. There is a black line frame around this receipt, the top of the frame is a horizontal grid, and "Land Tax Exemption Certificate Receipt" is printed from right to left; the content below is a vertical line, with tax exemption specific content written respectively; there is a half circle in the upper left corner Formed red seal, below is the small red square seal of the township chairman and a triangular red seal, but the printed text has been blurred. This receipt reflects the Soviet government's preferential land tax policy for workers during the Agrarian Revolution, and provides a strong testimony to the land policy in the Soviet area.

The cultural relic on the right is "The Bugle Used in the Battle of Longyuankou", 1928, 29.5 cm high, 2.5 cm in diameter, 11 cm in bottom diameter, in the collection of Hunan-Jiangxi Revolutionary Memorial Museum. When the Chinese army was first established, there was a company number system. In 1931, during the Red Army period, there were more than 300 military numbers issued. The bugle and division number system is part of the military's characteristic culture and a symbol of tenacious spirit. It is indispensable for boosting the morale of the army, inheriting the red gene, and carrying forward the red tradition. This number was used by the 29th Regiment of the Fourth Red Army in the "Battle at Longyuankou". The red cotton strips on the neck of the bugle were tied by the Red Army soldiers themselves. This number once played an important role in the Longyuankou battle during the Jinggangshan struggle.

In the entire visiting area of ​​the fifth unit, I was basically alone in the constant urging to "fly around".

At 17:05, I got out of the door of the exhibition hall, which was half closed by the staff, and ended the whole eight-hour visit with biscuits to satisfy my hunger, but I was full of spiritual food and harvested a lot! 【End of the full text】