PROSPERITY & SUCCESS - The Legend of the Kiln God from Jingdezhen
Pottery, lime yard and brickyard workers worshipped the Kiln God. As there were different kilns, the Kiln Gods the workers worshipped were also different. There were many kilns at Jingdezhen, one of the four great centers of pottery and porcelain in China.
Feng Huo Hsien is a Kiln God from Jingdezhen, China. Also known as "Genius of the Fire Blast", he is still worshipped today in that city.
Feng Huo Hsien lived his life as T'ung Bun, a Jingdezhen potter. The story is a tale of how this benevolent potter honorably sacrificed himself in the flames of a ceramic kiln in order to save the Emperor's huge ceramic vessels from firing imperfections. This act, in turn, saved his fellow craftsmen from an unjust punishment, which they would have surely suffered, because the Emperor's command for the production of the massive porcelain water jars was a task that was technically impossible to carry out.
The tale is central to the religious beliefs and practices of those who are economically dependent on the well being of Jingdezhen's ceramics industry.
PROSPERITY & SUCCESS - The Legend of the Kiln God from Jingdezhen
Pottery, lime yard and brickyard workers worshipped the Kiln God. As there were different kilns, the Kiln Gods the workers worshipped were also different. There were many kilns at Jingdezhen, one of the four great centers of pottery and porcelain in China.
Feng Huo Hsien is a Kiln God from Jingdezhen, China. Also known as "Genius of the Fire Blast", he is still worshipped today in that city.
Feng Huo Hsien lived his life as T'ung Bun, a Jingdezhen potter. The story is a tale of how this benevolent potter honorably sacrificed himself in the flames of a ceramic kiln in order to save the Emperor's huge ceramic vessels from firing imperfections. This act, in turn, saved his fellow craftsmen from an unjust punishment, which they would have surely suffered, because the Emperor's command for the production of the massive porcelain water jars was a task that was technically impossible to carry out.
The tale is central to the religious beliefs and practices of those who are economically dependent on the well being of Jingdezhen's ceramics industry.