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Laohu’s “Leaf Jars” and “Bowl Flowers”
Laohu’s “Leaf Jars” and “Bowl Flowers”
In Yunnan, walking through villages deep in the mountains, you can find a “Leaf Jar” used for pickling vegetables in any villager’s kitchen. The bowls and dishes used for meals back then were a type of Laohu blue-and-white glazed ceramic crane bowl, which the locals called “Bowl Flowers.” The freehand-style white crane in the “Blue-and-White White Crane Bowl,” painted with a “blue-and-white glaze” made from ground cobalt ore from Yunnan, is vividly lifelike, flying with serene grace. Who would have thought that it was this “Bowl Flower—Zhumingliao” from Yunnan that created the legend of Jingdezhen’s “blue-and-white porcelain,” making “blue-and-white porcelain” synonymous with “China” and taking the entire European continent by storm.
The ancient pottery village of Laohu is only 30 kilometers from Qujing and has a long history of pottery making. By the late Yuan and early Ming dynasties, it had already formed a sizable ancient ceramics town, earning it the nickname “Little Yunnan.” In Laohu, almost every family knew how to fire pottery—the north of the village made bowls; the south fired jars, basins, and pots; and the center produced lamps and incense burners. The sayings “the jars of Maomaoshi” and “the bowls of Laohu” became famous far and wide, cherished tales passed down through generations.
However, even an ancient pottery village like this, amidst China’s rapid economic development and the impact of the commercial market, faces numerous constraints. Traditional, ancient pottery-making techniques have long been replaced by modern industrial methods. In Laohu, handmade pottery has been substituted by mass production, and it is difficult to see the rustic sight of “oxen treading clay and feet kicking the wheel” anymore. The few remaining wood-fired ancient dragon kilns are affected by many factors and are struggling to continue. The traditional black-glazed “Leaf Jars” and “Blue-and-White White Crane Bowls” are even harder to find; all that is left for me is merely a wisp of nostalgia.
In recent years, I have searched and visited countless times—at the 2,700-year-old shell mound site of the Bataitai ancient tombs, at the 400-year-old ancient dragon kiln ruins, in old pottery workshops, at the foot of colorful clay mountains, visiting old master craftsmen in their studios, sifting through mounds of shattered porcelain and pottery shards, under the chimneys outside modern ceramic factory walls, and along the ancient channels and wharves of the Panlong River that once bustled with worldly noise. Again and again, I have relentlessly used my own footsteps to measure and explore my fond memories of this land...
Today, what photography can do is only to capture this very moment. To capture a thousand years of history, one can only do so through the lens of present scenes, repositioning people’s memories and one’s own within them to seek out the beautiful times of the past. Through this, one creates a space where the meaning of real life and historical memory intersect, weaving together the multiple scenes of the present and the past. This allows Laohu, in the midst of the conflict and collision between its current history and reality, to revisit old dreams and look toward the future. And as for me, I can only continue to extend those few childhood memories I have within these scenes of reality.
