The Thriving of Yixing Purple Clay Teapot in Qing Dynasty

        Qing Dynasty is the gold era of the purple clay teapot, although it is not as good as the porcelain tea ware from Jing De Town, but its designs are richer than porcelain tea ware. It showed its unique individuality and elegant demeanor. The decorate technology of the purple clay teapot arrived at high level, besides carved calligraphy, there are clay painting, carved painting, colour glaze painting, basso-relievo, stack clay painting, stick clay painting, mill clay painting, inlay clay, inlay gold, hollow out, bind up gold, bind up silver, bind up lacquer, burnish etc. More purple clay teapost have entered to the palace where the emperor lived as the articles of tribute in early Qing Dynasty. (In fact, purple clay teapots have already entered to the palace in Wan Lie year Ming Dynasty (1570), because of one teapot by Shi Da Bing made was found in the Imperial Palace).

Photo of Kang Xi Emperor's 'Colour Flower Enamel Square Teapot'

        Kang Xi, one earliest emperor in Qing Dynasty, he liked purple tea pot and tea bowl very much. He especially liked add colour enamel teapot as they were more showily. He refused the seal of makers on the purple clay teapot and only accepted those showing the title of the emperor's reign. This rule was continued until Yong Zheng emperor and Qian Long emperor. So you could not see the seal of maker on the palace purple clay teapot in early Qing Dynasty. It has only the title of an emperor's reign.

Photo of Yong Zheng Emperor's 'Colour Enamel Teapot'

        Yong Zheng emperor was very interested in the designs of purple clay teapot. He commanded people to imitate the designs of purple clay teapot and made porcelain tea ware, silver tea ware, copper tea ware (it was proved by the original record in Yong Zheng 11 year, No.3360). Although Yong Zheng emperor lived only 13 years, but there were many Registers showed about purple clay teapot in his record.

Photo of Qian Long Emperor's 'Colour Enamel Purple Clay Teapot'

        Most of the palace purple clay teapots were from Qian Long emperor era, Qian Long emperor liked drinking tea in his whole life, even during the time when he went on his six time tour of inspection. He ever said: “The emperor cannot stop drinking tea in any day.” He liked purple clay teapots. He ordered people to carve his poem on the purple clay teapot. So, most palace purple clay teapots showed Qian Long's poem in Qian Long's era. Qian Long emperor also ordered people to make special tea ark for keeping purple clay tea ware when he went out for tour. Qian Long emperor also advocated his people to use purple clay teapot. So, purple clay teapots were very fashionable in Qian Long era and even a long time after Qian Long.

        After Qian Long, more purple clay teapots entered to the palace. It was not only restricted to the seal of emperor, so you can easily find many purple clay teapots with the seal of famous great masters in the Imperial Palace after Qian Long Emperor.

        In Kang Xi emperor 24 year (1685), Kang Xi emperor agreed to make business with overseas. Purple clay teapots were exported to Europe together with Chinese tea. So, purple clay teapots were attracted and welcomed by the Europe people. They praised it as “Red Porcelain”.

        During those times, Portuguese, Hollander, German copied this “Red Porcelain” and made their pottery tea ware. In 1711, Mr Bo Te Ge, one famous potter from German had successfully made 2000 pieces red pottery teapots which imitated the Yixing purple clay teapots, wrote a disquisition of “Red Sand Porcelain”. There was one Yixing purple clay teapot which was collected in the state museum of Denmark, was used by the king of Denmark in 1674. Yixing purple clay teapots were also exported to Japan, South-East Asia, and Central America countries in 17th century and 18th century.

Photo of Chen Ming Yuan's 'Pumpkin Teapot'

        In early days of Qing Dynasty, the most famous great master is Mr Cheng Ming Yuan, It was recorded in “Yang Xian Famous Potters” by Wu Qian in 1786 (PS: Yixing is called “Yang Xian in ancient). Wu Qian said that Chen Ming Yuan's teapot was the best in one hundred years history. He exceeded all teapot masters of three eras. He was equal to Shi Da Bing. It had been proved that the carved calligraphy on Cheng Ming Yuan's teapots was written by famous calligrapher Mr Cao Qian Rang. This modus operandi was continued till now. Many famous literators, painters and politicians liked to write their epigraph on the purple clay teapot to raise its value. They even invited some great masters coming to their house to make purple clay teapot for them and let the masters enjoyed those antiques they collected.

        Other great masters were Zheng Nin Hou, Wang Nan Ling, Yu Rong, Shao Yu Ting, Shao Xi Mao, Cheng Ying Qian, Cheng Han Wen, Yang Ji Cu, Zhang Huai Reng, Yang Ji Yuan, Yang You Lan, Shao Ji Zu, Shao De Xing, Cheng Weng Bo, Cheng Weng Ju, Cheng Ci Wai, Xu Weng Long etc.

Photo of Yang Peng Nian's 'Shi Piao Teapot' carved by Chen Man Sheng

Photo of one of the Man Sheng Teapot

        In the medium-term and later period in Qing Dynasty, the most exponent was Man Sheng's teapot that was made by the cooperation of Cheng Man Sheng and Yang Peng Nian. Yang Peng Nian made teapot, epigraphed by Cheng Man Sheng who was a famous calligrapher and painter. So, the “Man Sheng Teapot” was very rare on then. Afterwards, Yang Bao Nian (Yang Peng Nian's brother) and Yang Feng Nian (Yang Peng Nian's sister) helped Yang Peng Nian to make “Man Sheng Teapot”, usually Cheng Man Sheng's seal was at the bottom of the teapot, the seal of Yang Peng Nian was in the cover and at the bottom of the handle. His seal is smaller than Cheng Man Sheng's. We think it is not candid to Yang Peng Nian who is a famous master.

Photo of Shao Da Heng's 'Eight Diagrams Bundle Bamboo Teapot'

        Another great master was Shao Da Heng. His famous teapot was the Eight Diagrams Bundle Bamboo Teapot and Fish Dragon Teapot. Mr Huang Yu Ling was an outstanding master after Shao Da Heng.

