维吾尔族模制法土陶烧制技艺 Uyghur Mold-making Technique for Earthenware Firing

寻土取土 Locating and Collecting Clay

工匠首先寻找适合制陶的土源。土料要具有足够黏性和可塑性，能够在成型、干燥和烧制中保持器形稳定。中国日报报道提到，工匠从寻找土源开始，并会根据不同泥土配方与成品色泽的关系进行判断。（资料来源：S5）

The artisan first locates clay suitable for pottery. The clay must have enough plasticity and cohesion to keep the vessel stable during shaping, drying, and firing. China Daily reports that artisans begin with the search for soil sources and judge the relationship between clay recipes and final colors. (Source: S5)

晒土碎土 Drying and Crushing

取回的泥土通常先摊开晾晒，使含水量降低，再将大块泥土敲碎。这样便于后续筛除杂质和均匀加水，也能初步发现石粒、草根等不适合入坯的杂物。（资料来源：S3、S5）

Collected clay is usually spread out to dry so its moisture decreases, then large clods are crushed. This makes later screening and water mixing easier and helps reveal stones, roots, and other impurities unsuitable for the clay body. (Source: S3、S5)

筛土除杂 Screening and Removing Impurities

晒干并敲碎后的土料需经过筛分，去掉石子、草根、硬块等杂质。筛分后的细土更容易与水结合，坯体表面也更容易修整出均匀质感。（资料来源：S3、S5）

Dried and crushed clay is screened to remove stones, roots, hard lumps, and other impurities. Fine screened clay combines more evenly with water and allows the vessel surface to be finished more smoothly. (Source: S3、S5)

配土和泥 Mixing the Clay Body

筛好的土根据经验加入适量清水，反复搅拌、踩踏或揉和，使泥、水和细颗粒充分结合。公开资料强调传统土陶以天然泥土为主要原料，不添加现代化学材料。（资料来源：S3、S5）

Screened clay is mixed with an appropriate amount of water, then stirred, trodden, or kneaded repeatedly so clay, water, and fine particles combine thoroughly. Public materials emphasize that traditional earthenware uses natural clay as the main material rather than modern chemical additives. (Source: S3、S5)

闷泥醒泥 Aging the Clay

和好的泥并不马上全部使用，而要经过闷泥或醒泥，使水分在泥料内部重新分布，增强可塑性和均匀度。该步骤对应新疆文化和旅游厅资料中列出的“闷泥”。（资料来源：S3）

Mixed clay is not always used immediately. It is aged so moisture redistributes inside the clay mass, improving plasticity and uniformity. This corresponds to the 'aging the clay' process listed by Xinjiang's cultural authority. (Source: S3)

踩泥揉泥排气 Treading, Wedging, and De-airing

醒好的泥料继续经过踩、揉、和等动作，使泥料更加细密，同时排出内部气泡。中国日报报道把“踩、揉、和”列为传承人熟练掌握的基本操作。（资料来源：S5）

Aged clay is further trodden, kneaded, and mixed to make it denser and remove trapped air. China Daily lists treading, kneading, and mixing among the basic operations mastered by inheritors. (Source: S5)

定量上轮或入模 Portioning and Placing on Wheel or Mould

泥料按器物大小分成适当泥团，再放到陶轮、转盘或相应承托工具上。若制作重复性较高的器型，可借助模具或器形参照控制比例；若为现场手作，则更多依靠手感与经验。（资料来源：S3、S5）

Clay is divided into portions according to vessel size and placed on a wheel, turntable, or supporting tool. For repeated forms, moulds or reference forms may help control proportion; for handwork, artisans rely more on touch and experience. (Source: S3、S5)

旋坯/模制成型 Throwing or Mould-assisted Shaping

成型是工艺核心。工匠用双手配合陶轮或支撑工具，从泥团中逐渐提拉出器腹、器颈、口沿和底足。新华社照片显示，英吉沙土陶工匠在陶轮上塑造高颈器物，手部压力直接决定器壁厚薄和整体轮廓。（资料来源：S3、S4、S5）

Shaping is the core process. With both hands and a wheel or support, the artisan gradually forms the body, neck, rim, and foot from the clay mass. Xinhua photos show Yengisar potters shaping high-necked vessels on a wheel; hand pressure directly controls wall thickness and overall contour. (Source: S3、S4、S5)

图注：工匠在陶轮上塑造英吉沙土陶坯体。 / Caption: an artisan shapes a Yengisar pottery body on a wheel.（图片来源：新华社 / Xinhua）

修口修底 Trimming Rim and Foot

坯体初步成型后，工匠修整口沿、底足和器壁过厚处，使器形更稳定、更规整。修整既有实用目的，也直接影响成品线条是否挺拔。（资料来源：S3、S5）

After initial shaping, the artisan trims the rim, foot, and overly thick areas of the wall so the form becomes more stable and regular. Trimming serves practical purposes and directly affects whether the final profile appears upright and refined. (Source: S3、S5)