潦浒的“叶子缸”和“碗花”
潦浒的“叶子缸”和“碗花”
在云南，走在大山里深处的村庄里，你无论到任何一家村民的厨房里，都能见到村民用于腌制酱菜用的“叶子缸”。而那时吃饭的碗碟用的就是一种被当地人称之为“碗花”的潦浒青花釉陶瓷白鹤碗。“青花白鹤碗”中那只用岀自云南的矿料钴碾制的“青花釉”画的写意白鹤，更是栩栩如生，悠然飞翔。又有谁曾想到，正是岀自云南的“碗花——珠明料”，造就了一个景德镇“青花瓷”的神话——使得“青花瓷”成了“China•中国”的代名词，风靡整个欧洲大陆。
潦浒古陶村离曲靖仅30公里，制陶旳历史悠久，在元末明初就已形成一定规模的陶瓷古镇，素有“小云南”之称。在潦浒，几乎家家都会烧制陶器——村北制碗，村南烧缸、盆、罐，村中烧制灯盏、香炉，而“猫猫石的缸”、“潦浒的碗”更是远名四方，成为了后人传颂的佳话。
然而，就是这样一个烧制陶瓷的古村落，同样也在当今中国经济的飞速发展中，在商品市场的冲击下，也面临着诸多桎梏，传统的古法制陶工艺早已被现代制陶工业所取代。在潦浒，手工制陶也被规模化的生产所替代，再也难见古朴的“牛踩泥、脚踢盘”；为数不多的古龙窑柴烧更是备受诸多因素的影响，已难以为继；传统的黑秞 “叶子缸”和“青花白鹤碗”更是难寻踪迹；留给我的仅仅只是一絲念想。
近年来，我曾无数次地寻踪觅访——在2700年前的八塔台古墓地贝丘遗址，在400年前的古龙窑遗址，在古老的制陶坊，在五彩斑斓的陶土山下，在陶坊探访制陶老工匠，在堆积如山的碎瓷、碎陶片的堆积层下，在现代瓷厂围墙外的烟囱下，在曾喧嚣尘世的盘龙江古河道、古码头，等等、等等，我都不停地在用脚步去丈量探寻着我对这块土地的美好回忆……
在当下，摄影所能做的就只能是拍摄此时此刻。捕捉千年的历史，也只能是透过现实的场景，把人们和自己的记忆重新置于其中，去寻觅过去的美好时光，并以此创造出一种基于现实生活意义与历史记忆的交汇空间，把属于当下，属于历史的多重场景交错汇合，让潦浒在当下历史与现实的矛盾冲突与碰撞中，重温旧梦，展望未来。而我也就只能是在现实的场景中，去延续那儿时仅有的记忆了……
랴오후의 ‘엽자강’과 ‘완화’
랴오후의 ‘엽자강’과 ‘완화’
윈난의 깊은 산골 마을을 걷다 보면, 어느 집이든 부엌에서 쉽게 볼 수 있는 것이 바로 채소절임을 담는 ‘엽자강(叶子缸)’이다. 또 그 시절 식사 때 쓰이던 그릇은, 현지인들이 ‘완화(碗花)’라 부르던 랴오후(潦浒) 청화 유약 도자기로 만든 백학무늬 사기그릇이었다. 이 ‘청화백학완(青花白鹤碗)’에 그려진 백학은 윈난에서 채굴된 광물 코발트를 곱게 갈아 만든 ‘청화유(靑花釉)’로 그려졌으며, 그 자유롭고 생동감 넘치는 표현은 실로 절묘했다. 누가 알았을까. 바로 이 윈난에서 출발한 ‘완화’, 즉 ‘주밍료(珠明料)’가 경덕진(景德镇)의 ‘청화자기’ 신화를 가능하게 했고, 결국 ‘청화자기’는 중국(China)을 대표하는 이름이 되어 유럽 전역을 매료시켰다는 사실을.
랴오후 고도자기 마을은 취징(曲靖)에서 불과 30km 떨어진 곳에 있으며, 원나라 말기부터 명나라 초기에 이르기까지 이미 규모 있는 도자기 마을로 형성되어 ‘작은 윈난’이라 불리기도 했다. 랴오후에서는 거의 모든 가정이 도자기를 구웠다. 마을 북쪽에서는 그릇을 만들고, 남쪽에서는 단지와 항아리를, 마을 중심에서는 등잔과 향로를 구웠다. 특히 ‘마오마오석의 단지’와 ‘랴오후의 그릇’은 이름을 널리 알리며 전설처럼 구전되었다.
