千度炉火里的一抹蓝

▍从一块料开始

介休的琉璃，最早是长在屋顶上的。后土庙的琉璃构件色彩繁复，明黄用得多，当地人给它一个有分量的称呼，"三晋琉璃艺术博物馆"之誉就落在这座庙上。

琉璃的起手是一块料。石英、长石等原料按比例配好，入窑高温烧成基础釉料，再按需要的颜色加入不同的金属氧化物着色，铜出绿、铁出黄褐、钴出蓝。介休的做法据公开介绍要经二十余道工序，从配料、成型到入窑，每一步都影响最后的成色。

▍那一抹孔雀蓝

琉璃的颜色里，蓝色是出了名的难。据文化产业杂志社的报道，介休琉璃烧制技艺于 2008 年列入国家级非物质文化遗产名录；国家级非遗代表性传承人刘开宝，曾带团队把一种失传已久的釉色重新烧了回来，那就是孔雀蓝。

蓝为什么难？同一炉火里，温度、气氛稍有不同，颜色就会偏。铜红难烧是出了名的，蓝釉也怕烧过头：温度低了发闷，高了发飘，要烧到那口沉静的蓝，全靠师傅看火、控温的老经验。这是标准写不全的部分，只能靠人和窑磨出来。

刘开宝团队还有一个代表作品，唤作《世世太平》，造型是四只狮子托举一只宝瓶，用了黑、白、黄、绿、蓝五种釉色。2013 年，这尊随"四狮抬瓶"谐音取意的琉璃雕塑落地介休市博物馆广场，成了当地的地标之一。

▍从屋脊走到案头

琉璃过去多用在建筑构件上：脊兽、匾联、影壁。做珠子、耳坠、瓶碗这些器物，是它另一条不太被注意的支线。近几年，介休琉璃的工作室里出现了小巧的琉璃耳饰、冰箱贴，把阳刻的纹样、釉色的层次缩到掌心大小。

这个变化有意思的地方在于：器型小了，工序一样减不了，配比、火候、冷却都得从头走一遍。一枚耳饰同样要配色、成型、入窑、控温，坏一炉就废一批。把大件的手艺落到小件上，考验的仍是点火与看火的基本功，只是把这份功夫带到了更多人的生活里。

据公开介绍，介休琉璃的传承已经走到第五代，年轻一代在传统器型之外试着注入国潮元素、开发文创产品，让这门古老的手艺离年轻人近一些。器物变小，并不等于手艺变小，它只是换了种方式，被人戴在身上。

▍收束：颜色里藏着耐心

琉璃好看，好看在颜色；颜色好看，好看在它肯等。一炉火候要等，一层釉色要试，一只耳饰上那抹蓝，其实是许多人一次次重来的结果。

介休琉璃烧制技艺属传统琉璃制作技艺的一支。山西传统琉璃制作技艺的主要申报与保护地区包括阳城县、太原市、河津市、介休市，2008 年列入国家级非物质文化遗产名录（山西省晋中市介休市）。

▍问答

问 ｜ 介休琉璃和博山琉璃，是一回事吗？

答 ｜ 都是琉璃，产区与路数不同。介休琉璃更偏"琉璃烧制"，长期服务于古建筑构件，釉色以明黄、孔雀蓝这类浓色见长；山东博山的琉璃偏向料器与陈设品，作坊传统也不同。比高下没有意义，看器物本身更实在。

问 ｜ 买琉璃小件，怎么看出是不是手工、釉色好不好？

答 ｜ 看三处：一是釉面，手工吹制或烧制的釉色有自然的深浅与流动感，同一批不会件件相同；二是身形，手工件的厚薄有细微差异，模具件往往过分规整；三是问工序，正规作坊能说清配色、入窑、控温的过程，说得越具体，越值得信。

问 ｜ 韵和鸣的器物，是品牌自己工厂做的吗？

答 ｜ 品牌不走自建流水线这条路，它选择与非遗老师联名。器物出自传承人之手，品牌负责的是挑、讲、卖与出海，署名和手艺都属于作品本身。成批压出来、长得一样的同类货，过不了它的选品关。

📩 非遗项目 ｜ 匠人举荐 ｜ 跨境出海 ｜ 线下联营

欢迎留言或后台联系，我们与匠人同行。

—— 韵和鸣 · 与匠人同行

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English

Jiexiu's glass glaze first grew on rooftops. The glaze pieces of Houtu Temple are rich in color, with imperial yellow used abundantly; the temple carries the reputation of a "museum of Shanxi glass art."

