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-----------. It has a history of more than 2,4 years!
However, it was only after the reign of Emperor Zhengde of Emperor Wu of Ming Dynasty that purple sand was made into pots. Since then, it has become a common practice, famous artists have come forth in large numbers, the varieties of colors have been constantly refurbished, and fine products have been handed down from generation to generation for 5 years. Today, it can be said that it is wonderful and unique.
1. The raw materials of clay in teapot are purple clay, green clay and red clay, commonly known as "rich people". Because it is produced in Yixing, Jiangsu, it is called Yixing Zisha.
According to legend, in ancient Yixing, one day a monk suddenly peddled along the street: "Selling rich soil! Who buys rich soil? If you buy it, you can get rich. " Hence the name. The so-called relying on mountains to eat mountains, relying on soil to eat soil. Yixing purple clay has nurtured generations of skilled craftsmen for thousands of years, so that when it comes to teapot, we immediately associate it with Yixing. It is unclear whether Yixing made the teapot famous or Yixing made the teapot famous.
Purple clay was originally buried deep under the rock layer, distributed between the mud layers of nail mud, and the thickness of the ore layer was about tens of centimeters to one meter, and its chemical composition was iron-containing clay siltstone. The main mineral composition of purple mud is hydromica, with different amounts of kaolinite, Shi Ying, mica chips and iron.
The process of making clay for teapot is as follows:
Purple clay mined from the ore bed is commonly called raw clay. Block-like rocks are weathered in the open air to make them loose, and then they are initially crushed and crushed, and screened by air supply according to the number of particles required by the product. The screened mud ash is stirred into pieces of mud by a blender, and then it is piled up and aged, and then the rotten mud is vacuum-kneaded, so that it becomes cooked mud for blank making.
in the process of refining and preparing purple clay, the quality of water used is very particular. The quality of water will directly affect the quality of products. Purple clay has good plasticity, high strength of green body, and small shrinkage rate of green body during drying and firing.
In order to enrich the appearance and color of purple clay and meet the requirements of process change and production design, craftsmen boldly carried out technological innovation, mixed several kinds of clay materials in different proportions, added appropriate metal oxide colorants into the clay materials, and controlled the temperature and atmosphere in the kiln. After firing, the products were colorful, purple but not beautiful, red but not bright, green but not tender, or yellow but not delicate, or The color of purple sand ware, like the color dyed on wool textiles, is calm without anger; Careful observation shows that all kinds of mud colors are wrapped in white sand with stars, such as silver powder shining, which is a reflection of light, like a pearl. Sometimes it is more eye-catching in mud and coarse mud sand or steel sand. In recent years, red and bronze cover pastes with natural luster have been successfully trial-produced, creating a new look of mud decoration.
teapots are not necessarily purple. After being fired at a high temperature, they present a variety of exotic colors, including vermilion, bordeaux, copper, begonia, iron gray lead, sunflower yellow, dark green, indigo and so on. The teapot is not glazed, but it is better than glazed, and its color changes strangely and richly. Such as vermilion purple, durian skin, bean green, begonia red, flashing color and so on, are all natural primary colors, simple and vigorous, quaint and lovely.
The fired teapot is ideal in heat preservation and air permeability, and it is an ideal appliance for making tea. It is not an exaggeration to call it "the first tea set in the world" in society.
second, the rise of teapot is closely related to the Chinese nation's tea drinking atmosphere, which promotes each other and is passed down as an eternal story.
China people's habit of drinking tea is said to have started from Shennong. "Shennong tasted a hundred herbs, and when he encountered seventy-two poisons every day, he got tea (that is, tea) and solved it." In the Tang Dynasty, Lu Yu summed up the theory of drinking tea and wrote a Book of Tea, which was honored as "Cha Sheng" by later generations. Practice is the forerunner of theory, and the appearance of Tea Classic indicates that China people have a fairly high rational understanding of tea. The tea ceremony flourished in the Tang Dynasty, and the Japanese "tea ceremony" was to learn and accept the tea culture of the Tang Dynasty in China.
