god of the kiln 窑神【童宾】

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民间传说，窑神童宾原是一位 烧瓷技师，明朝万历年间，在景德镇奉旨烧制大器青龙缸，久制不成，负责督造的太监潘相便苛待和迫害服役瓷工，童宾为示抗议，纵身窑内，以骨做薪，龙缸逐烧制成功。<br> 童宾之死，解救了窑工，也激起了民愤，官府为安抚民心，应民愿为童宾立祠，称颂童宾为“风火神”（又称“风火仙人”）。自此之后，景德镇烧窑业皆尊其为“窑神”。<br> 这一幅《窑神》，描绘的即是童宾以身殉窑，坐化为窑神的过程。凡身的童宾以盘龙为坐，龙首随着白焰飞升，隐喻龙缸借童宾殉窑烧制成功。上方幻化的窑神则身形巨大，四对手臂，一对伏火，一对扬水，一对润土，一对祈运。水、火、土、运，皆是烧窑不可缺少的要素。除了窑神手中运作，还以不同的形态或符号出现在画中。<br> 画面着重描绘火的炙热和风的气流感，以应“风火神”之名。并以对比强烈的构图，寓意渺小的凡人以高尚的精神也可释放出强大的能量，以意堪神。<br> <br>God of The Kiln【Tong Bin】<br>Folklore and history blend together in the figure of the legendary “God of The Kiln”. The basis for this figure, Tong Bin, was originally a highly skilled kiln technician. He was responsible for the firing of porcelain pieces during the reign of the Emperor Wanli, of the Ming Dynasty, in the ancient capital of Chinese ceramicware Jingdezhen, Jiangxi Province. One day he received an imperial order to fire an ornate Blue Dragon vessel of prodigious size and exquisite craftmanship. The massive vessel was subjected to the firing process for an unheard-of length of time, yet still it could not be finished. The court eunuch Pan Xiang, who supervised the construction, mercilessly abused and persecuted the porcelain workers for this. As pressure mounted to unbearable levels, Tong Bin became increasingly concerned for his fellow workers. Finally, in a gesture of protest, he leapt into the kiln, accelerating the combustion with his own flesh and bones. At last, the grand Blue Dragon vessel was retrieved from the kiln, perfectly finished.