粘接附件 Attaching Components

部分器物需要粘接耳、嘴、把手、盖钮或装饰部件。附件和主坯的干湿程度要接近，连接处常用泥浆作为黏合介质，并通过压实、抹平减少开裂风险。（资料来源：S3、S5）

Some vessels require handles, spouts, lugs, lid knobs, or decorative components. The attachment and main body should have similar moisture levels; slip is often used as an adhesive, and the joint is compressed and smoothed to reduce cracking risk. (Source: S3、S5)

削刮刻花 Cutting, Scraping, and Carving

在坯体具有一定硬度但尚未完全干透时，工匠进行削、刮、刻等装饰动作。纹样可围绕器腹、器颈或器肩展开，形成线条、花卉、几何纹和镂空效果。新华社照片展示了工匠在瓶状器物上刻划纹饰的近景。（资料来源：S4、S5）

When the body is firm but not fully dry, the artisan cuts, scrapes, and carves decorative patterns. Designs may develop around the belly, neck, or shoulder, creating lines, floral motifs, geometric patterns, and openwork effects. A Xinhua close-up shows an artisan carving patterns on a bottle-shaped vessel. (Source: S4、S5)

图注：工匠在半干坯体上刻划装饰纹样。 / Caption: an artisan carves decorative patterns on a leather-hard body.（图片来源：新华社 / Xinhua）

阴干晾坯 Shade Drying

装饰完成后的坯体需要在通风阴凉处逐渐晾干，使内部水分缓慢蒸发。不能急晒或急烘，否则器壁内外收缩不一致，容易产生裂纹。（资料来源：S3、S5）

After decoration, the body is dried gradually in a shaded, ventilated place so internal moisture evaporates slowly. It should not be exposed to harsh sun or rapid heat, because uneven shrinkage between inside and outside walls may cause cracks. (Source: S3、S5)

彩绘施釉 Painting and Glazing

若制作琉璃陶，晾干后的坯体还要进行彩绘和上釉。釉层在烧制中熔融，形成光泽、色彩和一定保护性。公开图片中的英吉沙土陶常见黄、绿、褐等釉色，和器形、刻花共同构成鲜明视觉特征。（资料来源：S3、S4、S5）

For glazed pottery, the dried body is painted and glazed. During firing, the glaze melts to form gloss, color, and a degree of protection. Public images of Yengisar pottery often show yellow, green, brown, and related glaze colors, which combine with vessel form and carving to create a distinctive visual identity. (Source: S3、S4、S5)

图注：工匠对瓶状土陶进行整理和装饰处理。 / Caption: an artisan works on a bottle-shaped pottery piece before finishing.（图片来源：新华社 / Xinhua）

装窑码坯 Kiln Loading

施釉或素坯准备完成后，器物按大小、形状和受火需求装入窑内。码坯要留出火焰和热气流通空间，避免器物相互挤压、碰撞或粘连。（资料来源：S3、S5）

After glazing or preparation of plain bodies, pieces are loaded into the kiln according to size, shape, and firing needs. Loading must leave space for flame and hot air circulation and avoid squeezing, collision, or sticking between vessels. (Source: S3、S5)

控火烧制 Controlled Firing

烧制是土陶由坯变器的关键。工匠根据窑炉状态、器物大小、釉色要求和经验控制升温、保温与降温节奏。官方资料把“烧制”列为核心环节，中国日报报道也提到装窑火烧。（资料来源：S3、S5）

Firing is the key transformation from clay body to finished vessel. The artisan controls heating, soaking, and cooling according to kiln condition, vessel size, glaze requirements, and experience. Official materials list firing as a core stage, and China Daily also describes kiln firing after loading. (Source: S3、S5)

冷却出窑 Cooling and Unloading

烧制完成后，窑内器物需要自然降温。过早开窑会使冷热骤变，引起裂纹。完全冷却后，工匠取出器物，检查釉色、开裂、变形和声音。（资料来源：S3、S5）

After firing, pieces need to cool naturally inside the kiln. Opening the kiln too early may cause thermal shock and cracking. Once cooled, artisans unload the wares and check glaze color, cracks, deformation, and sound. (Source: S3、S5)

打磨检验与陈列传播 Polishing, Inspection, and Communication

合格器物经过简单打磨、清理和分类后进入陈列、销售、研学体验或文旅展示环节。新华社照片中的成品陈列和游客拍摄场景说明，英吉沙土陶已经成为非遗传播和地方文化展示的重要媒介。（资料来源：S4）

Qualified pieces are lightly polished, cleaned, classified, and then displayed, sold, used in study tours, or presented in cultural-tourism settings. Xinhua photos of display shelves and visitors photographing the wares show that Yengisar pottery has become an important medium for ICH communication and local cultural display. (Source: S4)