그러나 이러한 도자기 전통 마을조차 오늘날 중국의 급속한 경제 발전과 시장 경제의 파고 속에서 위기를 맞이하고 있다. 전통적인 고법 수제 도자기 기법은 이미 현대 도자 산업에 밀려 사라졌고, ‘소가 진흙을 밟고, 발로 물레를 차던’ 소박한 풍경은 이제 찾아보기 어렵다. 얼마 남지 않은 전통의 장작 가마마저도 여러 현실적 제약에 부딪혀 지속되기 어려운 실정이며, 전통의 흑유 ‘엽자강’과 ‘청화백학완’ 또한 자취를 감추고 있다. 나에게 남겨진 것은 그저 아련한 기억뿐이다.
지난 수년간 나는 랴오후를 따라 끝없이 흔적을 찾았다. 2,700년 전의 바탑타이 고분지 유적, 400년 전의 고룡요(古龙窑) 유적, 고제 도자기 작업장, 다채로운 색을 띠는 도자기 토산, 도공 장인을 찾아다닌 도자기 공방, 산처럼 쌓인 도자기 조각들의 퇴적층, 현대 도자 공장의 굴뚝, 한때 번성했던 판장강(盘龙江)의 고대 수로와 부두 등, 나는 발걸음을 멈추지 않고 그 땅에 대한 아름다운 기억을 더듬어 갔다.
오늘날 사진이 할 수 있는 일은 단지 ‘지금 이 순간’을 기록하는 것이다. 천년의 역사를 포착할 수 있다면, 그것은 오직 현재의 장면을 통해 사람들과 기억을 다시 그 안에 배치함으로써 과거의 아름다움을 더듬어 보는 것이고, 그 안에서 현실의 삶과 역사적 기억이 만나는 교차 공간을 창조하는 것이다. 그렇게 하면 우리는 현재와 과거의 다양한 장면을 포개고 이어 붙일 수 있다. 랴오후 역시 오늘날의 역사적 충돌과 현실적 모순 속에서 다시금 오래된 꿈을 되새기고, 미래를 그려볼 수 있다. 그리고 나는, 이 현실의 장면 속에서 어린 시절의 그 기억을 조용히 이어갈 뿐이다.
胡群山
女 、 回族 、 祖籍浙江、生于云南
中国摄影家协会会员
云南省摄影家协会会员
曲靖市摄影家协会理事
现为自由摄影人
个展
2024 《离离原上草……》参加“2024’（第十届）韩国首尔国际摄影节｜韩国·首尔
2023 《离离原上草……》参加“2023’（第十一届）
西双版纳国际影像展——一条大河·双年展”
｜云南·景洪
《离离原上草……》参加红河影像艺术中心摄影展｜云南·蒙自
2022 《潦浒的“叶子缸”和“碗花”》入围2022·中国民族影像志摄影双年展｜北京
2021 《缅甸 —— 一个佛系的国度》参加“2021’（第
十届）西双版纳国际影像展——一条大河·双年
展”｜云南·景洪
2020 《寻觅怒江》参加中国三门峡自然生态国际摄影大
展“生态美·文明兴—母亲河·天鹅湖”特约作品
展｜河南·三门峡
2019 《雪域的纬度》参加中国三门峡自然生态国际摄影
大展“共生·大同—母亲河·天鹅湖”特约作品展｜
河南·三门峡
2018 《潦浒的“叶子缸”和“碗花”》参加“2018’（第
七届）西双版纳国际影像展——一条大河·双年
展”｜云南·景洪
《刘麦地——珠江源头第一村》参加“2018’首届
北镇国际摄影大展”｜ 辽宁•沈阳
《卡瓦格博的朝圣之路》入围“第二届中国民族影
像志摄影大展”｜北京
《宁静的山村，不平静的时光》参加第三届宁波国
际摄影周展｜浙江•宁波
2017 《卡瓦格博的朝圣之路》参加“2017’（第六届）
西双版纳国际影像展——云的下面，故乡之路……中
国少数民族摄影师摄影作品展”｜云南·景洪
《刘麦地——珠江源头第一村》 参加多彩贵州·第
十届中国原生态国际摄影大展｜贵州凯里·雷山
《古山——儿时的念想》参加第三届中国凤凰民俗摄影双年展｜湖南•凤凰
《卡瓦格博的朝圣之路》参加“保持纪录”——2017’西安囯际摄影邀请展｜陕西•西安
2016 《卡瓦格博的朝圣之路》参加“2016’第四届西双版纳国际影像展——一条大河•金孔雀双年展”｜云南•景洪
2014 《刘麦地——珠江源头第一村》 参加“第三届西双版纳国际影像展——2014’在水一方•金孔雀双年展”｜云南•景洪
2012 《宁静的山村，不平静的时光——岔河2010……》第十二届平遥国际摄影大展｜山西•平遥
《宁静的山村，不平静的时光——岔河2010……》参加“第二届西双版纳国际影像展•一条大河”摄影展｜云南•景洪
2010 《宁静的山村，不平静的时光——马路乡抗旱影像 日志》，个人专题幻灯展｜云南•曲靖
群展
2025年 《珠江·时间—— 2018～2024》王璜生、许培武、于涛、胡群山四人摄影联展在广州美术馆举办｜中国·广州
2022 《离离原上草……》参加第九届济南国际摄影双年展｜山东•济南
《寻觅怒江》参加参加2022韩国平泽国际摄影展｜韩国•平泽
《寻觅怒江》参加《江河影像》2022第五届宁波国际摄影周｜浙江•宁波
2021 《远山的呼唤—海拔3500米高度风景》参加第九届大理国际影会“中国风景”摄影联展｜云南•大理
2019 《古山——儿时的念想》参加“2019’（第八届）
西双版纳国际影像展——影像创作在地性研讨会
摄影作品展”｜云南•景洪
《卡瓦格博的朝圣之路》参加 “2019’第二届韩国
仁川亚洲海洋媒体艺术节国际摄影展”｜韩国·仁川
《寻觅怒江》参加“2019’《故乡的路》中国少数
民族优秀摄影师作品展”入围展｜贵州凯里·郎德
