Four aspects to identify the purple sand pot style

In recent years, through the unremitting efforts of many relevant experts and scholars, combined with the verification of underground excavated objects in recent years, the accuracy of the identification of the making of teapot has been greatly improved. We can identify the purple sander from the following main aspects.

The late Ming and early Qing Dynasty Zisha Shengsi peach cup.

Qing Chen Mingyuan’s production of Shuchai Sanyou Kettle.

Zishahu art is a product of the times. The aesthetic taste of an era determines its shape and ornamentation. Looking at the teapot's historical development and its evolution, it is represented by the process of thick and refined, simple and complicated, and then returning to the process of returning to reality, that is, from the simple practicality to the gorgeous decoration to the elegant artistic three stages. Through careful observation and study of social phenomena and natural forms, ancient zisha artists learned the artistic features of Chinese traditional paintings and traditional arts and crafts such as ancient pottery, lacquer, jade, and porcelain, and obtained a high degree of artistic accomplishment. A variety of purple clay pots are shaped and developed to create a unique ethnic style, artistic features and period features on the teapot.

In recent years, through the unremitting efforts of many relevant experts and scholars, combined with the verification of underground excavated objects in recent years, the accuracy of the identification of the making of teapot has been greatly improved. We can identify the purple sander from the following main aspects.

I. Judging the age from the flavor of the era style and the reliability of the identification

Since the dissemination time of the saggers is not too long, archaeological excavations produce very few soil objects. The old collections of major museums are also very limited. The vast majority of works are passed down from generation to generation by the public, so standard calibrators can be used for identification. Not much.

The characteristics of the time style of the teapot are the same as those of other types of arts and crafts. The works that truly belong to the art level are rarely crafty, and it can be said that the times value and artistic value coexist. The purple sand masters of the past have molded the sands with excellent plasticity to a variety of shapes as they wished, creating their own unique craftsmanship and creating products that belong to different artistic styles. The proportions of the pots made by the masters and the transitions of the lines are all just right, less mediocre, and more points are tacky, and the arcs of the lines are sometimes controlled by the feeling of the master. This feeling comes from their artistic accomplishment and long-term practical experience.

Of course, famous artists of the same period can also produce works of completely different styles. From its essence, its brushwork or knife method still has his consistent style. From this point of view, the identification of handed down masterpieces of the famous purple sand, especially the teapots handed down from the Ming and Qing dynasties, must first understand the atmosphere and imprint of these famous artists and comprehensively examine the author's production style. The most modern and modern techniques are sophisticated, but the flavor is not enough. The charm of the pot is the place where the art lives. This is a realm that can only be realized but hard to speak. As Qi Baishi, a painter and writer, said: "If you learn me, you will die, like me." Therefore, the style and charm of different famous artists is one of the important basis for identifying teapots.

The last step in the production of teapots by Zisha artists is to stamp the seals at the bottom of the pot or at the bottom of the lid or handle, or directly with the knife. Due to the strong seal material, celebrity seals can generally be used for many years, even for a lifetime. It should be said that the identification of the seal is the direct basis for judging the author. However, behind the pot masters, there are also many people whose family members or disciples still use their remnants of their seals, not to mention the immaculate copy of celebrity seals and imitation famous crock pots. This is a high level of imitation. A slight oversight makes it easy to make mistakes in judgment. The authenticity of the seal is important, but it must not be based solely on the seal, but must also be combined with the overall style of the work.

The decorative characters on the surface of the teapot include the description and the inscription, which can be accomplished by many techniques, such as engraving, printing, and drawing. They contain a lot of information on the year, the maker, and the user. One of the foundations that should be used for reference in the generational understanding. In different eras, the parts and methods of carving are not the same. With regard to the use of the book, the Ming dynasty was a regular script. In the early Qing dynasty, it was used in conjunction with blasphemy.