        Other masters were Wu Yue Ting, Ge Ming Xiang, Feng Cai Xia, Deng Kui, Jiang Yu Ling, Zhu Shi Mei, Shao Er Quan, Sheng Xi, Shao She Da, Shao You Ting, He Xing Zhou, Wu A Kun, Sheng Rui Tian, Jing Shi Hun, Fan Da Sheng, Cheng Bo Ting, Fan Die En, Cheng Shou Fu, Jiang Wan Feng, Jiang Zheng Xian, Shi Bao Fen etc.

The Development of Yixing Purple Clay Teapot in Ming Dynasty

        1965, one purple teapot was unearthed in the ancient tomb in Nang Jing city. The man of the tomb is Wu Jing, who was a eunuch of Ministry of Rites in Jia Jing Year Ming Dynasty (1533). 1991, one purple teapot was unearthed in a ancient well in the famous Nan Chan temple in Wuxi. This teapot is very alike with that teapot in Wu Jing tomb on the purple material and made technology. Many porcelains of Zheng De year Ming Dynasty were unearthed together this teapot.

        On early Ming Dynasty, the most famous masters are Zhao Liang, Dong Han, Yuan Chang, Shi Peng. They live on Jia Jing year and Long Qing year in Ming Dynasty. Main design is Ti Liang Teapot.

        From Wan Lie Year Ming Dynasty to Ming Dynasty last stage, many masters were produced in China. The most famous is Mr Shi Da Bing (Shi Peng's son), who has a very high status on that time. It isn't easy to get his teapot, even with a great offer.

Photo of Shi Da Bing's 'Three Legs Round Teapot'

        It was found only 7 pieces in China of really Shi Da Bing's teapot (don't need to argue it) and there are only 15-20 pieces abroad. Shi Da Bing was very strict in making teapot, the teapot would have to be broken if it wasn't satisfied. Many masters copied Shi Da Bing's teapot in Qing Dynasty, including some famous great masters.

Photo of Shi Da Bing's 'Yulan Petal Teapot'

        Second famous master is Hui Meng Cheng in Ming Dynasty. Other great masters are Li Mao Ling, Li Zhong Fang, Xu You Quan, Ou Zheng Cun, Shao Weng Jing, Shao Wen Ying, Jiang Bo Kua, Cheng Xing Qing, Cheng Guang Pu, Cheng Jun Qing, Cheng Zi Qi etc.

Photo of Hui Meng Cheng's 'Zhu Ni Round Teapot'

        Tea culture happened to change in Ming Dynasty too. The people replaced tea bowl with teapot, replaced boil tea with make tea in hot water, replaced the cake ferment tea with the bulk fresh tea, replaced big teapot of early Ming Dynasty with smaller teapot due to smaller teapot is better to keep the tea's fragrance. Most of the people think Purple Clay teapot cut down those silver, stannum and copper teapot. The purple clay teapots have become the need of the bookmans and scholar-bureaucrats. Many of them have started collecting the purple clay teapots.

About the Origin of the Yixing Purple Clay Teapot

        Yixing, a picturesque city, is located on the Taihu Lake. The city is famous for its plentiful products, fertile land, rich resources and outstanding talents. Of the products, the most charming is ceramics. Based on the textual and archaeological researches in Neolithic Age as far 5000 years ago, the forefathers of Yixing were engaged in the farming and the pottery marking. Recent years have often found some ruins of ancient pottery workshops and kilns in its territory. In Yixing Ding Shu Town, there are 5 neolithic site (5000 years ago), 3 Han Dynasty kiln site (Before 206-A.D.220), 3 Six Dynasty kilns (A.D.420-A.D581), 9 Sui Dynasty and Tang Dynasty kilns (A.D.581-A.D.907), 20 Song Dynasty and Yuan Dynasty kilns (A.D.960-A.D.1368), 60 Ming Dynasty and Qing Dynasty kilns (A.D.1368-A.D.1911). One of the Tang Dynasty's Dragon Kiln lies east of Ding Shu Town. It is 700 square meters, 80 stere, and has fire ware ability. So, Yixing purple clay teapots were produced base on long pottery tradition in Yixing.

Map of 

Yixing, Wuxi, Jiangsu, China

        Another important diathesis, Yixing is a famous tea area in China ancient, one kind of Yixing tea (call: Yun Wu Tea) was as palace tea on Tang Dynasty early, the quantity is over 5000 kgs. On Tang Dynasty, there are ten thousands tea workers for pick tea every year, there are 30 tea factories. China's most famous tea master Mr Lu Yu comes to Yixing for drinking tea time after time on Tang Dynasty.

Photo of Yixing Purple Clay

        The most important diathesis is that rare purple clay was found in the mountain of Ding Shu Town in Yixing. The purple clay have very unique characteristic, it is the best material for teapot on this world. In 1976, one Song Dynasty Dragon Kiln was found on Yiang Jiao Mountain of Ding Shu Town, many purple clay fragmentary purple teapot pieces were unearthed. It is also affirmed by Song Dynasty poem, some Song Dynasty's poem mentioned purple clay teapot, so it is accepted that Yixing purple clay teapot was produced on Song Dynasty midterm time, but some specialists thinked it was produced on Ming Dynasty.

        Mr Zhou Gao Qi, one writer who live on Ming Dynasty, who has written "Yang Xian Tea Pot Series" (PS: Yixing was called "Yang Xian" in ancient), this is the earliest book that special describe the originate and technology feature of yixing purple clay tea pot, with purple clay material. To the origins of purple teapot, he told us: "One white foot monk who live in Jing Sha temple in Ding Shu, he like study pottery with potters, slowly original create simple and unique teapot with purple clay for own enjoy it." (PS: there are many temples in China ancient, many monks enjoy tea use bowl on there, but it is very regret that people cannot find his teapot on this world).

        Mr Wu Yu Shan, a Jing Si (college student) in Zhen De Year Ming Dynasty (1514), come to Jing Sha temple for his study, Gong Cun who his servant come to there also. In carefree time, Gong Cun study make purple teapot under the monk, he imitated one old tree side the temple and made unique Gong Cun teapot (PS: This teapot is collected in China History Museum now, the cover have losed, the cover was added by Qing Dynasty Master Wang Yu Ling). So people think Gong Cun is the founder of Yixing Purple Clay teapot.

