Chapter 39: A New Chapter in Ceramics
The high-quality clay layers revealed after the floodwaters receded became a new focus for the Silver Moon Tribe. One sunny morning, Lin Chen and Xiao Yu led their foraging team to the newly discovered clay area. They were accompanied by Yun Shan, who was particularly interested in pottery, and several members of the Liuhe Tribe.
"This clay has a fine texture and a moderate sand content," Xiaoyu said, pinching a sample expertly. "It's better than any clay we've used before."
Lin Chen squatted down and picked up some clay with his fingers to examine it carefully. "The color is also darker, and it should be stronger after firing. Let's see if we can make thinner and finer pottery."
The first trials were not smooth sailing. Although the new clay had excellent texture, it cracked easily during the production process, and the firing temperature also needed to be adjusted.
"We need to add some fiber to make it tougher," Yunshan said, recalling his weaving experience. "Just like we add tough grass to baskets."
A member of the Liuhe tribe suggested: "You can try mixing in a small amount of sand, just like we make waterproof paint."
After many experiments, they found the best ratio: new clay as the main material, with a small amount of fine sand added to increase strength, and then mixed with chopped hay fibers to prevent cracking.
Improved clay allowed pottery making to reach new heights: pottery could be made thinner and lighter, yet stronger; its surface was smoother, allowing for more intricate carvings.
Lin Chen designed a new pottery wheel system—a foot pedal drives the stone wheel, freeing his hands to focus on shaping. This innovation greatly improved the efficiency and precision of pottery making.
"It's amazing!" Xiaoyu exclaimed when she used the potter's wheel for the first time. "It can be shaped so evenly!"
Yunshan focuses on surface decoration, creating a new decorative style by fusing motifs from various tribes: the flowing lines of the nomadic tribes, the geometric patterns of the mountain tribes, the ripples of the lakeside tribes, and even the wolf totem of the Silver Moon tribe, all cleverly combined.
“Each pattern tells our story,” she explained the meaning of the decorations to curious onlookers.
Advances in pottery technology were quickly applied to everyday life: lighter cooking utensils made cooking more convenient, more sophisticated containers made food storage safer, and even sterilized pots specifically for medical use appeared.
Berry particularly appreciated the medical pots: "After boiling and disinfecting them, wound infections have been significantly reduced."
But the most revolutionary innovation came in the field of storage: Lin Chen designed a new type of airtight ceramic jar, using clay mixed with resin to make the lid, which almost completely isolates the air.
"This way we can store food for longer, even through the entire cold season." He demonstrated the use of sealed clay jars.
The first batch of sealed pottery jars were used primarily to store precious medicinal herbs and seeds. The results were immediate: the germination rate of seeds was greatly improved, and the shelf life of medicinal herbs was significantly extended.
The advancement of pottery technology has aroused great interest among various tribes. When the Wind Whispering Tribe visited again, Feng Yi was fascinated by the new pottery.
"So light yet sturdy, perfect for nomadic life!" She repeatedly checked the weight and strength of a water jar.
Shi Feng was particularly interested in the sealed storage jars: "The precious medicinal herbs of the mountain tribes are always damaged by moisture. This can solve a big problem."
Shuihen is interested in the application of pottery in fisheries: "If we can make large pottery jars, we can try to transport and store live fish."
Following suggestions from various tribes, the pottery workshop of the Silver Moon Tribe began targeted production: making lightweight and durable travel pottery for the nomadic tribes, moisture-proof storage tanks for the mountain tribes, and large aquatic containers for the lakeside tribes.
There are even custom services available – tribes can order pottery in specific shapes, sizes, and patterns.
"This is not only an implement, but also a work of art." An old man from a mountain tribe stroked the carefully carved pottery jar, feeling deeply moved.
The flourishing of the pottery industry brought about new social changes. The first professional potters appeared in the Silver Moon Tribe. They no longer participated in hunting or farming, but focused on improving and passing on pottery techniques.
Xiaoyu naturally became the head of the pottery workshop. She not only had superb skills, but was also good at teaching and trained a group of young potters.
“Pottery is like a tribe,” she taught her apprentice. “It requires the right proportions of ingredients, patient shaping, and the test of fire to become strong and useful.”
Lin Chen is concerned about sustainable development: "Extracting clay should not damage the land. The mining area should be properly planned and the land should be backfilled and repaired after use."
He designed a circular mining system: mining in different areas in rotation, filling in waste after taking soil, planting soil-fixing plants, and maintaining ecological balance.
On a full-moon night, the Silver Moon Tribe held its first "Pottery Exhibition." Each tribe brought their own new pottery and shared their experiences and suggestions for improvement.
At the exhibition, a special display attracted everyone: a complete set of "ritual pottery", including water jars, food utensils, sacrificial utensils, etc., decorated with patterns of various tribes, symbolizing the unity of multiple tribes.
"This should be used in the joint ceremony," Elder Shi Yan suggested, "to symbolize that despite our differences, we tolerate each other."
The highlight of the exhibition was a pottery competition. Representatives from various tribes attempted to make pottery, their skills clumsy but full of enthusiasm. The winner was a young man from a mountain tribe who crafted an ocarina that produced melodious notes.
"I didn't expect that clay can not only be used to make containers, but also musical instruments!" he said in surprise.
After the competition, Lin Chen and Xiaoyu began to study ceramic musical instruments and developed a variety of instruments such as ceramic drums and ceramic ocarinas, enriching the tribe's musical life.
The influence of pottery even extended to the realm of knowledge recording. Xiaoyu invented "pottery tablet recording"—carving important knowledge on pottery tablets and then burning them for preservation. This was more efficient than stone carving and more durable than animal skin recording.
"Thousands of years later, this knowledge still exists." She proudly showed the first batch of knowledge ceramic tablets.
As the quality of their pottery improved, the trade expanded. Tribes from far away came to trade their rare wares for Silvermoon pottery. The Silvermoon Tribe carefully controlled the pace of trade to avoid over-exploitation of their resources.
“Quality is more important than quantity,” Lin Chen emphasized. “We want to make fine pottery, not just a lot of pottery.”
On a quiet evening, Lin Chen and Cang Lan rested on the hillside outside the pottery workshop. Below them was the busy workshop, in the distance were lush fields, and even further away were the signal lights of various tribes.
"From the crude pottery we made in the beginning to the exquisite pottery we have today," Canglan said with emotion, "it's not just the technology that's progressed."
Lin Chen nodded: "Pottery is like the tribe itself, from rough to fine, from simple to diverse, from isolated to connected."
He picked up a pitcher, carved with designs from various tribes, yet harmoniously unified: "Different designs, same vessel; different tribes, same home."
As the sun sets, the kiln fire in the pottery workshop remains bright, illuminating the focused faces of the craftsmen. In this era without metal tools, humans use clay and wisdom to create practical and beautiful things.
As the stars rise, the potters of the Silvermoon Tribe conclude their workday. But what they leave behind is not just pottery, but the mark of civilization—history written in clay, wisdom solidified by flames, and a future shaped by their own hands.
In the eyes of that soul from another world, these simple pottery pieces are more precious than any modern crafts, because they are not just objects, but stories; not just technology, but spirit; not just survival, but life.
A new chapter in pottery has just begun, but the Silver Moon Tribe has already understood: true progress lies not in what is made, but in how it is made; not in what is owned, but in how it is shared.
Under the interplay of starlight and kiln fire, the Silvermoon Tribe and its companions continue their journey: creating with their hands, feeling with their hearts, and moving forward with wisdom. On this ancient yet young land, they write a new and eternal chapter in human civilization.
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