From the faience pot that "traces back to the ancient and profound, clay plate and casts faience pottery", to the bronze pot of "I drink the golden silk of the aunt and maintain the eternal nostalgia". From the porcelain pot of "The Nine Autumn Wind Dew Opens the Kiln and Wins the Green Color of the Thousand Peaks", to the purple sand pot of "Xiaoshi Cold Spring Leaves Early Taste, Purple Clay New Product Pan Chunhua". As a humanistic intangible cultural heritage, the pot is the manifestation of the quality of life of our ancestors and predecessors, the pursuit of aesthetic materialization, and the presentation of the emotion of utensils. It can be said that it is a magnificent reproduction of "poetic inhabitation".
The sun and the moon in the pot melt the spring and autumn. Zi Ou Qiankun, porcelain Yao Kyushu. Outside the long pavilion, beside the ancient road, the past is awakened by the memories of meeting and staying together. In the middle of the palace and between the buildings, Shao Guang was concerned by the flow of rain and wind. Full of Fang, Yulou Spring, my thoughts were amazed by the alternation of the sea of stars. The pot, as a kind of container in people's daily life, has interpreted poetry and distant places in the long years.
Majiayao faience clay pot, collection of the Palace Museum
More than 4,000 years ago, the Majiayao faience pottery pot reflects the life interest of the original ancestors; the noble secret color porcelain pot in the Famen Temple of the Tang Dynasty represents the epic chant of "the sun and moon in the pot in the chest"
The pot, solemnly interpreted in the "Sayings", said: "Kunwu round instrument also." "From faience, bronze, celadon to purple sand, the pot is interpreting the life form, ideological taste and aesthetic process of our nation.
From the Neolithic Yangshao faience pot to the Majiayao faience pot, our primitive ancestors have integrated painting, decoration, sculpture, modeling, and inscription, which contains their life form, social ecology and primitive totem mentality. For example, the Majiayao Shenren pattern pottery pot, the shape of the vessel is plump and round, the shape is beautiful and rich, the decoration is simple and bright, and it has reflected the original ancestors' full of life interest and unique thoughts and emotions. The Shang zhou culture and art of the slave society, with bronze as a model, thus creating a brilliant Bronze Age. The bronze pot embodies the life style, aesthetic style and social style of that era. Such as a bronze pot, with a bird as a lid, under the support of the circle foot. The overall shape is quite vivid, with a long neck, slippery shoulders, a bulging belly, and a flat bottom. The lid is decorated with a dragon pattern, the neck is decorated with a geometric cloud thunder pattern, and the abdomen is decorated with a cockroach pattern. Exquisite craftsmanship, exquisite ornamentation, and exquisite carving, making it have high aesthetic value in addition to practical functions, Guo Moruo gave a high evaluation in "Yi Instrument Image Science Temptation". The pottery making process of the Qin and Han dynasties was also dominated by a large number of daily utensils, but the aesthetic consciousness in life was still windy. For example, the "Han Painted Dragon and Tiger Clay Pot" unearthed in Luoyang, the shape of the vessel is round and rich, the ornamentation is simple and beautiful, the color is bright and simple, especially the decoration of the pot body is red, which is in stark contrast with the overall pot color, and the characteristics of the color glazed faience pottery can be seen. Pottery developed to the Eastern Han Dynasty, some areas have appeared celadon porcelain, such as the dragon kiln qing kiln in Shangyu, Zhejiang is very famous, from the development of pottery to porcelain, is a historic turning point in the history of Chinese ceramics.