Photo of Gong Cun's 'ShuYing Teapot'

石瓢壶

石瓢壶，此款为紫砂茗器中经典款式，后经多人改良，细分为子冶石瓢，景舟石瓢，红华石瓢，汉棠石瓢等。但最终万海归宗，同出一源，此款应为曼生所创十八式之一。

“石瓢”最早称为“石铫”，“铫”在《辞海》中释为“吊子，一种有柄，有流的小烹器”。“铫”从金属器皿变为陶器，最早见于北宋大学士苏轼《试院煎茶》诗：“且学公家作名钦，砖炉石铫行相随”。苏东坡把金属“铫”改为石“铫”，这与当时的茶道有着密切的关系。苏东坡贬官到宜兴蜀山教书，发现当地的紫色砂罐煮茶比铜、铁器皿味道好，于是他就地取材，模仿金属吊子设计了一把既有“流”（壶嘴），又有“梁”（壶提）的砂陶之“铫”用来煮茶，这“铫”也即后人所称的“东坡提梁”壶，这可谓最早的紫砂“石铫”壶。

           

从留传于世的石铫壶看，至陈曼生、杨彭年时期，已有了很大的变化，更趋向文人化、艺术化。“曼生石铫”主要特色是上小下大，重心下垂，使用稳当，壶嘴为矮而有力的直筒形，出水畅顺，壶身呈“金字塔”式，观赏端庄。

           

“曼生石铫”与“子冶石铫”相比，虽同为彭年所制，但前者更显饱满而丰润，后者则刚烈而古拙，这可能是因人的个性而在壶的艺术上表现。那么，紫砂“石铫”何时称“石瓢”呢？这应从顾景舟时期说起，顾引用古文“弱水三千，仅饮一瓢”，“石铫”应称“石瓢”，从此相沿均称石瓢壶。

          

石瓢壶身呈梯形，曲线柔和流畅，造型浑厚朴拙。足为钉足呈三角鼎立状支撑，给人以轻灵而稳重之感。壶身八字造型，造成一个主视角度内的呈型表面，亦曲亦直，皆显现简朴大方的气度。直流，简洁见力度，多为暗接处理，溶于壶身整体。把多呈倒三角势，与壶身之型互补，形成和谐的美学效果。平压盖，桥钮，干净利索，比例恰当，充分体现出秀巧精工为上的特点。

          

此款初见于杨彭年年制，曾分别于陈曼生，瞿应绍合作，诗书画印于一壶，格调高雅，时称三绝壶。一提梁款为沪上八壶精舍唐云所藏，一款存上海博物馆。

          

近现代，朱石梅，顾景舟亦多制此款传世。景舟曾于1948年同时制得五把，赠于吴湖帆，江寒汀等沪上画坛名宿。亦有高振宇辈，制出椭圆石瓢，也算是石瓢一奇葩。我亦偏爱此款，认为此款充分体现了智欲其刚，行欲其方，刚柔兼施，允克用藏的精髓，蕴精气神韵于一身，可称之为大家，可视为壶之智者。

          

石瓢造型的要点在于力道，要达此目的，则要协调好石瓢各个线条所构成的三角形的比例关系，身筒、流、把甚至钮都要相互配合，形成最佳比例，才能最终突出其独特的力度与气韵。

“中国探月”官方独家授权紫砂壶藏品面世

“中国探月”官方独家授权紫砂壶藏品图。图片由嫦娥奔月航天科技（北京）有限公司提供。

2013年11月29日

        新华网北京11月29日电（记者 底东娜）嫦娥奔月航天科技（北京）有限公司（以下简称嫦娥公司）与北京翰墨林收藏品有限责任公司（以下简称北京翰墨林收藏公司）独家授权签约仪式在京举行，“中国探月”官方独家授权的紫砂壶藏品在签约仪式上与公众见面。

        我国将于2013年12月开始实施探月工程“嫦娥三号”任务，中国的首个月球车将登陆月球进行巡视探测，首次实现我国航天器在地外天体软着陆，这是继美国阿波罗计划后人类重返月球的首个月球软着陆探测器。

        据北京翰墨林收藏公司负责人介绍，选中紫砂壶为载体，是看中了紫砂壶艺术作为中国传统收藏品类可藏可用的独特属性。为提升其收藏价值，特邀紫砂泰斗顾景舟第一代传人李昌鸿大师，携北京2008“奥运徽宝”雕刻大师王希伟，以“和田玉镶嵌”与“珐琅彩描金”独特工艺打造“嫦娥奔月金玉紫砂壶”。将“嫦娥奔月”的美丽传说与中国探月工程的奋斗精神融入紫砂艺术之中。作为唯一一款经“中国探月”官方独家授权的紫砂壶类藏品，其授权具有官方性、唯一性与排他性，极具文化价值与收藏价值。

        这套“中国探月”官方独家授权紫砂壶藏品共10把，造型各异，其中有李昌鸿独特设计的异形“圆梦”玉兔壶，和另外9把经典提梁壶型，蕴含“九天揽月”之意。“和田玉镶嵌”及“珐琅彩描金”工艺温润典雅，高贵大气；手绘10幅“嫦娥奔月”图案神态各异，栩栩如生；壶身背面还由10位书法名家镌刻数千年来的“咏月”诗词名句，表达“嫦娥奔月，中华梦圆”之意。

        为了让更多的人关注到中国探月和航空工程， 国家国防科技工业局探月与航天工程中心成立国有独资公司——嫦娥奔月航天科技（北京）有限责任公司，进行中国探月工程市场的开发。市场开发所获得的收益将直接用于中国探月事业的科研奖励、科普教育等公益事业。

最小的紫砂壶

        宜兴蜀山老街上，紫珏轩主人周珏伟曾制成一个比黄豆还小的紫砂壶，参观者络绎不绝。2009年，他再创制出一个比原先更小的微型壶。呵!这个比赤豆小，与绿豆相差不多大小的微型紫砂壶，用嘴轻轻吹口气都能吹走，确实让人叹为观止!