2016 《血色——史迪威公路》参加“国家艺术基金2014年度创作优秀项目作品”全国二十个城市（北京、南昌、厦门、沈阳、长春、昆明等）巡回展
《血色——史迪威公路》参加2016’永平“博南文化节”—“古道留㾗•二人摄影联展”｜云南•永平
《血色——史迪威公路》参加“古道留㾗•三人摄影联展”｜云南•勐海
2015 《血色——史迪威公路》参加“不能忘却的纪念
——纪念中国抗日战争暨世界反法西斯战争胜利
70周年摄影联展”｜大理、保山、昆明巡展
2014 《将逝的驿站》参加第十四届平遥国际摄影大展——“浪漫与悲情——云南的当下摄影” 提名展｜山西•平遥
《古山——儿时的念想》参加“前后左右——云南 1960～1990年代当代影像提名展”｜云南曲靖、昆明、蒙自巡回展
2013 《宁静的山村，不平静的时光——岔河2010……》参加首届马来西亚槟城OBSCURA国际摄影节｜马来西亚•槟城
2012 《雪域的纬度》参加第四届大理国际影会“再看风景”影像联展｜云南•大理
2011 第三届大理国际影会：《龛里龛外—云南摄影的道 外之道》影像联展｜云南大理•而居美术馆
《像外之象》｜昆明•框余画廊
2010 《宁静的山村、不平静的时光》 参加地区抗旱救灾
摄影展｜云南•曲靖
《云南抗旱救灾摄影作品展》｜昆明、北京•中国摄
影家协会影廊
获奖
2023 《离离原上草……》获“2023’（第十一届）西双版纳国际影像展——一条大河双年展”获最佳摄影展览奖
2022 《离离原上草……》获第九届济南国际摄影双年展优秀摄影师奖｜山东•济南
2019 《血色——史迪威公路》获第八届云南省文学艺术
创作奖“纪实摄影类•摄影作品奖”
《血色——史迪威公路》荣获获第十九届平遥国际
摄影大展“凤凰卫视优秀摄影画册奖”
《寻觅怒江》获北京•映画廊第三届“故乡的路——
中国少数民族摄影师摄影作品展”优秀少数民族
摄影师
2018 《潦浒的“叶子缸”和“碗花”》获“2018’（第
七届）西双版纳国际影像展——一条大河双年展”
优秀展览提名奖
《卡瓦格博的朝圣之路》获“第二届中国民族影像
志摄影大展” 优秀作品奖
2017 《古山——儿时的念想》获第三届中国凤凰民俗摄影双年展 “金凤凰”优秀展览奖
2016 《卡瓦格博的朝圣之路》获“第四届西双版纳国际影像展——2016’一条大河•金孔雀双年展”优秀摄影师提名奖
《血色——史迪威公路》荣获“国家艺术基金2014
年度创作优秀作品并予以收藏”，并进入2016年
滚动资助项目
2014 《将逝的驿站》获第十四届平遥国际摄影大展“社
会生活类优秀摄影师奖”
《刘麦地——珠江源头第一村》获“第三届西双版纳国际影像展——2014’在水一方•金孔雀双年展”最佳摄影师提名奖
2013 《宁静的山村，不平静的时光——岔河2010……》 获云南文艺基金贡献奖
2012 《宁静的山村，不平静的时光——岔河2010……》获“第二届西双版纳国际影像展•一条大河” 优秀摄影作品奖
收藏
中央档案馆、云南省档案馆、国家艺术基金、
大理摄影博物馆、保山市博物馆、昆明市文化馆、
2016’永平“博南文化节”、勐海大益庄园、
西安崔振宽美术馆、中国民族博物馆
韩国•仁川亚洲海洋媒体艺术节国际摄影展
出版
2018 《血色——史迪威公路》
CV of the author
Hu Qun-shan
Female, Hui people, originally from Zhejiang Province, born in Yunnan
Menber of China Photography Association
Menber of Yunnan Province Photography Association
Director of Qujing City Photogaphy Association
A free photographer currently
Sole shows
2018 “Liumaidi - the First Village of the Pearl River Source” to participate in the “2018 Beizhen China 1st International Photography Festival”
“Kawakarpo's Pilgrimage Road” to enter into “The 2nd Chinese Visual Ethnographic Photography Exhibition”
“Quiet Mountain Village, Not Calm Time” to participate in “The 3rd Ningbo International Photography Week”
2017 “Kawakarpo's Pilgrimage Road” to participate in the “2017 Sixth Xishuangbanna Foto Festival- under the Cloud, Country Road... ...Chinese Ethnic Photographer’s Works Exhibition”, Jinghong, Yunnan