Second, judging from the styling characteristics and the famous pot shape system

Modeling is one of the identification elements that best reflects the spirit of the teapot. Since its birth in the middle of the Ming Dynasty, the Zishahu has evolved from simple to complex, from rough to fine, from practicality to artistic development. There are different aesthetic standards, living habits, and technical conditions in different eras. Therefore, Zishahu is produced. There are different styling features and artistic styles.

To identify the teapot, we must first understand the basic characteristics of the teapot modeling in each period, as well as the general rule of the evolution of the teapot. For example, the shape of the teapot in the Ming Dynasty was mainly square and round, with simple lines, large pot body, and plain pavilion, giving people a feeling of simplicity. In the early Qing dynasty, the shape of the teapot was the same as that of the porcelain, and the refined palace pots used by the Royal Court of the Imperial Court appeared mostly in natural shapes and geometric shapes. In addition, there are some pottery pots that are practical, pot-shaped, short-flowing, and small-eared, with small and exquisite shapes. In the late Qing Dynasty and early **, there were more and more styles of sand pots, and additional decorations were also added. In order to imitate ancient famous artists, there was not much innovation in the shape system.

Most of the models of famous pots have their own characteristics. Some good-made bionic pots, some pots do not like decoration, some smooth, some angular.

Such as the Ming Dynasty, Da Binshan made six or six pots, pots, pots, and other high-handed-grill pots. Most of the inscriptions were for seals, and the strokes were skilled and powerful. The color of the pots was bright and red, containing small mud particles. The pot surface is generally free of grain. At that time, there were such polite verses as "a thousand-million-letter letter-letters" and "Miya-Yan-yao-said Da-bin pot."

Another example is Qing Ming Chen Mingyuan's good-natured bionic pot, pumpkin pot, choi-chai Sanyou pot, silkworm mulberry pot, and pine root pot. Although Chen Mingyuan had many potters before, none of them had jumped out of the three famous masters: Da Bin, Li Zhongfang, and Xu Youquan. Only Chen Mingyuan pushed the Zisha Pot Art to another glorious period. In addition to making pots, he also produced Meigen pen holders, lotus seed pots, and imitation peanuts, walnuts, bamboo shoots, insects and other shapes of tea case furnishings. This is his unique feature.

Another example is the “Mansheng Kettle” created by Chen Hongshou (Man Zigong, No. Mansheng) in the Qing Dynasty. He changed the aesthetic style of the time, pursued the ostentation, followed the attack of Chen Xi and mocked the kitsch, and set calligraphy, painting, and gold stone. In one, a unique pot type such as “Mangsheng Eighteen Style” was designed, and it was also known that Yang Pengnian, Yang Baonian, Yang Fengnian brother and sister, and Shao Erquan, etc., at the time, had masterpieces of purple sand. They had been designed and produced and became one of the unprecedented characteristics. Shiqi (diào) pots, picking pots, wells pots, half-pot pots, gourd pots and so on are their representative works.

These pottery features of different artistic styles of these masters can all serve as an important basis for the identification of the time and the author of Zisha Hu. Celebrity-made pots cannot first surpass the times of his life and creation, and secondly must embody the characteristics of his pot arts, display high-grade ideological connotations and high-level production standards, otherwise, it may be a bogus. To understand the author from the style and style of the work, this method should be said to be practical and feasible.

III. Judging the Age of Zisha Hu from the Difference in Fetal Quality in Different Periods

The fetal quality of the sander is specifically sand. Different sand materials have different sand quality, and different sand color textures are not the same. The difference between the purple sand of the Ming Dynasty and the purple sand of the Qing Dynasty is very different from the porcelain of the time. The abrasive sand used in the Ming Dynasty contained granular coarse sand, giving people a rough feeling. This was the reason why the sand washing and washing technology was relatively backward. According to relevant data, the number of meshes of the Zisha mudstones in the Ming Dynasty was 20-30 meshes, 55-60 meshes in the middle Qing Dynasty, and 100-120 meshes in the modern age. The mesh is low, the grains are coarse, and the porosity is large. Use a finger to strike such pots. The sound is husky and stuffy.