        2010-05-12 “中国瓷都”潮州市枫溪镇民间陶瓷工艺师吴鸿斌创作了一件袖珍手拉坯朱泥壶，在当地引起轰动。这把微型朱泥手拉坯西施壶，仅有绿豆般大小，壶身直径0.4厘米，高0.5厘米，重量仅有0.1克，可以平放于指甲上。壶底还写有一“鸿”字，须用放大镜才能看清。

        吴鸿斌介绍，他查找资料发现，目前世界上最小的手拉坯小壶是“台湾蚂蚁超迷你手拉紫砂小壶”，直径只有0.2厘米。他制作的这把朱泥壶虽然比它略大，但质地不同，取材于潮汕地区特有的朱泥，堪称最小的手拉坯朱泥壶。目前他正准备申报吉尼斯纪录。

2013-12-11

　　中国的紫砂茶具素以精、薄、轻、巧为上品。我县工艺美术大师吴宝华先生经过多年的潜心研究，制作了最小的紫砂壶，装水量不足一滴水的四分之一，壶长(嘴柄距)7.10毫米，壶体(外直径)4.26毫米，壶高4.06毫米。据行业内的有效数据显示，此壶是目前“世界之最”，吴宝华正在为它们申报英国吉尼斯纪录。

　　吴宝华，这位紫砂奇才从八十年代起就跟随清代制壶名家邵大享之后邵全章先生学制壶艺。刻苦钻研，走自己的艺术特色路。1991年首次研制成功世界上最薄的紫砂茶壶。作品一经问世，引起各大媒体的关注。被行家们誉为“稀世真品”并载入《吉尼斯大全》、《中华茶业五千年》和《浙江 古今人物大辞典》、《民间名人大辞典》等书籍。

2014-05-16

        在2014年5月7日，台湾著名的微雕家陈逢显亮出他最新的作品——世界上最小的紫砂壶！只见这个小小紫砂壶比人的指甲还要小很多，稍有不慎，即可弄不见。

        据悉为了研制这只小小的紫砂壶，加上紫砂的材质比较脆，已经研究了好几年，当中失败多次！如今终于研制成功，虽其体积小，但做工还是相当精湛，令人惊叹。

最大的紫砂壶

　　制作巨型紫砂壶的是江苏省巨壶大师、中国工艺美术学会会员刘根林。1998年，刘根林去景德镇调研时，发现有人制出了一对巨型花瓶，刘根林返回宜兴后先修建了一座高4米、宽2.2米的巨窑，然后开始尝试制作巨型紫砂壶。经过多次实践，最终取得了成功。据介绍，这个紫砂壶高3.5米，直径1.83米，重980公斤，可容水2.76吨，由刘根林带领江苏省宜兴市巨壶堂10余名工匠选用1.5吨紫砂泥，耗时7个月制作完成。据了解，这个紫砂壶拥有上海大世界基尼斯总部颁发的世界“最大紫砂壶”证书。

最扁的紫砂壶

        2010年10月25日，世界最扁紫砂壶亮相北京国际茶叶博览会，吸引观众纷纷驻足观赏。该紫砂壶高19.07毫米、宽119.53毫米、容积41.92毫升，由宜兴紫砂艺人秦午南创作，2009年被上海大世界吉尼斯总部确认为“世界上最扁的紫砂壶”。

紫砂的起源

　　紫砂创始在何时，在我国陶瓷史上一直是悬而未决的问题。明、清时代的史籍中明确地说，紫陶器创始于明代弘治、正德年间，金沙寺的和尚和书僮是创始人。如明周高起在《阳羡名壶系·创始篇》中说：“金沙寺僧，逸其名，闻之陶家云：僧闲静有致，习兴陶缸翁者处，搏其细土，加以澄练、捏筑为胎，规而圆之，刳使中空，踵传口柄盖的，附陶家穴烧成，人遂传用”。周容《宜兴瓷壶记》说：“今吴中较茶者，必言宜兴瓷，始万历，大朝山寺僧(即金沙寺僧)传供春者，吴氏小吏也”。

　　供春和吴氏是何许人呢？《宜兴县志》记载说：供春是明正德年间(公元1504-1521)提学副使吴颐山随带的书僮，吴读书于金沙寺中(此寺今仍尚存遗址)。吴梅鼎的[阳羡茗壶赋]说：“彼新奇兮万变，师造化兮之功。信陶壶之鼻，亦天下之良工”。这些记载清楚地说明紫砂创制于明代中晚期，绝对不提宋代已有紫砂的事实。

　　1976年宜兴红旗陶瓷厂在施工中发现了紫砂古窑遗址，才得到证实宜兴陶瓷生产的始于新石器时代。宜兴是个古老的县，始设县于秦，远在新石器时代，勤劳的人民就在这里开创了原始陶瓷生产活动。先后多次进行了考古调查发现古文化遗址七处，其中就有新石器时代遗址五处。古窑址近百处，其中有汉代窑址三处，六朝窑址三处，隋、唐、五代窑址九处，宋、元窑址二十处，明、清窑址六十多处。因此民间传说，把越国的范蠡奉为“宜兴陶瓷创业的祖师”或“陶朱公”是不真实的。

　　古紫砂窑址位于宜兴蠡墅村羊角山，是丁蜀镇黄龙山的支脉系统，这里是盛产紫砂泥矿的地方，所以古人把窑建在原料的产地。古紫砂窑址是埋在长约十公尺的土堆下面，经破土清理，共分三层，上层厚二公尺余，为近代废窑陶瓷碎片堆积，以缸、翁碎片为主。第二层为混合堆积，从元代以迄清代初年，延续时间较长，堆积层较厚，约二至三公尺，多为瓯窑缸、缶、翁和肩部饰有菱花的陶罐、玉壶式的釉陶壶等残片，尤其后两种具有元、明代陶瓷造型风格；其次还发现“宜均器”残片，与瓯窑制品极为相似。