Different from the methods of making tea since Ming and Qing Dynasties, the methods of drinking tea in Tang and Song Dynasties were boiled tea, brew tea, or fried tea. From "Lu Tong Tea Cooking Map" by Qian Xuan, a great painter in Song Dynasty, we can get a general understanding of brew tea utensils and tea drinking methods in Tang Dynasty. Lu Tong is a famous prime minister. He once lived in seclusion in Dongshan and planted tea in shady hills. Throughout his life, he always paid attention to tea tasting. From the painting, we can find that a long holding pot is being cooked in front of the furnace, and the beam-lifting pot on the ground should be used for fetching water. And brew tea fanned the fire with a fan. Obviously, I want to make the fire stronger. It's a pity that Qian Xuan didn't depict the scene where the flames were inspired by the wind, otherwise the painting would be more exciting and vivid.
Pi Rixiu, a great poet, once wrote a poem about it: "When the prime minister thinks about making tea, it is too late for the county magistrate to urge him to make it. Wu Jun went to the country for three thousand miles, so don't laugh at Yang Fei's love for litchi. "
The poet compares Lu Tong's love of tea with Yang Guifei's love of litchi, which is really humorous and subtle! Why the tea of Tang and Song Dynasties should be boiled, rather than brewed? There is really some knowledge here.
According to historical records, the teas that people in the Tang and Song Dynasties drank, called tea cakes and tea balls, were similar to today's Tuo tea, not loose tea. Because tea cakes and tea balls are made by baking, they must be ground when drinking tea, so they need to be cooked on the stove for a certain time, which is a bit like making coffee today.
Tea drinking became more popular in the Song Dynasty. Wu Zimu's "Dream of Liang Lu" described the lives of ordinary people in Hangzhou, saying: "The daily necessities of people are rice, oil, salt, wine, sauce and vinegar tea. Call it eight things. " Tea has become an indispensable necessity for every household.
However, scholars are more particular about drinking tea. Ouyang Xiu, Mi Fei, Mei Yaochen, Cai Xiang, Su Dongpo and other great writers all left some famous tea-chanting articles and sentences. Among them, Mei Yaochen's poem "Small stone cold spring leaves early taste, and new purple mud is pan-Chunhua" can be called the eternal swan song, which is about using purple sand pottery pot to make brew tea. Of course, Su Dongpo is the most exquisite and creative person. He concluded that "living water still needs to be cooked with live fire, and it is necessary to fish for stones and get deep feelings." Using running water and deep water to fry tea, the taste will be extraordinary, and it will be more pure and clear.
Great changes have taken place in the method of drinking tea in the Ming Dynasty. In 1595, Zhang Yuan wrote "Tea Record", which gave a detailed introduction to the procedure of making tea:
"When the soup is ripe, take it, first pour it into a few pots, remove the cold air from the soup, pour it out, and then pour it. The amount of tea should be appropriate, and you should not miss the point .. After two pots, use cold water to Tang Di.
this is no different from today's tea making method.
brew tea has evolved into a tea-making place, which requires a relatively high quality teapot. Through thousands of years' practice, people have found that making tea with teapot is meaningful and mellow. Because teapot can absorb tea juice, the longer it is used, the better the tea tastes.
As a result, teapot came into being, and the masters, famous artists and masters who made teapot came to the front of history one by one. Their names and achievements were intertwined with the rise and fall of teapot. 3
Generally speaking, the founder of Zisha Pot was Gongchun (Gongchun) in Jiajing, Zhengde, Ming Dynasty.
"I studied in Nanshan from Zuquan Shigong, and brought a boy's name as a spring offering. I saw that the natives used mud as a jar, which made it look like a pot. It was very beautiful and lovely, and it was called a pot for spring offering." (Wu Meiding: Preface to Yangxian Porcelain Pot)
At that time, people praised "dark chestnut color, like ancient and modern iron, Dunpang Zhouzheng." Just 12 words, it is like seeing its pot.
It's a pity that spring pots are no longer seen. Most of the spring pots circulating now are imitations. A copy of Gu Jingzhou, a contemporary Yixing purple sand master, costs about HK$ 2,, which shows how precious the artistic value of the pot for spring is. Gong Chunchuan Shi Dabin and Li Zhongfen. Together with Xu Youquan, a disciple of Shi Dabin, they were called "three masters" of purple sand in Ming Dynasty after Wanli.