The sand used in the Ming Dynasty pots was only a little more refined than the sand originally used to make large cylinders. It had a lot of impurities, so it was very rough; and because it was put in the kiln together with the tank and the pot, the pot was Locally stained with a small amount of glaze tears. The sand material in the Qing Dynasty, the overall refinement process has improved, the emergence of purple sand fine sand, this situation is consistent with the development process history. The sand of Qing Dynasty products is delicate and moist. If you often play with friction, over time, there will be a layer of shiny surface, commonly known as “padding pulp”. Like ancient hardwood furniture, it will naturally produce a bright surface on the surface. Identifying the mud is a very important part in understanding the generation of teapot.

In history, in the same period, the purple sand used by the purple sand artists is basically not much different, but the formulation of the sand preparation is different, and most secrets are not shown. They are often accustomed to using their own preparation of sand mud, showing the thickness of the sand, the different color texture, strict distinction and observation will find their own regularity. The teapots made by the same famous man of different shapes are completely different even when viewed from the surface, but if you look closely, you will find striking similarities between the curvature of the outer arc, the shank, and the angle of flow and neck. As far as the same author is concerned, his pot art will continue to develop as it develops. Different periods will also have different changes. However, the lines and details of a molding process are treated like a person's written handwriting. Has become a habit, the technique and style are consistent, there will not be much difference.

IV. Judging the Age of Zi Sha Hu from the Differences in Techniques of Different Stages

The shaping process of the teapot is different in each historical stage. These process scopes also include many aspects such as the kiln method, firing atmosphere, furnace structure, and fuel. These external factors will leave more or less traces of the times on the finished product, and thus will become the basis of our current generation. One of the important credentials. The pot in the founding period of the Mid-Ming Dynasty is mainly kneaded by hand, and the inner tube of the pot is often pinched by the fingerprint when it is hollowed out. In the late Ming Dynasty, Bin Bin created a method for making wood-molded pots. The inner wall of the pot had no fingerprints, but the traces of scraping with bamboo knives were left behind. The joints between the handle and the body of the pot, the stream and the body of the pot were often rough, and sometimes the edges were beautified. It is the earliest additional decoration by affixing a persimmon-shaped mud tablet. The junction between the cover and the button is sometimes handled as such. Because the Ming Dynasty is not a separate burning pot, only the pot placed in a porcelain kiln set fired, and often there are glazed flying glaze tears stained on the surface of the pot body, and some sand pots also due to the fire caused by raised bubbles, so that the surface convex concave Uneven, the pot has a thin wall. In many cases, because the temperature is not enough, the sand pot can not be completely sintered, so the quality of the tire is loose.

In the Qing Dynasty, the teapot was generally made of mud-repelling tablets and the process of inserting the clay pieces. Therefore, the thickness of the pot was uniform and the production was fine. There are also pots we still insist on hand kneading, such as Chen Mingyuan, Yang Pengnian, etc., the method is full of fire, the general craftsman can not look back. In modern and modern times, grouting molding is used, and the body of the kettle is extremely smooth with a slight modification. The material is fine as cream, and it is extremely regular inside and out, and it feels very light. The slush-molded teapot requires more viscous soil to mix sand and mud. In fact, the proportion of purple sand is already very small, but the artistic quality is greatly reduced.

In summary, the purple sand tools in various periods in history have their own styles and characteristics in terms of modeling, craftsmanship, knowledge, and sand materials and decoration. While we summarize the general laws, we must also consider their particularities. Some famous artists often show unexpectedly the diversity of individuals. For example, Chen Mingyuan, his pot is mostly based on natural bionics, but there are also round geometric pots handed down, style changeable, colorful.

With the continuous deepening of the study of purple sand and the upsurge of the collection of purple sand, there are more and more imitation goods, and more and more refined, dazzling. But as long as we master the basic knowledge of teapot identification, through the clarification of the context of the era, understand the different styles and techniques of masterpieces of each period, we will certainly be able to see through the various counterfeit products, but also the original appearance of the ancient teapot.