　　另外在附近偏北方向，发现有瓯窑遗迹，说明所堆积是元未明初瓯窑的堆积物。第三层为早期紫砂堆积层，厚1.5公尺，断面呈灰紫色，主要是紫砂壶残片，有壶身、壶嘴、壶盖等。在此堆积的附近，发现了一座长约十公尺、宽约一公尺余的龙窑一座，其中亦有紫砂片。窑的下层，是黄土，是建窑时用黄土人工填成的。南端用小砖砌成倾斜的砖垛两排，这一种小砖与江南地区常见宋墓砖极为相似。根据发掘出土的大量紫砂器残片分析研究，可以分辨出主要造型有：壶、罐两个大类，其中以壶为大部，均呈紫红色，器物里外无釉，从残片复原的器型分有高颈壶、矮颈壶、提梁壶等三类。紫砂泥质较粗糙，器身表面细密度亦差。由于没有用匣装，而是直接入窑烧成，因而常有火疵现象，在成型方法上已脱离用陶轮拉坯的做法，根据紫砂泥不同于其他陶土性能，而采用泥片镶接法，壶嘴、壶把、壶的子(俗称壶盖、壶顶)的粘接，则采用穿洞捏塞法。为后世紫砂器成型开创了新的工艺，奠定了紫砂器造型的基础。例如：龙头壶的壶嘴，捏成龙头型。六方形壶，壶的颈部起线，壶嘴根部附加菱花形纹饰，以及壶把上带有小孔的处理等，都相当成熟。从复原的三件造型、装饰来看，线条流畅，饰纹恰到好处，绝非免强而为之的处女之作。

　　此外，镇江博物馆近年来在一座南宋古井里发现了两件紫砂壶。壶身、壶嘴、壶底用泥片捏成，壶颈部留有刀削痕，壶身留有很明显的手捏痕，并且上半截还施了釉。据考证，认为是宋代酒壶。从用泥粗糙，制型朴素，比较古老看，在时代上可能早于南宋。不过今后还得作进一步研究，才能得出更正确的结论。

紫砂史话

　　中国的紫砂艺术，以茶具为主，另有少量花盆、笔筒、碗碟、陶刻等，故本专辑主要介绍紫砂茶具。

　　紫砂茶具，由陶器发展而成，属陶器茶具的一种。它坯质致密坚硬，取天然泥色，大多为紫砂，亦有红砂、白砂。这种陶土，含铁量大，有良好的可塑性。紫砂茶具的色泽，可利用紫砂泥泽和质地的差别，经过“澄”、“洗”，使之出现不同的色彩，如可使天青泥呈暗肝色，蜜泥呈淡赭石色，石黄泥呈朱砂色，梨皮泥呈冻梨色等；另外，还可通过不同质地紫泥的调配，使之呈现古铜、淡墨等色。优质的原料，然的色泽，为烧制优良紫砂茶具奠定了物质基础。成陶火度在1100―1200摄氏度，无吸水性，音粗韵长。它耐寒耐热，泡茶无熟汤味，能保真香，且传热缓慢，不易烫手，用它炖茶，也不会爆裂。因此，历史上曾有“一壶重不数两，价重每一二十金，能使土与黄金争价”之说。但美中不足的是受色泽限制，用它较难欣赏到茶叶的美姿和汤色。

　　紫砂茶具起始于宋，盛于明清，流传至今。在明代中叶以后，逐渐形成了集造型、诗词、书法、绘画、篆刻、雕塑于一体的紫砂艺术。北宋梅尧臣《依韵和杜相公谢蔡君谟寄茶》诗中道：“小石冷泉留早味，紫泥新品泛春华。”欧阳修也有“喜共紫瓯吟且酌，羡君潇洒有余情”的诗句，说明紫砂茶具在北宋刚开始兴起。1976年宜兴鼎蜀镇羊角山发掘出一处宋代龙窑窑址，出土了许多紫砂陶残器，考古发掘的实物和文献记载互相印证。至于紫砂茶具由何人所创，已无从考证。

　　紫砂茶具则创造于明代正德年间，根据明人周高起《阳羡茗壶录》的“创始”篇记载，紫砂壶首创者，相传是明代宜兴金沙寺一个不知名的寺僧，他选紫砂细泥捏成圆形坯胎，加上嘴、柄、盖，放在窑中烧成。“正始篇”又记载，明代嘉靖、万历年间，出现了一位卓越的紫砂工艺大师——龚春(供春)。龚春幼年曾为进士吴颐山的书僮，他天资聪慧，虚心好学，随主人陪读于宜兴金沙寺，闲时常帮寺里老和尚抟坯制壶。传说寺院里有株银杏参天，盘根错节，树瘤多姿。他朝夕观赏，乃摹拟树瘤，捏制树瘤壶，造型独特，生动异常。老和尚见了拍案叫绝，便把平生制壶技艺倾囊相授，使他最终成为著名制壶大师。供春在实践中逐渐改变了前人单纯用手捏制的方法，改为木板旋泥并配合着竹刀使用，烧造的砂壶造型新颖、雅致、质地较薄而且又坚硬。供春在当时就名声显赫，人称“供春之壶，胜如金玉”。有一把失盖的树瘿壶，造型精巧，现存北京历史博物馆，是供春唯一传世的传品，但也有人疑为赝品。这位民间紫砂艺人最早地把紫砂器推进到一个新境界，供春壶成为紫砂壶的一个象征，其作品也被后世所仿造。

　　明清两代，宜兴紫砂艺术突飞猛进地发展起来。名手所作紫砂壶造型精美，色泽古朴，光彩夺目，成为艺术作品。明代张岱《陶庵梦忆》中说：“宜兴罐以龚春为上，一砂罐，直跻商彝周鼎之列而毫无愧色。”名贵可想而知。

　　从万历到明末是紫砂器发展的高峰，前后出现“四名家”、“壶家三大”。“四名家”为董翰、赵梁、元畅、时朋。董翰以文巧著称，其余三人则以古拙见长。“壶家三大”指的是时大彬和他的两位高足李仲芳、徐友泉。时大彬为时朋之子，最初仿供春，喜欢做大壶。后来他在游娄东时与名士陈继儒交往甚密，共同研究品茗之道，根据文人士大夫雅致的品味把砂壶缩小。点缀在精舍几案之上，更加符合饮茶品茗的趣味。他制作的大壶古朴雄浑，传世作品有菱花八角壶、提梁大壶、朱砂六方壶、僧帽壶等。他制作的小壶令人叫绝，因此当时就有“千奇万状信手出”、“宫中艳说大彬壶”的赞誉，被誉为“千载一时”，他为紫砂发展史作出了巨大的贡献。李仲芳制壶风格趋于文巧，而徐友泉善制汉方、提梁卣等。他晚年自叹说：“吾之精，终不及时之粗也”。