“Liumaidi - the First Village of the Pearl River Source” to Participate in the “10th Colorful Guizhou Photochina Original International Photographic Exhibition” Kaili & Leishan, Guizhou
“Ancient Mountains - Childhood Recollection” to Participate in “The 3rd Chinese Fenghuang Biennial of Folk Photography”, Fenghuang, Hunan
“Kawakarpo's Pilgrimage Road” to Participate in “Record Keeping- Invitation Exhibition of International Photography at Xi’an in 2017”, Xi’an, Shaanxi
2016 "Kawakarpo's Pilgrimage Road" to participate in the "2016" fourth Xishuangbanna Foto Festival - A Great River • Golden Peacock Biennale " – Jinghong city, Yunnan province
2014 "Liumaidi - the First Village of the Pearl River Source" to participate in the "third Xishuangbanna Foto Festival - 2014 'in the water side • Golden Peacock Biennale" – Jinghong, Yunnan
2012 "Quiet Mountain Village, Not Calm Time - Chahe 2010 ... ..." Twelfth Pingyao International Photography Festival – Pingyao, Shanxi
"Quiet Mountain Village, Not Calm Time - Chahe 2010 ... ..." to participate in the "second Xishuangbanna Foto Festival" A Great River "photography exhibition，Jinghong, Yunnan
2010 "Quiet Mountain Village, Not Calm Time - Road Township drought-resistant image log", the individual theme of the slide show, Qujing, Yunnan
Group shows
2016 "Scarlet - Stilwell Road" to participate in the "National Art Foundation in 2014 to create outstanding projects
Twenty cities across the country (Nanchang, Xiamen, etc.) tour exhibition
"Scarlet - Stilwell Road" to participate in the "Road to stay two • two photo exhibition", 2016 'Yongping "Bonan Cultural Festival"
"Scarlet - Stilwell Road" to participate in the "trail stay three • three photography exhibition", Menghai TAETEA Manor
2015 "Scarlet - Stilwell Road" to participate in "can not forget the commemoration - to commemorate the Chinese Anti-Japanese War and the world anti-fascist war victory 70 anniversary of the photo exhibition", Dali, Baoshan, Kunming tour
2014 "The passing of the Inn" to participate in the 14th Pingyao International Photography Festival - "Romantic and Sadness - Yunnan's current photography" nomination exhibition, Pingyao, Shanxi
Ancient mountains - childhood recollection "to participate" around - Yunnan 1960-1990 when
Image Nomination Exhibition ", Yunnan Qujing, Kunming, Mengzi tour exhibition
