The design must be copyrighted
Han Jianming (Editor-in-Chief, Collection Magazine)
With the development and change of the times, the purple sand pot has changed from the love of the dignitaries to the daily necessities of ordinary people, and then to the darling of today's collection industry, and even developed into a synonym for works of art, and the audience of the purple sand pot is more diversified. Choosing to evaluate the quality of a pot varies from person to person, and the one that meets your preferences is the best.
What kind of purple clay pot is the most valuable? In today's continuous progress of machines and processes, the workmanship of purple sand pots will reach omnipotent, and the degree of exquisiteness will be higher and higher. The value of the purple clay pot in the future depends more on the creativity and wisdom condensed on the pot than on the workmanship itself. Therefore, how to define and protect the creativity of craftsmen will become a new issue facing the development of purple sand pots. In the future, there will be top design masters located at the tip of the pyramid in the field of purple sand pots, the best pots are produced through their designs, and the biggest value of the pot itself is their design concept. Regulating the market with copyright will become the trend of the development of purple sand pots.
The pot looks at the spirit
Zhang Dahua (painter)
The practical value of the purple sand pot is self-evident, and when it comes to collecting, it is not only practical, but also artistic components in it. The collection of purple clay pots must first look at the artistic value. The change between people and things is a change in the heart. When we resonate with a pot in our hearts, there is interest. Only by liking can there be the desire to collect, rather than simply starting from the perspective of fame and simply pursuing market value.
The quality of the purple sand pot is not whether the craftsmanship is exquisite, but how deep the connotation of the pot maker is. The connotation is the state of mind, which comes from the mind, the mind, and the mind. Everyone's appreciation angle is different, and each pot will bring a different mood. The pots we collect must be what we think in our hearts, what we want in our hearts, and are closely related to life.
When the purple clay pot is not made, it is just a handful of clay, and after the artistic processing of the craftsman, it becomes the art of beauty, which makes people rejoice when they see it. The pot maker gives life to the purple sand pot, which is the process of transforming matter into spirit. Life is inseparable from the tangible and the intangible. The tangible is the pot itself, and the invisible is the association that the pot brings to people. From the association of the instrument type, it is transformed into the enjoyment of our spirit.
Collecting is a process of learning, a process of increasing one's own wisdom and knowledge. What we collect is not only the purple sand pot itself, but the wisdom condensed on the purple sand pot, which helps to improve our spirit. Everyone's vision is different, with the improvement of the state of mind, the realm of collection gradually improves, the heart and wisdom are grown, thus embarking on another height of collection.
The pot maker works with his heart, the collector realizes with his heart, and the artwork is the inheritance of the spiritual communication between the two. Only when the collector throws away fame and fortune and follows his own heart to appreciate a pot, can he understand the mood of the pot maker.
The name is not as good as the pot
HUANG Zhong (Professor, Beijing University of Chemical Technology)
At several large-scale purple clay pot auctions held, master pots with a unit price of more than 50,000 yuan were no longer sought after and were auctioned. On the contrary, a group of purple sand pots made by young and middle-aged people with a unit price of about 1,000 yuan have been welcomed. The emergence of this phenomenon is not only the sky-high price of tens of thousands of yuan and hundreds of thousands of yuan of master pots that make people prohibitive, but also an important reason is that many master pots lack innovation.
Today's craftsman title evaluation is cumbersome and chaotic, and many people are rated as provincial arts and crafts masters in the near future. Even if some people obtain the title of master, their time and energy in the past were too much to spend on the competition for obtaining master qualifications, neglecting the study and exploration of the purple sand pot. On the contrary, some young people, although the title is not high, or even no title, but their works are condensed with unique innovative ideas and artistic atmosphere, and their works are by no means inferior to some national masters. As far as I know, in Yixing, when the flower utensils are mentioned, it must be Wu Junfeng; On the hanging tire process, Zhou Bojuan must be indispensable; The fang instruments of Shi Yanqian and Zhou Liangrong were highly favored. None of them have the aura of a master, but the works are simple and bright, both shape and god, retaining the tradition without losing the characteristics of the times, with a high artistic level, and in the collection circle of real pots, there are a large number of "hardcore fans".
Master Jiang Rong once said: "Art is not blindly simulated, meticulously realistic, copying can only produce craftsmen, only creation is art, can become a climate, can have a way out." Blue is better than blue, and the innovative works of young people will surely surprise people who love pots.
Good look good to use poor fun
Yu Haidong (Art Critic)
The development of purple sand art to today, the road traveled is not short, looking back, how big the change in the purple sand pot is, it is easy to see the problem. As a kind of daily utensils, the vast majority of purple sand pots have always adhered to the traditional form in the production process, and the overall change is not large, which can be described as a pot into self, which is difficult to tolerate.
The vast majority of people who make purple sand pots in Yixing are used to learning from the master, and the master learns from the master, and the art of purple sand has always been in the traditional circle. Domestic customs are used to treating art with a fixed aesthetic view, while foreign countries tend to look at art with a changing mindset. If purple sand art wants to go to the world, it must jump out of the established circle to innovate.
Speaking of good pots, he Daohong and Wang Yinxian have their own opinions. In the view of He Daohong, who has the strongest spirit of innovation, a good pot must first be easy to use. Wang Yinxian, who pays attention to artistic change, believes that the pot is indispensable to look good. In addition to being easy to use and good-looking, it should also be fun. Of course, how to play and how to appreciate is the collector's business.
If it is not demanding, it is easy to use a saying that it is basically not a problem in Yixing. But whether it looks good or not is another matter. The hardest thing to do is fun, which is something that purple sand artists rarely pay attention to in the past. In order to be easy to use, the shape of many pots seems to be changeable in size, but in fact, it only changes between change and invariance. As a result of the good use, you will only buy a second one until the pot is broken.
With the intervention of some scholar-type potters, the artistic creation of purple sand gradually shifted from the traditional beauty of the shape to the innovation of modern consciousness. They no longer satisfy the previous aesthetic consciousness of using the image of natural life to pursue the ingenuity of surface change, but directly from the pot itself to carry out a subversive revolution, whether it is a pictographic pot, an ideographic pot, a concept pot, all of which highlight the new aesthetic vision formed after the fusion and collision of cultural elements and artistic ideas; The use of it is the pot is the utensil, the look is the ding is the object, and the play is beautiful and fun. Their purple sand works often have a significant feature, that is, they do not recognize the pot when they see the pot, and they do not forget the person when they see the pot. In the simplest words, the purple clay pot is not fun, it is nothing more than a little special meaning. Deeply speaking, a good pot with collectible value will definitely reflect the unique innovative spirit and influence of the work in the creation of purple sand art.
To develop purple sand art, it is difficult to avoid the contradiction between the needs of life and the needs of art, because the improvement of quality of life will definitely increase the requirements for living art. How to transform this contradiction into a mutually reinforcing driving force should be paid attention to at least in the following three points: First, do less pots without personality. Making pots is the most afraid of laborious and unflattering, and now how many purple sand pots from Yixing belong to the kind of one more, not more, less than one, not to say and understand. The second is to do more small pots and big art works. In those days when I was in Dingshu Town, there were more pot sellers and fewer pot makers, and the most difficult thing to hear was the word "realm". The third is to make your own personality. It is often said that painting is like a person, and the personality is not a small nature of the individual, but for the potter, it is the artistic creativity that is refined after integrating what he has learned, worked and thought throughout his life.
How good a pot is, I feel like this: it looks at you when you look at it, and you think about it when you can't see it. In other words, a pot that can be put in the heart is a really good pot.