　　另外，紫砂艺人李养心，是万历时人，他擅长制作小壶，朴素带艳，世称“名玩”。李养心的最大贡献是开创了“壶乃另作瓦缶囊闭入陶穴”的匣钵装烧法。还有欧正春、邵氏兄弟、蒋时英等人，他们借用历代陶器、青铜器和玉器的造型、纹饰制作了不少超越古人的作品，他们的作品也广为流传。另外被誉为“桃圣”的项圣思也非常著名，他制作的大小桃杯，制作的精细入微。

　　到了清代，紫砂艺术进入了鼎盛时期。砂艺高手辈出，紫砂器也不断推陈出新。清初康熙开始，紫砂壶引起了宫廷的高度重视，开始由宜兴制作紫砂壶胎，进呈后由宫廷造办处艺匠们画上珐琅彩烧制或制成的珍贵的雕漆名壶。雍正也曾下旨让景德镇按照宜兴壶的式样烧制瓷器。乾隆七年宫廷开始直接向宜兴订制紫砂茶具，至此紫砂壶成为珍贵的御前用品。这一时期紫砂大家有陈鸣远、邵大享等名家，陈鸣远是继时大彬以后最为著名的陶艺大家。陈鸣远制作的茶壶，线条清晰，轮廓明显，壶盖有行书“鸣远”印章，至今被视为珍藏。据《阳羡名陶录》记载“鸣远一技之能世间特出”。著名现代宜兴紫砂陶艺家顾景舟先生评价说：“我从事砂艺六十年，明末清初最杰出的砂艺家首推陈鸣远。”可见其影响力之大。他的作品铭刻书法讲究古雅、流利。其传世作品也仅有难得的几件。另外此时期的名家还有虔荣、王南林、邵元祥、邵旭茂、陈观候等。乾隆晚期到嘉、道年间，宜兴紫砂又步入了一个新的阶段。紫砂茶具式样繁多，所谓“方非―式，圆不一相”。在紫砂壶上雕刻花鸟、山水和各体书法，始自晚明而盛于清嘉庆以后，并逐渐成为紫砂工艺中所独具的艺术装饰。不少著名的诗人、艺术家曾在紫砂壶上亲笔题诗刻字。《砂壶图考》曾记郑板桥自制一壶，亲笔刻诗云：“嘴尖肚大耳偏高，才免饥寒便自豪。量小不堪容大物，两三寸水起波涛”。此时最著名的是陈鸿寿，字子恭，号曼生，此人工于诗文、书画、篆刻，时任江苏溧阳知县，特意到宜兴和杨彭年制壶，创造了著名的曼生十八式。。杨彭年的制品，雅致玲珑，不用模子，随手捏成，天衣无缝，被人推为“当世杰作”。彭年配合制壶。陈曼生设计，杨彭年制作，再由陈氏镌刻书画。其作品世称“曼生壶”，一直为鉴赏家们所珍藏。所制壶形多为几何体，质朴简练、大方，开创了紫砂壶样一代新风。曼生壶铭极具文字意趣，至此中国传统文化“诗书画”三位一体的风格至陈曼生时期才完美地与紫砂融为一体，使宜兴紫砂文化内涵达到了一个新的高度。

　　到了咸丰、光绪末期，紫砂艺术没有什么发展，此时的名匠有黄玉麟、邵大享。黄玉麟的作品有明代纯朴清雅之风格。擅制掇球。而邵大享则以浑朴取胜，他创造了鱼化龙壶，而此壶的特点是龙头在倾壶倒茶时自动伸缩，堪称鬼斧神工。在稍后的20世纪初叶，由于中国资产阶级蓬勃兴起，商业的逐渐发展，宜兴紫砂自营的小作坊如雨后春笋般迅速发展起来，诞生了一些制壶名家，其中又以冯桂珍、俞国良、吴云根、裴石民、顾景舟、王寅春、程寿珍、朱可心、蒋蓉等人最为著名。

　　近年来，紫砂茶具有了更大发展，新品种不断涌现，目前紫砂茶具品种已由原来的四五十种增加到六百多种。例如，紫砂双层保温杯，就是深受欢迎的新产品。由于紫砂泥质地细腻柔韧，可塑性强，渗透性好，所以烧成的双层保温杯，用以泡茶，具有色香味皆蕴，夏天不易变馊的特性。因是双层结构，开水入杯不烫手，传热慢，保温时间长。造型多种多样，有瓜轮型的、蝶纹型的，还有梅花型、鹅蛋型、流线型等。艺人们采用传统的篆刻手法，把绘画和正、草、隶、笼、篆各种装饰手法施用在紫砂陶器上，使之成为观赏和实用巧妙结合的产品。

　　紫砂器在世界上称得上造型最丰富的工艺品种，明清两代先后涌现出数十位德高望重的著名陶艺名家，创制出了人类艺术瑰宝，他们为中国陶瓷史的发展，写下了光辉灿烂的一页。

中国紫砂艺术

　　中国的紫砂艺术，以茶具为主，另有少量花盆、笔筒、碗碟、陶刻等，故本专辑主要介绍紫砂茶具。

　　紫砂茶具，由陶器发展而成，属陶器茶具的一种。它坯质致密坚硬，取天然泥色，大多为紫砂，亦有红砂、白砂。这种陶土，含铁量大，有良好的可塑性。紫砂茶具的色泽，可利用紫砂泥泽和质地的差别，经过“澄”、“洗”，使之出现不同的色彩，如可使天青泥呈暗肝色，蜜泥呈淡赭石色，石黄泥呈朱砂色，梨皮泥呈冻梨色等；另外，还可通过不同质地紫泥的调配，使之呈现古铜、淡墨等色。优质的原料，然的色泽，为烧制优良紫砂茶具奠定了物质基础。成陶火度在1100―1200摄氏度，无吸水性，音粗韵长。它耐寒耐热，泡茶无熟汤味，能保真香，且传热缓慢，不易烫手，用它炖茶，也不会爆裂。因此，历史上曾有“一壶重不数两，价重每一二十金，能使土与黄金争价”之说。但美中不足的是受色泽限制，用它较难欣赏到茶叶的美姿和汤色。