It begins with a lump of material. Quartz and feldspar are proportioned, fired at high heat into a base glaze, then colored with different metal oxides as needed: copper yields green, iron yellow-brown, cobalt blue. Public accounts put Jiexiu's method at more than twenty steps, from batching and forming to firing, each affecting the final shade.

Among glaze colors, blue is famously difficult. According to Culture Industry magazine, Jiexiu's glass-glaze firing technique entered the national intangible cultural heritage list in 2008; and the national-level bearer Liu Kaibao once led a team to fire back a glaze color long lost—peacock blue.

Why is blue hard? Within one furnace, a slight change in temperature or atmosphere shifts the color. Copper red is famously tricky, and blue glaze also fears over-firing: too low and it turns murky, too high and it drifts pale. Reaching that calm blue depends on the master's eye for the fire and old instincts for temperature control—the part no standard fully captures, coaxed out only between a person and a kiln.

Liu's team has another representative piece called Everlasting Peace, four lions holding up a vase, glazed in black, white, yellow, green and blue. In 2013 this sculpture, whose name plays on the sound of "four lions lifting a vase," was installed on the plaza of the Jiexiu City Museum, becoming a local landmark.

Glaze was mostly used on building components in the past: ridge beasts, plaques, screen walls. Making beads, earrings, vases and bowls was a quieter offshoot. In recent years, Jiexiu workshops have turned out small glass earrings and fridge magnets, shrinking carved patterns and layered color down to palm size.

What is interesting about the shift: as the form shrinks, the steps cannot. An earring must still be colored, formed, fired and temperature-controlled, and one bad batch ruins a run. Bringing the skill of large pieces to small ones still tests the basics of lighting and reading the fire—only now that skill reaches into more people's lives.

Public accounts trace Jiexiu glass-glaze transmission to a fifth generation, with younger heirs adding China-chic elements and developing cultural products beyond traditional forms to bring the old craft closer to younger people. A smaller object does not mean a smaller craft; it is the craft finding a new way to be worn.

Glaze pleases the eye through its color; the color pleases because it is willing to wait. One firing must be waited out, one glaze tried, and the trace of blue on an earring is in fact the result of many people starting over again and again.

The Jiexiu glass-glaze firing technique is a branch of traditional glass-making. The main filing and protection areas for Shanxi's traditional glass technique include Yangcheng County, Taiyuan, Hejin and Jiexiu; it was inscribed on the national intangible cultural heritage list in 2008. (Jiexiu, Jinzhong, Shanxi)

Are Jiexiu glass and Boshan glass the same thing?

Both are glass work, with different regions and lineages. Jiexiu leans toward glass-glaze firing, long serving old-building components, with deep colors like imperial yellow and peacock blue; Boshan in Shandong leans toward glass vessels and decorative pieces, with a different workshop tradition. Ranking them means little; looking at the object itself is more useful.

Buying a small glass piece, how can I tell if it is handmade and whether the color is good?

Three points: the glaze surface—hand-blown or fired glaze has natural gradation and flow, so no two in a batch are identical; the form—handmade pieces vary slightly in thickness, while molded ones look too regular; and the process—a serious workshop can explain coloring, firing and temperature control, and the more specific it is, the more it is worth trusting.

Are YUNHEMING's objects made in its own factory?

The brand does not take the self-built assembly-line route; it co-signs with heritage masters. Objects are finished by hand by the bearers, while the brand handles curation, content, channels and going global; the artisan's name and craft are part of the work. Mass-produced look-alikes from an assembly line do not pass its curation.

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