When Gerong Nongbu was young, about 9 years old, his father made potteries at night and his father held a kerosene lamp for him. Today, things have become convenient. They can do what they like at any time. Electricity does make their life convenient.
The making of black potteries has existed at their village since ancient times. It’s has been passed down from former generations to your generation.
Today, Gerong Nongbu seems very happy. Zhishi Pichu wonders if he can take this opportunity to tell father that he wants to go out to find a future. He has gotten tired of potting and potting every day.
Despite father’s objection, Zhishi Pichu still finds that his attitude is far milder than three years before.
Gerong Nongbu said, “My son is the third-generation inheritor in this family. For us, pottery is something we live on. More than that, it has been passed down for three generations and should be further passed down. That’s what I think.”
Zhishi Pichu said, “I’m already tired of potting. I want to embrace the outside world. In that way, I can learn a lot and benefit a lot.”
Father clearly believes that the son must be skilled in crafts before he leaves. That’s a premise. But currently, Gerong Nongbu is unsatisfied with Zhishi Pichu’s skills.
It does not need many skills to process these raw materials, but consumes much energy. When the father saw Zhishi Pichu’s black pottery toys, he happily said, “Good job. It’s very beautiful. You’re young. It’s correct to try something different at a young age. Very good.”
Zhishi Pichu can’t believe that his long-hidden toys are actually well recognized by his father.
In 12 years of learning pottery, Zhishi Pichu makes great efforts every day. But it’s the first time for him to receive such praises from his father. In high spirit, he’s even more energetic about potting.
It’s a nice day today. Gerong Nongbu decides to make some black potteries. All family members turn out and transfer preforms to the site of kiln.
Gerong Nongbu: To be a good craftsman in black potteries, you should pay attention to every detail from excavating red clay to blending clay to molding to kilning.
Kilning is the last, decisive process in the making of black potteries. For the first time, Gerong Nongbu lets his son play a leading role in this process. Despite tiredness, Zhishi Pichu enjoys it very much.
It’s an art of fire and earth. They don’t know what patterns fire will leave on these preforms. They’d like to wait patiently for results just like their ancestors. Gerong Nongbu always insists that it’s a need of existence and an ancestral task to pass down black potteries. Sitting beside the kiln, he seemingly sees the future of this thousand-year-old craft to be inherited by his descendants.
This is a story about a potter father and his son, a story about inheriting and promoting traditions.