完整版老一厂紫砂壶介绍

　　老一厂是原江苏省宜兴紫砂工艺厂的简称，建于1955年，由吴云根、裴石民、任淦庭、王寅春、朱可心、顾景州、蒋蓉七大老艺人集中当时民间制壶和陶刻的紫砂艺人一起成立的，历时40余年，培养了大批紫砂国大师、省大师、省名人和高级工艺美术师，创作制作的紫砂精品更是层出不穷，可谓几百年来紫砂最辉煌的时期，直到1997年结束国营改制为民营。

　　老一厂紫砂壶现在一般界定为1977—1997年原老一厂一车间生产的较高档的商品壶，当时多用于出口创汇，前后可分为：　　
　　1、椭圆绿标期（1977—1982年）
　　2、甲子泥无标期（1983—1987年）
　　3、方圆标期（1987—1992年）
　　4、镭射标期（1993—1997年）

　　老一厂紫砂壶所有泥料采用黄龙山4号井的泥料；造型更是前辈大师、名家定型定款；窑火也是当年烧重油的隧道窑，2002年因污染已经被打掉，所以老一厂紫砂壶以其“泥优型正窑火足，不可再生，不可复制”而一直被紫砂爱好者们追捧。

　　老一厂紫砂壶究竟好在哪里？

　　泥料上乘
　　一般人，对宜兴壶的泥料有些茫然，其一大原因，因为目前市井中，最乱的除了造型，即是原料。先前最重要的泥料采集的黄龙山四号井，因灌进大水成了危矿，于上世纪末封矿。今日许多搞泥的，只得从外省去采购做壶料。郑板桥说“壶用宜兴砂”，宜兴壶如用了外地砂，其乱象可想而知。

　　纯以肉眼看壶的泥质，多看看就会发现一厂老壶的优质泥的玄机，比如紫色中隐隐可看到些微的红色或黄色，红泥中常显现出一点黄色，而黄泥中常夹杂些红色。即在一种主色中夹杂飘忽不定的它种色彩。

　　壶是用来沏茶的，钟爱老一厂紫砂壶的，多半精于品茶。只有优质“宜兴壶”，才能沏出茶的香气与回甘，甚至从汤色，耐泡度，抗馊等许多方面，老一厂紫砂壶确有无可比拟的优越。

　　一是仿明清及清末民国初较为古典和经典的款式。由于一厂有民国时代已成名的多位大家（他们一直被尊称为辅导员），在选择老款式时，并不是机械地模仿，而是融入老艺人个人审美情趣与时代的审美观念，事实上是一番再创作。

　　二是一厂老艺人和新秀所创作的壶式，如“辅导员”朱可心的“报春壶”、“长青壶”等多款花器壶；高海庚厂长的“集玉壶”，顾景舟辅导员的“上新桥壶”，顾绍培的“天龙顶珠壶”，李昌鸿的“竹简壶”等。

　　三是昔日的中央工艺美院如今的清华大学艺术学院若干教师设计的壶，其中以高庄教授（国徽定稿人）所设计，顾景舟首制的“提璧壶”最为经典。

　　四是画家亚明先生设计、王寅春辅导员首制的“亚明方壶”等。属当代书画家创作的，当然，韩美林先生也设计了富有他个人风格的多款壶式。在九十年代，中国书画家佼佼者唐云、罗桂祥等高品位的收藏家或一些雅士，对一厂造型同样有不可磨灭的贡献。

　　一厂艺人他们得益于前辈艺人超凡脱俗的审美情趣，以及与世界各国陶艺家的交流，在造型艺术上培养出卓而不群的审美眼光。

　　“老一厂紫砂壶”多数是由做高档壶的一车间制作的，新艺人要三年陶校毕业，实习考核合格才能进入一车间。

　　我所谓“老到”，“老”是老练、老辣，“到”则基于娴熟的手法能得心应手的将技法施展的恰到好处，简而言之即做工“到位”。一个优秀的制壶者，在整个做壶过程中，拍身筒、安流、装把、用“明针”等一系列工艺做下来，行云流水，欢畅自如。

　　一九七三年，国家投资一厂建起了一架新式隧道窑，以重油做燃料。为防止油烟中杂质侵入壶面，壶成胚后一律置入耐高温材料制成的掇罐之中，紫泥一千一百度左右，红泥九百六十度左右，窑温稳定，熄火后掇罐内壶将有十多小时依然在隧道窑中慢慢降温。因此，烧成后的壶“水色”绝佳。这架窑，今因油价飞涨早已熄灭，被海内外一厂壶收藏家誉之为“官窑”。就于紫砂，自古至今除了“一厂隧道窑”官方从未投资建起第二座窑炉的。邓小平送日本前首相田中角荣壶，以及紫光阁较早陈列的二十多件紫砂器，皆是隧道窑烧成的。过上百年写史者将老一厂紫砂壶列为唯一“官窑壶”，亦不是不可能的。

　　茶是介于中药与食品之间的瑞草。我们只要联想到当今熬中药以砂罐、餐饮中以砂锅炖煮或煲汤，其原理完全一样。宜兴优质壶能沏出茶之佳味、汤色纯正，茶味醇厚。好的宜兴壶，素为嗜茶者首选之佳器。

　　这里我捎带说一下“养壶”。我个人不喜欢以一支养壶笔沾了茶水，在茶壶上再三涂抹，更不提倡以手揉搓，以面擦壶，使壶油光锃亮。壶上有了这类“包浆”，有损沏茶功能。我想，所谓“养”便是保养。使用得法，保养得当。仅以废茶水浇淋壶身，或以纯棉毛巾加以擦洗，每天必将壶中茶叶倒掉，清洗净，使壶置空气清新处阴凉干透即可以了。