Divine pattern faience clay pot, Gansu Provincial Museum collection
It conveys the alternation of spring and autumn, greets the cultivation of time, and shows the sublimation of craftsmanship. According to the Tao Lu, "Tao to Tang and sheng. That is to say, in the long historical evolution of pottery, it tends to improve from practicality to aesthetics, from instrumentality to quality, from technical to artistic, thus emerging a new benchmark of craftsmanship that "has a kiln name from the Tang Dynasty". Since then, whether in the spring rain of apricot blossoms in Jiangnan, by the flowing water of small bridges, or in the iron horse Jinge and border fortresses in the northern country, from Wang Wei's "Xinfeng Meijiu Dou Ten Thousand, Xianyang Ranger For Many Years", Du Fu's "Singing in the Day must be from wine, youth as a companion to return to the hometown" to Li Bai's "A pot of wine between flowers, drinking alone without blind dates", Bai Juyi's "Pot of wine friends rule, Qin Song Wild Xing idle". Tang poems fermented more romantically and boldly in the moistening of the wine pot, and the "leather bag teapot" in the hands of the poets, which has a unique shape and elegant glaze, is produced in the Yue kiln in the east of Shaoxing, Zhejiang. At that time, the Yue kiln celadon, which was revered by the Tang Dynasty as the "crown of all kilns", had exquisite craftsmanship, warm glaze color, exquisite shape, hard texture and crisp tapping. The poet Xu Wei praised it with a poem: "Qiaoqiao mingyue dyes spring water, and gently swirls thin ice and green clouds." The ancient mirror broke the moss on the seat, and the tender lotus Han Lu Bei Jiang collapsed. Another example is the "phoenix pattern holding pot" of Changsha kiln, the shape of the vessel is generous and dignified, the barrel-shaped pot body is thick and long neck, the abdomen is round and the handle is short and curved, full of strength and momentum. The body of the pot is covered with a warm green glaze, which is shiny yellow in the blue and exudes luxury. The belly of the pot is painted with brown and green flying phoenixes, the lines are magnificent and smooth, and the shapes are beautiful. No wonder Li Bai, who "went to Changsha for a migrant", saw this wine jug and touched the nostalgia in his heart. Only in this way, the title of the kiln has the significance of beauty is a milestone of life. The noble "Tang Secret Color Porcelain Pot" in the Royal Temple Famen Temple represents the epic chant of "the sun and moon in the pot are in the chest".
Spring and Autumn Lotus Crane Square Pot, collection of the Palace Museum
The tea fragrance is quiet and delicate, the piano tone is gentle and low, the laurel tree contains gold to welcome the autumn, a lady in red is plucking the strings and playing the piano, the two noblewomen are quietly listening, and the two maids are respectfully serving tea. The ladies were dressed in rich and beautiful clothes, with a fat and plump posture, a full and plump face, and beautiful sideburns. The tea set held by the maid is also quite exquisite, which is the "Tuning of the Piano and Tea Illustration" by Zhou Fang, a great painter of the Tang Dynasty known as "Showing the Appearance of The Instrument, Passing on the Hearts of the Craftsman", such an elegant and exquisite scene reflects the theme of palace grievances, reflects the favor of life for art, highlights the aesthetic care of life, and constitutes a scene that is looking back in the scene of the Tang Dynasty. Corresponding to and comparable to this is the Southern Tang Painting Academy's masterpiece "Han Xizai's Night Feast". We can not take care of the five scenes of the whole luxurious night banquet in Hanfu, starting with the feast, playing the pipa, dancing and drumming, changing clothes and listening to music. You can also ignore the different eye mentalities and physical movements of the guests of the night banquet, from the host Han Shi, Xin Ke Zhuangyuan, the deputy envoy of the teaching workshop, Dr. Tai Chang to the Mingde monk, the protégé Shuya, the le female maiko and even the pet prostitute Weak Lan. Just for the two exquisite "Tang Qing Glazed Jugs" on the long case in the first scene, it is extraordinary, and the instruments are exuberant and vivid, constituting the beautification of life by art and interpreting the spiritual interpretation of aesthetics. Therefore, the Tang poetry monk was fascinated by this, and sang in the "Tea Drinking Song Cui Shi Jun": "Plain porcelain snow color is fragrant, how like the immortal Qiongrui pulp." ”
Tang Dance HorseBit Cup Pattern Imitation Leather Sac Gilded Gold and Silver Pot, Shaanxi History Museum Collection
In the Northern Song Dynasty, Su Dongpo staged the human comedy of "Pine Wind Bamboo Stove, Lifting Pots Calling Each Other", thus inventing the Dongpo Tiliang Kettle with flexible and beautiful shape and easy to carry practically