Shi Dabin's teapot is elegant and free from vulgarity, and its shape is smooth and flexible. Although it does not pursue skillful carving, it is ingenious, simple and elegant, and wonderful. In his later years, Xu Youquan sighed: "My essence is not timely (Shi Dabin's coarseness)."
Xu Youquan, with exquisite workmanship, is good at making ancient bronze wares into teapot. Gu Zhuo is solemn, simple and vigorous. Legend has it that Xu Youquan worshipped Shi Dabin as a teacher in his childhood and begged the teacher to pinch a mud cow for him, but he refused. At this time, a real cow passed by the house. Xu used his quick wits to grab a handful of mud, ran outside, pinched it against the real cow, and praised it greatly. He thought he was very talented, so he gladly gave it all his unique skills. Later, he really became a family.
The above four people are the masters of teapot in the first period. The second master of teapot was Chen Mingyuan and Hui Mengchen in the early Qing Dynasty.
Chen Mingyuan put chestnuts, walnuts, peanuts, water chestnuts, arrowheads and water chestnuts into the pot, and was good at carving, piling flowers and accumulating mud, which made the shape of the teapot more vivid, vivid and lively, and turned the traditional teapot into a vibrant sculpture art, full of vitality and activities. At the same time, he also invented the form of stamping the bottom of the pot and the lid of the pot, which formed a fixed technological procedure in the Qing Dynasty, which had a great impact on the development of the teapot. Because Chen Mingyuan's works are superb and famous for a while, a large number of imitations and fakes appear. Mr. Gu Jingzhou said that he had only seen a few genuine pieces in more than half a century from his youth to his twilight years, and collectors should be especially careful to avoid being deluded.
Hui Mengchen during the Apocalypse and Chongzhen periods in the late Ming Dynasty was good at making small pots, and the small ones won the big ones. Meng Chen's pot is carved with a bamboo knife, and the small seal of "Yonglin" seal script in the lid is a fine product.
The third period of masters of teapot were Chen Hongshou and Yang Pengnian in the middle of Qing Dynasty during Jiaqing and Daoguang years.
Chen Hongshou was a famous painter and seal engraver in the middle of Qing dynasty. Art advocates innovation. He advocates "poetry, calligraphy and painting don't have to be very home", but you must see "natural interest". He put this artistic idea into purple sand pottery. The first contribution is to combine poetry, calligraphy and painting with teapot pottery, write poetry and sculpture on the pot with bamboo knives. The second contribution, with his talent, he improvised many novel styles of teapot at will, which brought great vitality to the innovation of teapot. His cooperation with Yang Pengnian is exemplary. Now we see the teapot made during the Jiaqing period. The handle and bottom of the teapot are printed with the word "Peng Nian" or "Amantoshi", all of which were designed by Chen Hongshou and made by Yang Pengnian. Later people called it "Mansheng Pot". Chen Hongshou made Zisha pottery more literate. Although the production technology was not as exquisite as that in the mid-Ming Dynasty, it had a great influence on later generations.
Yang Pengnian pioneered the new technology of pinching the mouth. He did not use a mold, but made it by hand, which was quite interesting. After Qianlong, with the decline of the Qing dynasty, the production of teapot became more and more depressed.
It is worth mentioning that Shao Daheng was a master of the generation after Chen Mingyuan, while others, such as Shao Youlan, Shao Youting, Jiang Dexiu, Huang Yulin and Cheng Shouzhen, were inferior to each other. More is conformism, less innovation, and the production process is increasingly sloppy.
The contemporary master of purple sand, Mr. Gu Jingzhou, is the first to be promoted. Gu Lao has devoted himself to purple sand pottery for more than 6 years, and his fame is far and wide. The rest, such as Zhu Kexin, Gao Haigeng, Pei Shimin, Wang Yinchun, Wu Yungen, Xu Xiutang, Li Changhong, Shen Mihua, Gu Shaopei, Wang Yinxian, Lv Yaochen, Xu Hantang, Jiang Rong, etc., also have their own unique skills and expertise, all of which are temporary talents.