      泥料是宜兴壶的基础。至今为止，无论从美感及沏茶实用功能，任何其他地方的泥料，还未见有超过宜兴黄龙山一带优质泥料的。而一厂所用的料都是黄龙山四号井所开采的。即使四号井中，无论紫泥、红泥、段泥，都远比一般制日用陶土的泥料稀少。因此，本地人也将做壶的泥料称之为“泥中泥”。优质制壶泥如同木料中紫檀、黄花梨一样，是非常珍贵的。

　　“老一厂紫砂壶”在造型设计上，大致可分为四点：

　　做工老道

　　窑火适宜

　　沏茶上乘

　　关于老一厂紫砂壶的收藏

　　同其他类收藏一样，其铁律是“物以稀为贵”。一厂壶代表了历史，“方圆牌”且是几百年中最大的一个品牌。“宜兴壶”收藏可分为名家壶、古壶、潜力新人壶和老一厂紫砂壶等收藏主题。我所熟悉的京、沪、津、广西、东北都有藏了几百乃至千余把“老一厂紫砂壶”的。在宜兴，我前几年如逛壶店还常有少数老一厂紫砂壶出售，可如今已经难得一见了。

The Artistry of Yixing

       Even at its simplest, the teapot is a thoroughly appealing vessel, blending seamlessly the function of brewing with the elegance of exceptional design. The "original" teapot is from China and the best were and are made from the red clay of the area around Yixing (also known as I-Hsing).

       The clay, which the Chinese call zisha or purple clay, is highly fired yet totally unglazed to retain its natural porous qualities. The pots absorb the flavor and the aroma of tea so intensely that the Chinese dedicate one pot to just one type of tea, an oolong, or a Keemun, or even a grassy green Dragonwell. Mixing teas will not only taint the clay but may make any subsequent tea taste "off." The legend is that, after twenty years, one needn't even put leaves into the pot, just water, which will then be flavored with the essence of decades of tea drinking.

       The ores in the purple clay often are scooped out and used to develop black, pale beige, or a blue-green color; and many are enhanced for additional hue and nuance. From the tiny to the modest four-cup, Yixing pots are as sought after today as they were centuries ago.

       Just as the Chinese esteemed nature in other arts, the teapot reflected favorite elements of nature: lotus, tree branches, leaves and others. Geometrical shapes, sensuous curved ones, and nearly round ones almost resembling pumpkins became popular shapes and all of them can be seen in today's designs which have been greatly extended to cover the most eccentric of designs including animals, flowers, bamboo, and more.

       So important and valued were these pots in their days of origin, during the Sung Dynasty (960-1279). that noblemen and aristocrats throughout China spent fortunes to amass collections of the finest pots made by the most esteemed artists and craftsmen. Even today, the best potters are referred to as "national treasures" for their timeless artistry. Artisans' pots are worth hundreds of thousands of dollars, yet even the most modestly machine made pot of twenty dollars or less, can provide years of pleasurable tea drinking.

       Perhaps the most famous Sung-era story, one shared by writer John Blofeld in "The Chinese Art of Tea," is about a nobleman who lived in the area of Hu-Chou. The man had amassed a collection of teapots known to be the most beautiful and ethereal. He acquired teapots everywhere and anywhere he traveled, using them lovingly to drink his daily tea. With the same ardor, he sought the finest tea farmers and purchased only the freshest most perfectly processed teas.

       One day, a man who obviously looked like a beggar, wearing tattered clothing, and the disheveled look of someone unused to the finer things in life, called upon the nobleman at his home. After some hesitancy by the servant opening the door, the beggar was allowed to meet the nobleman and make his request in person.

       In a surprisingly cultivated and mellifluous voice, the beggar said, "I have heard that the tea you drink is the finest in the land. Perhaps you will indulge me in sharing a cup of your superb tea."

       The nobleman was astonished at the request, believing that the looks of the beggar covered a man naÔve to the delicacies of fine tea. Nonetheless, he ordered tea to be prepared in one of his finest pots, and the beggar inhaled the aroma, took several thoughtful sips, then leaned back in the chair with a look of disappointment upon his face.

       "Ah," he said, "the aroma is too faint, the flavor too mild. It is quite possible, sir, that your teapot, as beautiful as it is, simply is too new to brew the tea to its perfection. A teapot of several decades of use is required here."

       Unwilling to believe that this beggar was the connoisseur he professed to be, the nobleman challenged him.

       "Yes," the reply came, "it is easy to believe I am a beggar, but actually I am a formerly rich man in beggars clothing. My passion for tea overcame everything in my life. Eventually I sold my possessions, all but my most beloved teapot," he said, pulling out a small Yixing teapot from the folds of his ragged clothing. "Would you like to sample your tea in my precious pot? Its rich clay has absorbed the pleasures of the leaf for decades now."

       And, so the nobleman scooped some of his cherished tea leaves into the old beloved pot, brewed it with hot water, timed its brew, and the two gentlemen sipped from its nectar. "Yes," the nobleman said after a long silence, "I understand now. I must have this pot for my collection! I will offer you fifty pieces of gold for it."

       "Sorry," was the reply, "I would not be able to part with this pot for ten thousand pieces of gold."

       The two men continued to sip their tea in silence, until the beggar broke the calm with his proposal. "I see that you understand the pleasures of tea and the importance of a well-loved pot. I am willing to share this pot with you for but five hundred pieces of silver. Should you agree, I will even leave this pot here, on one condition, and once a day I may come by to enjoy its beauty and the delectable tea with you."

       And so it came to be that the two men, day after day, met to drink tea together, each enjoying the finely weathered pot that provided the fullest flavor to the finest tea.

       The next time you reach for your most beloved pot, stained and worn from years of loving use, remember that it is just now coming into its prime!

       If you would like to use an Yixing pot, follow the seller's directions for seasoning the pot. Put a heaping teaspoon of the tea you would like to dedicate the pot to, and cover with hot water. Allow to steep and pour out the liquor. Re-brew and pour out the liquor. Discard the leaves, then pour in hot water only and swish it around, then pour that liquid out. Your pot is now "seasoned" for your favorite tea. After each use, discard all the leaves, rinse out thoroughly with hot water, and air dry with the lid off. Replace on your shelf until your next tea experience. Your teapot should last several generations!