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After the modeling is completed, the pottery body must be patted and rolled to make the mud sticks more tightly and firmly.

In the Yangshao culture, the slow wheel trimming technique appeared, leaving traces of wheel rotation on the edge of some pottery.

The earthenware pots and gourd bottles unearthed from sites such as Dadiwan and Wangjiayinwa, and the centering swirls on the bottom of the trimming, are sufficient proof of the existence of slow wheels.

The centered swirl pattern is the texture produced when the green body is buckled upside down on the pottery wheel, and the tools are gradually moved from the center to the bottom of the edge trimmer.

It is different from the eccentric swirls produced when the fast wheel is used to make the bottom of the ceramic divider.

Although the pottery wheel has not been found yet, a series of pottery turntables from the early Yangshao period to the late period have been found in Dadiwan.

The turntable is made of sandy pottery, thick and heavy, with a diameter of more than 30 centimeters.

In the early stage, the middle part of the turntable was raised to form a flat work surface, while in the late stage, a pottery basin was turned upside down in the center of the turntable.

A set of utensils from the late Yangshao period, when unearthed, just showed the situation in production.

The pot is turned upside down on the turntable, and there is a circle of raised circular mud edges in the middle of the turntable, which just fixes the pot inside the turntable.

During operation, the turntable is placed on the pottery wheel, and the bottom of the pottery pot with a diameter of 15 cm becomes the working table for making pottery blanks.

Inside some turntables, there are many concentric circles with the center as the center.

In this way, the round belly and bottom of the pottery can be made more regular.

There are many small holes on the edge of some turntables to discharge the excess mud that flows out during pottery making in the disk.

This set of pottery tools, with its intricately detailed conception, fully embodies the ingenuity and creativity of our ancestors.

Also, in Qin'an and Gangu areas, some villagers still use slow wheels.

Generally, a pit is dug first, and a rotating shaft is buried in the pit. The pottery wheel is made of grass mud and placed flush with the pit mouth.

When making, step on the pottery wheel with a pedal to make the wheel turn.

Because there is no other power, the pottery wheel can only rotate at a slow speed, and a mud workbench is placed in the middle of the pottery wheel.

From this kind of equipment and working scene, it seems that we can capture the information of the pottery made by the ancestors thousands of years ago.

The prosperity of painted pottery is closely related to the development of pottery technology.

After the rise of the fast wheel, painted pottery declined rapidly.

It has been found through research that for any ancient culture with a tradition of making painted pottery, its pottery-making process must remain at the hand-made stage.

After mastering and using the fast wheel pottery, the painted pottery craft will soon die out.

The painted pottery in Gan Province up to the Xindian and Shajing cultures is still made by the clay strip construction method.

Painted pottery in Xinjiang Province ended later, because it was not until the Han Dynasty that Kuailun pottery was handed down.

In Northwest my country, painted pottery production was still very developed even in the Bronze Age. The important reason is that the method of fast wheel pottery was not mastered.

It is precisely because of this that the painted pottery in Gansu Province is rich and colorful.

These are actually frontier, or characteristic pottery of ethnic minorities.

So is there any good pottery in the Central Plains?It must have existed in ancient times, and the developed civilization was even more brilliant.

For example, Jieshou, located in the middle reaches of the Huaihe River, has always had a simple folk customs and rich cultural heritage.

With dexterous hands, people are constantly creating material civilization, as well as exquisite folk art.

The paper-cutting, New Year pictures, pottery and other folk arts here exude the fragrance of the soil, dotted with prosperity in the small farmyard.

Especially Jieshou painted pottery, with its unique art, has become a wonderful flower in the garden of Chinese folk art.

The invention of pottery should be traced back to the Neolithic Age five to six thousand years ago.

The industrious and intelligent ancestors used soil as a material, dug holes as kilns, and fired exquisite low-temperature painted pottery.

The invention of pottery marked the beginning of Neolithic culture.

The pottery of this period is simple and full in shape, with coordinated proportions, simple and generous decorative patterns, and bright colors, integrating practicality and beauty.

The art of pottery has been passed down from generation to generation, just like the water of the Yellow River.

By the Sui Dynasty, Jieshou had a history of firing pottery in vertical kilns.

In the Tang Dynasty, because it was adjacent to Yangluo, the production area of ​​Tang Sancai, Jieshou Sancai carved pottery came out.

After nearly a thousand years of development, Jieshou three-color engraved pottery has gradually evolved into three-color engraved pottery.

However, its unique plastic arts and decorative arts still maintain the ancient charm.

There is an ancient legend about the birth of Jieshou painted pottery.

Initially, their family only burned black pottery and produced some daily necessities.

One year, Li Yuan, the father of Emperor Taizong Li Shimin of the Tang Dynasty, passed by the "Liuli Temple" in Jieshou and lived nearby.

At night, he dreamed of a platform with green, yellow and white pottery pots on it.

After waking up, he immediately ordered the potters nearby to make three-color pottery.

However, due to the limited skills of the potters at that time, after three days and three nights of firing, only yellow and white pottery pots were fired, and no way to make green pottery could be thought of.

Just when everyone was at a loss, a coppersmith passed by the kiln.

Due to continuous days of rain, the coppersmiths were forced to work in the kiln.

It is because of this that some copper powder is blown into the kiln by the wind.

Unexpectedly, these copper powders actually changed the color of pottery, and they produced green pottery.

Therefore, copper powder became one of the raw materials for their pottery.

After the Lu family mastered the technique of making three-color pottery, it began to be passed down from generation to generation, and gradually spread.

By the end of the Qing Dynasty, painted pottery was produced in 13 nearby villages, forming the famous "Thirteen Kilns".

For hundreds of years, a large amount of Jieshou painted pottery was transported to all parts of the country through the nearby Grand Canal, and was supplied to dignitaries as a luxury.

In fact, there is no clear written record of the origin of Jieshou painted pottery craft.

In 1999, during the archaeological excavation of the Huaibei Liuzi ancient canal site, one of the top ten archaeological discoveries in the country, a large number of Jieshou painted pottery fragments and some complete painted pottery vessels were unearthed.

Especially in a Song Dynasty well, the Jieshou carved three-color pottery was found.

This discovery provides us with precious physical data for our research on the age of the first firing of Jieshou painted pottery;

At the ruins of the Ming City in Xushi, painted pottery artifacts and fragments of Jieshou were also unearthed.

Through these discoveries, it can be inferred that the production technology of Jieshou painted pottery was the latest in the Song Dynasty.

In addition, according to the "Atlas of Chinese History Sui and Tang Dynasties", less than a hundred miles north of Songshan Mountain, the birthplace of Yinghe River, is Gong County, one of the three major producing areas of Tang Sancai.

Water transportation has always been an important mode of transportation in ancient times.

Therefore, it can be inferred that the development of Jieshou painted pottery technology is likely to be directly or indirectly influenced by the three-color technology of the Tang Dynasty through the Ying River.

The clay used in Jieshou painted pottery is obtained from the local yellow clay, which is also called "Yellow River Silt" by kiln workers, that is, the yellow clay deposited after the Yellow River flooded.

According to the "Yuan Shi·Hequ Zhi" records, the flooding of the Yellow River affected the Yinghe River during the reign of Emperor Renzong of the Yuan Dynasty, that is, from 1314 to 1320 AD.

According to local kiln workers, yellow clay can be divided into large and small clay.

The clay before the flooding of the Yellow River is called small clay. It is hard and can only be used for simple pottery such as pots, plates, and cups;

Where the Yellow River flooded, the deposited clay is called dajiao, which is soft and malleable, and can be used to make pottery with complex shapes.