"What a beautiful day, whose yard is there?" The "Shadow Celadon Wine Pot" in Jingdezhen, the "Porcelain Capital", is filled with warm water-like years in the sky blue and other smoke and rain in the slightly bright Ming Xuan of the window screen, pouring out the dream of returning to Lin'an. Life, for Su Dongpo, a literary hero of the Song dynasty who "has a bright moon and asks the wine to the sky", there seems to be no more grace, greater care, and better vision, but he knows and loves life the most. It can be said that he has been the master of thousands of years, the art of life, the art of life. After forty years in politics, he was degraded and sentenced to thirty and three years. In a word, aesthetically born, artistically alive. When Su Dongpo was once again exiled to Fenghuang Village under the Shu Mountains in Yixing, he saw that there was "Tang Gong Tea" dedicated to the imperial court, and there was also the world's famous water Jinsha Spring, and there was also an elegant and gentle purple sand pot, and he suddenly felt that "the taste of the world is Qing Huan" and "the tea has never been like a beautiful person". His tragic life was suddenly sprinkled with sunshine. Therefore, he often cooked tea with his friends under the pine forest and next to the clear spring, chanted poems and sang lyrics, and staged the human comedy of "pine wind bamboo stove, lifting pots and calling each other", thus inventing the Dongpo Tiliang pot with flexible and beautiful shape and easy to carry practically. To this end, he triumphantly clouded in the poem "Trial Courtyard Sencha": "The crab eye has passed the raw fish eye, the fluttering desire to make a pine wind sound, the mist out of the fine beads falling, the vertigo around the Ou flying snow lightly." "Yes, a college student has been obsessed with life and has no regrets." Since then, in Yixing (formerly known as YangXian), both the children and women and children are singing the song of "the world's gold and jade are full of treasures, and like a pill of soil in the mountains of Yang envy", this soil is the beautiful purple sand five-color soil.
The two exquisite Tang Qing glazed pot vessels on the first scene of Gu Hongzhong's famous work "Han Xizai's Night Feast" constitute the beautification of life by art and the interpretation of the spirit on aesthetics
Historically: Purple sand pots were indiscriminately coveted in the Northern Song Dynasty. Fan Zhongyan, who advocates "the worries of the world before the world, and the happiness of the world after the world" also has a poem to praise: "The green dust on the side of the golden mill flies, and the jasper ou heart snow rises." "But at that time, most of the pots were large pots used for cooking, until the Zhengde period of the Ming Dynasty, there were old monks in Yixing Jinsha Temple who made pots small, hand-kneaded, and cute shapes. Later, Wu Yishan's small book servant for Spring to read with the master in the temple, in his spare time with the old monk to learn to make pots, the soul of the skillful offering of spring from the temple's ancient ginkgo trunk knots inspired, kneaded into a wonderful, quite vicissitudes of the tree gall pot, thus the reputation of the magpie, there is "the pot for spring, better than gold and jade" said. Since then, it has officially marked the transformation of the purple sand pot from a large pot to a small pot, from a practical thing to an art and beauty. The Yang Envy Famous Tao Lu states that the Spring Pot is "like ancient gold iron, Dun Que Zhou Zheng, allowed to be called a god." ”
Inadvertently, the Wanli year of the gathering of storms and clouds came, and the first peak of purple sand pot art represented by Shi Dabin, Li Zhongfang, and Xu Youquan appeared. Shi Dabin is the son of Shi Peng, one of the four famous artists of purple sand that rose during the Jiajing period, he has a good cultural accomplishment and profound artistic attainments, especially when he traveled to Taicang with the great Confucian Chen Jiru and the great painter Wang Shimin in the beautiful scenery, the beautiful scenery of the mountains and rivers in the South Garden after tasting the pot, Wenxin carved the dragon, the pot art was greatly advanced, and since then the literati concept has been integrated into the design concept, the pot shape tends to be exquisite, the pot style tends to be shaped, and the pot style tends to be poetic, thus truly establishing the value system and genre genealogy of the famous purple sand pot style. "Yixing Porcelain Pot Record" commented on DaBin: "For people Dun Ya Gu Mu, the pot is like it, the waves are peaceful and leisurely, and it is respectable." "His seal pot, monk hat pot, magnolia petal pot, unique ingenuity, beautiful and beautiful, known as "the world's beautiful utensils."