2013 "Quiet Mountain Village, Not Calm Time - Chahe 2010 ... ..." to participate in the first Malaysian Penang OBSCURA International Photography Festival, Penang, Malaysia
2012 "Snow latitude" to participate in the fourth Dali International Film "look at the scenery" video exhibition, Dali, Yunnan
2011 The third Dali International Film Festival: "niches outside the niche - Yunnan photography outside the Road" video exhibition, and the Museum of Art, Yunnan Dali
"Like the outside of the elephant", the frame of the gallery, Kunming2010
2010 “Quiet Mountain Village, Not Calm Time”- Regional Drought Relief Photography Exhibition, Qujing, Yunnan
“Photography Works Exhibition of Yunnan Drought Relief” Kunming-Beijing Photographers Association Corridor
Awards：
2018 “Kawakarpo's Pilgrimage Road” won “The 2nd Chinese Visual Ethnographic Photography Exhibition” Finalist Winners
2017 “Ancient Mountains - Childhood Recollection” won the Golden Phoenix Excellent Works of “The 3rd Chinese Fenghuang Biennial of Folk Photography”
2016 "Kawakarpo's Pilgrimage Road" won the "4th Xishuangbanna Foto Festival - 2016' A Great River • Golden Peacock Biennale" Excellent Photographer Nomination Award
2015 "Scarlet - Stilwell Road" won the "China National Arts Fund in 2014 to Create Excellent Works and to be Collections", and into the 2016 Rolling Project
2014 “The Dying Station" by the Fourteenth Pingyao International Photography Festival "Social Life Excellent Photographer Award"
"Liumaidi - the First Village of the Pearl River Source" won the "Third Xishuangbanna Foto Festival - 2014' In the Water Side • Golden Peacock Biennale" Best Photographer Nomination Award
2013 "Quiet Mountain Village, Not Calm Time - Chahe 2010 ... ..." won the Yunnan Arts and Crafts Fund Award
2012 "Quiet Mountain Village, Not Calm Time - Chahe 2010 ... ..." won the "Second Xishuangbanna Foto Festival • A Great River" Excellent Photography Award
Works Collected in:
Central Archives, Yunnan Archives, China National Arts Fund,
Dali Photography Museum, Baoshan Museum, Kunming Cultural Center
2016' Yongping "Bonan Cultural Festival", Menghai TAETEA Manor
Xi’an Cuizhenkuan Art Museum, Chinese National Museum of Ethnology
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