Qing Yixing kiln Mansheng model Ti Liang Mansheng pot
During the Kangxi Dynasty, Chen Mingyuan achieved a benchmark work in the history of pot art with the Golden Toad Sanyou Bundle Chai Jug; during the Jiaqing Daoguang Years, calligraphy, seal engraving, and poetry were collected into a pot of "Mansheng Eighteen Styles", which opened the golden age of literati pots
The purple sand pot with brilliant potential and pearls and jade is full of the essence of the years, containing the poetry of life, and collecting the aesthetic heart language. On the rugged mountain path of Hudu Yixing, after the rain, the first day, the greenery stained, a woodcutter is carrying a bundle of freshly cut firewood waddling, with Chen Mingyuan behind him to watch those mottled trunks that have been tempered by the wind and rain, the trenches are long and horizontal, and they are full of vicissitudes. And some of the firewood still has moth holes of different sizes, and there is a small toad that is not willing to leave, exuding a breath of life. Chen Mingyuan, who was stepping on the mountain to enjoy the scenery and relieve his boredom in order to find a new pot shape, suddenly lit up in front of his eyes, isn't this a good pot shape theme? In this way, the benchmark work of flowers in the history of pot art, "Golden Toad Three Friends Bundle Firewood Pot", was born. Chen Mingyuan, who is revered as the "Purple Sand Talent", rose in the Kangxi Dynasty of the Qing Dynasty, is good at sculpture modeling and innovative design, calligraphy also has Jin and Tang dynasty brushwork, his pot art style is elegant and graceful, the inscription is timeless and poetic, the craftsmanship is exquisite and unique, from the imperial palace to the folk are treasured, well-known at home and abroad.
The tea fragrance in the moonlight city is fragrant, and the purple sand between the bodhi in the pot contains affection. It can be seen that the purple sand pot as a practical vessel, the more it develops into the future, the more the inner spirit of the sustenance and the bearing of art, the hidden soul and the outside of the environment. During the Qing Jiaqing and Daoguang years, a generation of masters Chen Mansheng was related to the pot, he was one of the famous "Eight Families of Xiling", working in poetry, good at seal carving, good at calligraphy and painting, fond of collecting, etc., and for the purple sand pot, he was even more fond of it. When he was in Liyang Renzhi County, as soon as he had free time, he went to the neighboring Yixing Ding shu to work with the pot master Yang Pengnian to mix purple sand, develop tea pots, and found the famous "Mansheng Eighteen Styles", thus opening the literati pot period in the history of Chinese purple sand pots. The biggest feature of the Mansheng pot is to integrate the life into the artistry, the practicality into the aesthetic, and the calligraphy, seal engraving, poetry into a pot, the pot type is simple and chic, the pot type is simple and ancient, the pot ming philosophical Zen machine, the rhyme of gao Mai Elegant, is said to be "square non-one, round non-one phase, magnificent." ”
After the "Mansheng Era" when the tea was fragrant and the pot rhymed like poetry, on the three living stones of the Purple Sand Art Garden, a handful of Shao Tycoon's "Throwing Pot" seemed to shine on the flowers by the water, and did its best. It is said that the last trip to Shanghai by gu Jingzhou, a contemporary pot maker, was to take another look at this tycoon pot, which was the master's greeting to the master? Or a tribute to the classics? There is no need to interpret, this is the realm of a generation of masters. Tycoons are precocious and become famous very early. Its pot art is clean and elegant, the shape of the instrument is majestic and majestic, and at that time, there was a "pot of thousands of gold, almost impossible to get" expensive. He is not fashionable, arrogant by nature, despises the powerful, and is a purple sand giant who attaches equal importance to character and pots. Under the moisture of time, the simple and rosy pulp of the tycoon pot still ripples with the master's wind and noble atmosphere of a generation of masters.
Qing Yixing kiln purple sand green space depicting golden melon ridge pot, the Collection of the Palace Museum
As long as you live, the pot always carries the care of the annual rings, keeps the calmness of the years, and waits for "When is the spring flower and autumn moon?" How much do you know about the past. There is "the tongjin of the river and the sea, the capital of the southeast", and there is also the sea, which is now the area of The Hongkou Tilan Bridge. At that time, there was a xiahai temple there, where incense was in full bloom and believers gathered. Many good men and women carry incense baskets across the bridge, so they are called basket bridges. In order to commemorate the famous brake, the abbot in the temple specially invited the pot master Chen Guangming to make the "Bowl Bowl Tiliang Kettle" as the treasure of the town temple. The shape of the pot is taken from the bowl used daily by monks, and the belly of the pot is engraved with a tadpole-like Tadpole script, which exudes a simple and humble atmosphere. The slightly upturned mouth still seems to be telling the old dream of the sea that is drifting away.
The waves are akebode and the white clouds are out, and the sea is full of rivers and tolerant. After the opening of the port of Shanghai, especially after the end of the Qing Dynasty and the beginning of the People's Republic, with the prosperity of the economy, the development of commerce and trade, the practicality of the city, the demand for collections and other factors, contributed to the large-scale demand for purple sand pots in Shanghai. At that time, Shanghai's buildings and teahouses at street intersections were all over the place, and most of them used Yixing purple sand pots, which was still practical. The financial, commercial and trade circles in Shanghai, as well as the painting and calligraphy circles, the theater circles, and the collection circles, are very favored by the famous pots. Therefore, Yixing famous artists such as Chen Guangming, Jiang Yanting, Pei Shimin, Cheng Shouzhen, Wang Yinchun, Fan Dasheng, Zhu Kexin, Gu Jingzhou, Jiang Rong and so on gathered on the banks of the Huangpu River, making the production of purple sand pots large-scale, serialized and high-quality. At the same time, Shanghai also opened large pot villages such as Ge Dehe, Tiehuaxuan, LiYong and Wu Desheng, and exported purple sand to Southeast Asia, Europe and the United States. In 1915, at the Panama International Exposition in San Francisco, USA, Cheng Shouzhen's throwing ball pot and Fan Dasheng's persimmon pot both won the first prize. Since then, a number of pot artists have won awards at the World Exposition held in Europe and the United States, thus making the Haipai purple sand pot internationalized, thus opening another peak in the history of Chinese purple sand pot.
Qing Jiaqing Yang Pengnian system, Chen Mansheng carved Amanda room purple mud well column pot
It is worth mentioning that Gu Jingzhou, known as "Contemporary Dabin", also became famous in Shanghai, such as his "Double-line Bamboo Drum Set Pot" was produced in 1947, when he was 32 years old, although he had just risen in the purple sand world where famous masters were lined up, but he had already impressed with his profound skill, unique achievements and superb skills, and cooperated with Wu Hufan, Tang Yun, Jiang Hanting and other famous Artists of Haipai calligraphy and painting to make pots, so that Jiangnan culture and Haipai culture were perfectly presented. At that time, in the homes of some people in Shanghai's calligraphy and painting circles, financial circles, collection circles and other people's homes, there were often some simple and elegant, graceful and luxurious purple sand pots, which has become a quality of life on the sea, containing the elegance of urban humanities and fashion. As Man Sheng Hu Ming said: "Note the danquan spring, drink the longevity." ”
Author: Wang Qisen
Editor: Fan Xin
Editor-in-Charge: Wang Yan
*Wenhui exclusive manuscript, please indicate the source when reprinting.